GET
SWITCHING TO SUSTAINABILITY IN THE TRAVEL SECTOR
LEATHER UPPER
July is upon us, and that can only mean one thing…it’s time to travel. Or, if you’re in sign and graphics, it probably means you’re working flat out all summer because it’s one of your busiest times.
Our industry is made up of a lot of companies of varying sizes. A huge number of you are subcontractors, so it made sense to get Chris Edwards from CVI Group in to talk about the highs and lows of freelance life. He’s been in the industry for almost 20 years and is still pushing to make positive changes for vehicle wrapping across the UK. Partnering with FESPA UK, we’re expecting to see some of his ambitious plans brought to life later on in the year.
Speaking of positive changes, Suzi Ward answers our questions as this month’s expert. She’s transformed the image of FESPA UK from an ‘Old Boy’s Club’ into a modern and collaborative operation, offering a myriad of benefits to its members. We also fired questions to the Hexis King of Chrome, Stew Cochran, as he got in the hot seat
for our Quickfire Q&A this month. We have projects from pool tables to Porsches as the Gumball 3000 winner graces our project page. And with so many businesses struggling with their recruitment, we drafted in Matt Hanley to give his expert advice on how you can go about this effectively on your own, or how you can best choose the recruitment partner that’s right for you.
Mr Di-Noc joins us again with advice on how to make your architectural film projects a success and how to avoid the most common failures by selecting the correct primers. As for kitchen wrapping? It’s still on the rise and we have a selection of before and after inspirations for you to tempt your next client into something a bit different. Louise Wynne talks to us about colour psychology and how you can marry your growing interior design knowledge with your client’s branding in different ways. And that’s a wrap on July!
- Rosie Christie
UK based print tech firm Artworker releases a new, free file-sharing service designed with the unique needs of the printing industry in mind.
What sets Artworker’s solution apart from generic file sharing tools such as WeTransfer and MailBigFile is the wealth of features available free of charge. These include:
Creation of a uniquely branded portal within minutes, complete with a custom URL for linking from websites and emails.
Embeddable widgets, allowing customers to share files without leaving the company’s website.
A 10x increase in maximum file size compared to other popular file-sharing tools.
Faster file uploads for the users
Structured file storage
Enabling users to preview their artwork prior to submission, boosting their confidence in the process. Ability to display studio hours and support information on the portal.
Many of these features are not found or come at a cost in other popular file sharing tools, demonstrating the value Artworker delivers to the printing industry.
Nate Duckworth, Co-Founder of Artworker, said, ‘In a rapidly evolving digital world, it’s crucial that the print industry doesn’t get left behind. With Artworker, we’re not just improving file-sharing - we’re transforming the way printers interact with their clients and manage their prepress workflows. Our goal is to make the process as seamless as possible, from artwork submission to final approval.’
For users seeking more functionality, Artworker offers a Pro tier. This enhanced service provides custom integrations and streamlines the management of your artwork approval process, including sending proofs for customer approval. Colin McDermott, Non-Executive Commercial Director, said, ‘Having a platform specifically designed and built by a team with decades of experience running printing businesses gives Artworker an edge in knowing where the current pitfalls are and how best to address them.
You can set up your free file-sharing portal today at https://artworker.io/solutions/file-sharing
FESPA Global Print Expo, European Sign Expo and Personalisation Experience (23 – 26 May 2023, Messe Munich) delivered a stimulating, high-energy environment where visitors and exhibitors focused on opportunities for business growth.
Exhibitors shared overwhelmingly positive feedback, praising the vibrant, busy halls, the decision-making seniority of the audience and delegates’ readiness to invest. 84% of visitors held decision-making positions, a 15% increase compared to 2022. 73% of visitors were MD, CEOs, owners or managers.
The three co-located events attracted 14,776 unique visitors from 134 countries. Investment in new technology was a priority for the majority, with 50% planning an investment within 12 months. Of the two-thirds of visitors choosing to disclose budget, the collective median budget has almost doubled year on year, to Euros 2 billion.
Delegates also committed more time to their participation in the event, with 54% attending over multiple days. This brought total attendance to 22,757 over the four-day show, an increase of 42.5% compared with the Berlin events in 2022.
German printers represented 25% of the total audience, with numbers from the host country up by 38% compared with 2022. Overall, 83% of visitors were from Europe, with the most significant delegate groups outside Germany coming from Italy, Austria, the UK, The Netherlands, Poland, Switzerland, Spain, Czech Republic and France.
The full removal of long-haul travel restrictions further boosted the 2023 events and enabled the return of a host of exhibiting companies. Visitors from Asia accounted for more than 10% of the total audience this year, compared with only 4% in 2022. More than 750 decision-makers from speciality print businesses in Africa, the Americas and Oceania also visited the shows in Munich.
The launch of Personalisation Experience attracted significant visitor interest, highlighting the scope of the commercial opportunity for print businesses who can offer personalisation, individualisation or customisation, whatever the application.
Michael Ryan, Head of FESPA Global Print Expo comments: This year’s events in Munich really proved how positively the international speciality print and signage communities have bounced back. Business leaders from all over the world came with an appetite to understand what’s changing in the market and a determination to innovate and invest to expand their offering. We saw our total audience grow substantially compared with 2022, with more individual visitors investing more time to explore everything we and our exhibitors could offer, including our Sustainability Spotlight, FESPA Awards gallery and World Wrap Masters feature.
Marta Fraile, Head of Channel Marketing EMEA at Roland DG comments: FESPA 2023 was a great success with the business seeing a growth in sales opportunities versus last year’s. We noted a higher quality of visitor, with many of those we spoke to expressing a strong intent to invest in new equipment. FESPA remains an annual highlight in the industry calendar, as it allows us to gather with partners and customers from across the world to celebrate the technology and creativity of the print industry.
The next FESPA Global Print Expo will take place in Amsterdam, The Netherlands from 19 to 24 March 2024, alongside European Sign Expo, Personalisation Experience and Sportswear Pro.
My role at FESPA UK has changed so much since I joined 6 years ago. I have seen so many changes throughout the industry in that time, and it has made me question what the purpose of a trade association should be. My first challenge as MD was to change the image of the association from an ‘Old Boys Club’ to a modern community, that invests the money we make back into the industry in ways that can make a lasting and positive impact. I try to achieve this by creating events and initiatives that help to support not only our members but the wider print & signage community.
In addition to creating meaningful events & initiatives we help to create proactive links between our members, we offer global networking opportunities through our 36 other international FESPA associations, alongside corporate benefits from R&D tax credits, financial advice, grant searches, technical know-how guides & market information such as the FESPA global census. Following on from Wrap Fest we are working hard to understand what it is that vinyl wrappers need from an association, because while the benefits above can be useful to all businesses no matter what they produce, vinyl wrappers needs are very different from say a wide format printer, and to be able to offer wrappers a community that fully supports their needs. We are working closely with some fantastic vinyl wrappers and key suppliers, who are helping us to understand what useful support we can offer that sector of the industry.
We offer 2 main membership opportunities:
* Suppliers of equipment, materials, software, consulting & services to print, signage & vinyl wrappers - £89 per month
* Companies producing or installing print, signage and vinyl - £49 per month
* We also recognise that there are micro-businesses out there that will massively benefit from being part of our community, so we also offer a Small Enterprise price on request too.
We are only a small association, but we are growing quickly, we currently stand at 95 members.
Yes as above we have the Next Generation on the road events planned. We have also just launched a joint event with the ISA UK, this week called Making Connections Matter on Wednesday 6th September at Hogarth’s in Solihull. This event will look at ways businesses in the visual communications arena can push the materials, machines, and technology they use to the limits, to produce the most powerful visual displays possible. With examples of some of the most thought-provoking designs in both print and signage, the evening will be a chance to discuss the methods used to produce the pieces on display, with the people who created them.
Over the past two years, we have been working to develop our waste management accreditation to help all types of print and signage businesses in managing their waste more responsibly, no matter what size business it is, or how much waste they produce. We are here to help set them on a more responsible path with their waste and the waste of their clients. Following the work we have been doing with waste accreditation, we are about to launch the brand new FESPA UK Waste Academy, which will help to educate print, signage & vinyl wrap companies about the realities of the industry’s waste and will provide key hints and tips on how to better manage the waste produced in all sized businesses and how you can help to use these changes to stand out from the competition. We have also been working on the Next Generation project which looks to empower young people who already work in print & signage and show them the benefits of networking and building valuable working relationships within the industry, with the aim of building their self-confidence and value within the company.
The long-term goal of this project is that by working with the Next Generation Committee and other young people from the industry, we can use their ideas, content, and methods of sharing content to reach people outside the industry and highlight the exciting world we are all so passionate about.
Project Overview:
The client previously worked with a Canadian company, Second Skin, who have wrapped all of their vehicles for rallies. However, due to the Gumball 3000 starting in Edinburgh, Second Skin referred the client on to us to manage.
This project was a combined effort of Wrap UK, who printed the wrap on Avery Supreme MPI1105 with matching matte overlaminate for the client, and In-Vision Design, who completed the install over 20 hours with two installers.
What was the outcome?
In addition to working within a tight timeframe, the In-Vision Design team had the added challenge of the wrap being more complex due to both sides not being identical. Extra care was taken to ensure each piece was lined up perfectly.
The finished product won best wrap of the Gumball 3000 in June 2023.
The client first heard about Vinyled 2 Perfection through word of mouth and soon invited them around for a consultation. The table was already in excellent condition, with little surface preparation needed. After discussing available options and comparing samples, the client selected Cover Styl’ NG10 Woven Parquet Grey for the tabletop and Avery Dennison SWF 412 Satin Black for the legs.
The project took Vinyled 2 Perfection roughly 10 hours to complete in total, including preparation, and the client was thrilled with the result. They’ve also had multiple friends comment on their ‘new’ pool table and they were astounded to learn that it was still the same original table. This was a great project all around – and certainly something a bit different to showcase the possibilities of architectural film.
"I knew it would look good, but this is better than I could have imagined"
1 2
How long have you been in the industry?
13 years
What inspired you to become a vehicle wrapper?
My passion for cars. I’ve always been a petrol head and that’s the reason my career took me in this direction.
3
How did you get started in the industry?
I used to be a farm manager, and during my time in this role, the farm was looking for someone to apply graphics to their machinery. I bought a plotter and took on the signwriting. As I was working on this, I met someone with a bright yellow car and asked them about their paintwork. It had been wrapped and the process interested me so much that I bought some material and wrapped a car (on my drive – which makes me cringe now, as a trainer), but from there on, I was hooked.
4
What’s the most challenging project you’ve worked on and why?
Last year, I worked on a Renault for Alpine F1. We had 12 hours to get the car out before it went for pre-season practice testing. Adding to the challenge was the fact that the vinyl was lacquered beforehand, and the wrap was a full digital print.
5
What’s your favourite part of the vehicle wrapping process?
Seeing the customer’s face when you give them the car back – for some people it makes them fall back in love with their car. It can be worrying when people cry but it’s always been happy tears!
6
Do you think industry events like WrapFest are important, and why?
Definitely. It’s great to see people from all different points in their careers come together to see new products, network and learn from each other.
7
How do you stay up to date with the latest trends and techniques in vehicle wrapping?
Every six months, the Hexis trainers get together to discuss new products and technologies as they are ever-evolving. I speak to a lot of different trainers from 3M, Arlon, Avery, etc. and keep up to date with their latest technologies and techniques too.
8
What’s the biggest mistake you’ve made in your career and how did you learn from it?
Not taking on staff earlier. My business has been built solely on myself and I could’ve grown it a lot sooner if I’d done this.
9
What do you think sets you apart from other vehicle wrappers?
Attention to detail – that’s the most critical thing. But also, being able to install chrome to such a high standard. As cheesy as it sounds, Hexis call me the King of Chrome.
10
What’s the most common misconception people have about vehicle wrapping?
People underestimate the length of time it takes to wrap a vehicle. It’s not as quick as some people expect. The other one would be that customers can expect it to be exactly the same finish as paint, which is unrealistic.
11
How do you handle difficult clients?
Speaking with the customer beforehand in a consultation and understanding their needs and expectations means that you can usually avoid difficulties later on. If there ever was a problem, dealing with it early on makes all the difference.
12
Where is the best place you’ve ever travelled to for work?
Dubai. The opportunity over there for people with a good work ethic is second to none.
What are some of the best products you’ve come across?
The product that has helped every vehicle wrapper out is 3M’s knifeless tape – it’s a game changer. It is precise and one of the most innovative products out there at the moment.
14
What’s the most important thing you’ve learned in your career so far?
Take your time. Speed comes with experience and time brings quality. Once you’ve got the quality nailed down, the speed comes.
15
What’s the biggest change you’ve seen in the industry since you started?
Consumer knowledge has improved a lot in the last few years, largely down to social media. Customers can do a lot of their own research and know more about what they want. That’s why it’s important to stay on top of the latest products.
16
How do you ensure the quality of your work meets your high standards?
You’re only as good as your last job. Every job I do is completed to the same standard, no matter the size.
17
What is your favourite part about being a Hexis trainer?
Seeing the success of the trainees and them starting their businesses afterwards. Taking a course can transform people’s lives. I am continuously learning from trainees too, finding out their perception of the industry and how I can improve my training based on their needs.
18
What’s next for you in your career?
Taking on staff now it’s the right time for me to do so. I’ve held off for so many years but now it’s getting really busy and I’ll be getting a unit.
After 19 years in the industry, being employed, self-employed, running installation teams of 18 nationwide, subcontracting for reputable businesses, and now moving into training to raise installation standards, Chris Edwards has more experience of the UK industry and its highs and lows, than most. We sat down for a straight-talking (as you’d expect from a Yorkshireman) chat about where the variety of paths in the vinyl industry can take you.
A keen artist from a young age, Chris faced a fork in the road early on in his career: the decision between staying on to get his college qualification in Art & Design - where he studied 3D design and animation - or pursuing an apprenticeship in vehicle graphics. The apprenticeship offer came after Chris noticed a small graphics shop opening nearby to his Saturday job. Right from the getgo, he took a genuine interest in graphic installation,
starting small with basic stickers and watching video tutorials at night to develop his learning of the trade, alongside continuing to develop his Photoshop skills. What becomes immediately apparent in Chris’s career history, is that he has not waited for opportunities to fall in his lap, he has actively sought them out and created his own success. His next move was to another graphics shop, where there were no job openings. Noticing the lacklustre business cards, he returned to the shop with a new design for the owner who hired him on the spot. As you can imagine, wrapping was a very different ballgame 20 years ago. Air-release technology was nowhere to be found, and the car shapes were far more difficult to wrap than they are today. A cross-country move later and Chris broadened his skillset once more, working on design and teaching wrapping to a small team for a company in Peterborough.
It was 2014 when Chris took the leap into self-employment. Very quickly, the projects escalated from 2-man jobs to managing teams of 18 subcontractors, sometimes travelling over 2000 miles per week and working back-to-back shifts. Admitting this was a challenge – as it would be for one person to manage singlehandedly – it was one Chris rose to with enthusiasm. With hindsight, it was saying ‘yes’ to every job that was his biggest error.
Whilst becoming so engrossed in fulfilling all of the work that was flooding in, Chris was forced to scale back on his operations after burnout struck and he was taken to hospital. He made it a priority to have 3-4 weeks off over the Christmas period and after starting his family, he became less inclined to accept work that was far away from home, and his company activity started to wind down – a decision that he would make again as it gave him precious family time with his son that he wouldn’t have had otherwise. Re-evaluating his circumstances, CVI Group was launched, and Chris began working closer to home for his private customers and for reputable companies who valued quality installation standards as much as he does. At the moment, the split is 20/80, with the larger amount of time subcontracting. "I never stay away overnight for work now and travel time is much more limited. I’ve achieved much more in this business than I did in my previous one because I’ve learned from my mistakes and I value my time now."
On the subject of subcontracting within the vehicle wrapping industry, Chris acknowledges that it can be a lucrative career for those who choose the freelance lifestyle. He says, "Someone who has been wrapping since they left school for 4-5 years can earn great money. That amount of time is more than enough if you’ve been taught properly, and they would be in their early twenties, earning £4,000 a month."
Compared to some other advertised job roles, particularly for this age range, take-home pay as a subcontractor in this industry is considerably higher, even for a skilled trade. Unfortunately, without any official apprenticeship courses with set standards, there are varying skill sets – often setting similar rates of pay – much to the frustration of the businesses drafting subcontractors in for help. As Chris notes, a two-day training course is often a beneficial thing for putting attendees through their paces, but it does not qualify anyone to start a career in vehicle wrapping unless it is followed by years of experience.
Of course, the skill of wrapping is only one part of being a successful subcontractor. Even in his late teens, Chris had a knack for creating opportunities for himself and being noticed by potential employers. "I don’t really believe in luck," he says. "Sometimes, things happen in the right place at the right time, or having the right conversation with the right person. But again, having that conversation – it comes down to whether you’ve got the confidence to go and have it in the first place." Being driven in your approach pays dividends whether you’re new to the industry or you’re a seasoned professional, making yourself visible is how to get your name out there. Lacking in confidence is a common issue for many, but as Chris explains, building confidence comes with repetition and putting yourself in situations where you can grow and learn.
Looking forward to the future, Chris has his sights set on investing in a unit to concentrate on his own client work and to develop training programmes for others within the industry. One of his main goals is to make a positive change within the industry. Recently becoming a member of FESPA UK ties in with this long-term ambition. The collaboration between the association and its members has already seen initiatives benefitting the industry, with more planned for the near future, particularly involving the vinyl sector of the community. There is power in numbers, and combining the knowledge of experienced professionals like Chris with the support of organisations like FESPA UK, there can be the force for positive change in many areas. Until their plans are revealed later in the year, Chris is continuing to work on vehicle wraps, internal wall and floor graphics, window manifestation and race graphics for his own clients and for some of the biggest signage companies in the UK.
by Denise Kirby
Sustainable travel is a growing trend. People have become much more conscious about environmental issues in general and conscientious travelers are increasingly looking at ways to travel more responsibly.
With travel restrictions largely lifted and temperatures rising, the industry is predicting a bumper summer travelling season in the Northern Hemisphere. It is also predicted that the UK can expect 35.1 million visitors in return during 2023. With a Booking.com report suggesting that three quarters of travelers want to travel more sustainably, the desire for ecotourism is only set to rise.
When we look at initiatives to improve sustainability in travel, the focus tends to be on reducing carbon emissions and how tourist activity impacts the local environment, community and economy. Something we don’t tend to consider is all the advertising signage and print that accompanies this industry, how it impacts the environment and what happens to it end of life.
Travelers have always been a desirable target market for advertisers to engage with. They have more free time and attention and more importantly, money to spend. As the number of people on the move increases, OOH advertising becomes an attractive investment for brands and businesses. The more advertising that is created however, the more waste there is. The materials we use, particularly PVC generates waste that will last for hundreds of years. The longevity and harm this print waste can create is disproportionate to the short-term value they offer for seasonal promotional advertising.
Advertising that targets travelers doesn’t always require the functionality or longevity associated with PVC substrates. Today there are many alternative medias that can be used to provide a more sustainable solution while still respecting the commercial requirements of a campaign. PVC-Free materials can be much less toxic, more readily recyclable or incinerated and degrade faster in landfill.
Billboards
Exchanging PVC banner material for the many PVC free options available.
Mobile Transport Advertising- Buses, Trains, Trams, Taxis
PVC-Free options for these applications include polyester (PET) one way vision films and self- adhesive polypropylene (PP) films and laminates, provided the surface is completely flat. For applications on to curved surfaces PVC-free films, typically made from flexible polyurethane (PU) can provide the same conformability as PVC.
Transport Hubs – Bus shelters, train & tube stations, airports
Transport hubs offer a myriad of advertising opportunities. From walls, windows, counters, escalators, elevators, floor graphics, light boxes to posters and hanging banners. All these applications can easily be produced on PVC-Free media. Monomeric PVC films and laminates can be replaced with PP films for general graphics. Polyester films and textiles can be used for backlit applications. Posters and hanging banners can be made from paper or synthetic paper (PP &PET) and internal displays from board.
Sustainable advertising requires businesses to think beyond traditional methods of print and consider not only the needs of the campaign but also the environment and the values of the customer.
Companies who promote green travel, products and services or who have sustainability goals should also want their promotional print campaigns to align with their principles. These customers may not be aware or have knowledge about the products that are used. Alternatively, they may think all plastic print substrates are bad and opt for what they think are more environmentally friendly mediums like digital screens.
It is up to us to educate our customers and provide them with options. Failing to consider and offer sustainable sign and print especially to a market that values sustainability, doesn’t only cost the environment, it can also cost you business.
For professionals in the signage industry, the realm of travel and tourism provides a unique canvas to showcase the power of signs. Signage plays a crucial role in every traveller’s journey, serving as a traffic signal as well as narrating stories, defining experiences, and guiding footfall. The challenge, however, is in developing a visual language that transcends linguistic barriers and captures the essence of a destination whilst also displaying precise directions.
Travellers can navigate foreign places thanks to the universal language of signs, which takes the form of recognisable symbols. Think of the symbols that are universally recognised for services like restrooms, restaurants, or transportation hubs. A system of 50 symbol signs for transportation hubs was created in 1974 by the AIGA and the US Department of Transportation, and it has now been implemented all around the world. As evidence of the universality of signage, these symbols offer essential direction across linguistic and cultural barriers.
However, being universally understood does not imply a sacrifice of local identity. The local flavour and the signs’ cultural relevance are actually what make a trip more interesting for a traveller. The street signs in Marrakesh, Morocco, are a fantastic illustration of this. Beautifully handcrafted and displayed in Arabic script, these signs are not just informative but also reflect the region’s cultural heritage and artistry.
Signage that is artistically created frequently becomes a defining feature of a destination. Signage captures the essence of a city’s identity, as seen in the distinctive roundel of the London Underground, with its iconic red circle and blue bar design. Similar to this, Japan’s attention to detail and aesthetics is evident in the distinctive style of the signs on the Tokyo Metro. These signs serve as more than simply informational tools; they also contribute to the aesthetic identity of the city.
The travel sector is embracing technology, and signage keeping pace. In addition to being visually appealing, interactive digital signage, like that found in Times Square in New York or Piccadilly Circus in London, can also deliver realtime updates, enhancing the tourist experience. The bilingual interactive kiosks in the Charles De Gaulle airport in Paris serve as an illustration of how digital signage can appeal to a wide audience while enhancing accessibility and convenience.
In the travel sector, signage has more purposes than just providing instructions; it also serves as a tool to develop relationships, express identity, and improve the traveller experience. As specialists in the signs industry, we must understand how we contribute to the story of global exploration by overcoming cultural gaps. In order to create signage that is both generally informative and firmly entrenched in the context and culture of the local area, we must look to the future.
Can you elaborate on the key skills and qualities that you look for when recruiting for the sign, graphics, and print industry?
When operating in a niche I think it’s important to obviously be able to demonstrate your skills and experience but there’s been a huge shift over the last couple of years of people enjoying the company of others. So you could be the most highly skilled and experienced industry professional but if that is just hiding you not being a good culture fit or a good team player, I think organisations would rather invest in the right person. In my opinion, demonstration of the right attitude and behaviour is vital.
What are some effective strategies that employers in our industry can use to attract top-tier talent?
This is all about your process. Before casting the net, have a solid strategy in place. Review old applicants for similar roles you’ve had and operate a referral scheme from your current staff. Good people know good people - ask your trusted network. Do your suppliers know anyone, or are there any of your competitors or customers you could reach out to?
If this isn’t successful and you have to be a little more externally focused, then you want a combination of the best person at the lowest possible price, but like the old adage, you can’t have cheap, quality and fast they just don’t combine.
If you are hiring yourself, make sure you have an advert, not just a list of requirements. You’ll have everyone applying and the time that takes out of your day replying and rejecting candidates (you have to do this as it’s your reputation). It is a huge cost you won’t have factored in. Should you get suitable applicants, make sure your process is slick: in 2 stages. First is a Teams Call to break the ice, then if they pass, get them in for a more formal discussion, show them around, and meet the team. Don’t waste time. If they are right and suitable for the job, don’t delay, get them offered.
If you do engage with a recruiter, make sure it’s a good one. Ask for testimonials, and make sure they are industry specific. Never use more than two, ideally one. You WILL NOT be getting any more candidates the more agencies you use. Ironically, it has the opposite effect.
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Communication, transparency and readiness to act are the 3 pillars of a strong recruitment process"
From your perspective as a recruiter, what are some of the most common mistakes that employers make during the hiring process? How can they be avoided?
In my experience, the hiring process reflects the way you operate as a business. If you’re dealing with me as a supplier or with candidates directly, your process and strategy have to be robust and agile. Be flexible, accommodating, humble, modest, and human.
Communication, transparency and readiness to act are the 3 pillars of a strong recruitment process.
Once an employee has been hired, what are some of the best ways to ensure that they feel engaged, valued, and motivated to stay with the company long-term?
This starts from the moment you interview. The experience must be reflective of your business, and your culture. Through the recruitment process, the onboarding and probation but also when they are an established member of the team. There are normally 3 reasons why people look for a new opportunity; location/flexibility OR progression OR Salary. In your 1-2-1’s rather than it all being about the employees, ask what you as an employer could do better. You might not like the answers but at least you’ll have an indication of early signs of unhappiness or discomfort.
Can you share some successful case studies where a company in the sign, graphics, and print industry successfully attracted and retained talent? What strategies did they employ?
Yes, loads! But one recently was a new MD (that I’ve known for 10 years+) in a new role. It was a clear brief for an Estimator. We need XYZ, we set out the interview process during the briefing meeting and away I went finding them candidates. 3 candidates submitted, 3 interviewed, 2 whittled down and invited back for a meet the team for a couple of hours. After that, one was offered. It was professional, efficient and transparent. These things shouldn’t be overcomplicated.
How important are professional development opportunities in our industry for attracting and retaining talent? How can companies better provide these opportunities?
You don’t have to look far to see what value this really brings to the table. We want people in our industry that are do-ers. People that will say yes, take on the responsibility and challenge and thrive in these types of environments. For me, this should be encouraged. Companies should offer the opportunity for each department/person to spend time across the business, gaining and absorbing vital BI to develop them.
Another great example of this is The Printing Charity’s Rising Star Programme where 18–30-year-olds are recognised and nominated by their managers for the impact they have. If you are selected, you are awarded up to £1,500 to put towards any professional development course. This is amazing! I’m going to be a judge on next year’s awards!
How has the pandemic and shift to remote work affected the recruitment process and employee retention in our industry? What adaptations should companies make to thrive in this new environment?
I personally love it. It’s ramped up the use of technology, it’s streamlined the recruitment process and saved a hell of a lot of time in the process. For any client I work with, I tell them to use this hiring process. It’s robust yet efficient…
Teams / Skype Call ��
Invite them for a face-to-face �� Meet the team
Offer �� Onboard, invite them to socials, meet them for lunch etc.
I personally love it. It’s ramped up the use of technology, it’s streamlined the recruitment process and saved a hell of a lot of time in the process. For any client I work with, I tell them to use this hiring process. It’s robust yet efficient…
How important is it for employers in our industry to understand and communicate their own brand effectively during the recruitment process?
Huge, if the recruitment process doesn’t reflect your brand, your business or your culture then you’re going to fail. Be true to your business, be transparent to the candidates and the right people FOR YOU will be attracted and will stick.
If you’re working with a recruiter, if they don’t offer to come and visit your business, feel the business and culture, get a new one. Recruiters need to know your TOV, your proposition, your culture and to give us the best chance, you can’t get that if it’s not in person.
Ok, today is the day that you all have been waiting for...at least, I hope you’ve been waiting for it, because this discussion is likely going to be the most important one that you’ve ever read with regard to the fusion finish world. Today, we tackle primers.
In short: Use Primers, period. Did I mention "Use Primers"? USE PRIMERS. Every time, every situation, unless you like failed fusion applications.
Seriously, though... The number of services that actually do not require a primer prior to installing a fusion surface are very few and far between. Those tend to be very high-energy surfaces like aluminium, powder-coated steel, and acrylic.
Almost every other surface is going to require some degree of a primer or adhesive promoter of some kind. The "softer" or more porous the surface is, the more diligent you need to be in using primers. When I first learned about what primers were and how they work, I realized why a number of my previous installations had eventually failed...and realized that I hadn’t been using primers nearly often enough or in the correct quantities.
Defaulting to the dictionary definition of the word ‘primer’, we don’t get a lot of help in understanding what primers actually do. Webster’s dictionary defines primer as "a material used in priming a surface, sometimes known as a prime coat". But definition basically tells us what we’re doing with our primer, but not what it actually is.
To the confusion, primers are extremely common in the painting world. Almost every different kind of interior finish paint currently being made today requires some level of primer...and it is in this use that we start to get into trouble from a terminology standpoint. Especially true when you are dealing with low VOC or "highly cleanable" paints, as the purpose of those primers is to cause very low-tack paints to have enough adhesion to stick to that surface.
Remember, in this case, the primer is only happening to create a bond strength that is strong enough to bind the weight of a single coat of paint or two to a surface, not to support the kinds of tension produced by a heavy fusion film that also has the tendency to want to curl. The force produced by the "curling" action of a film that has been tightly wound around a solid core should not be underestimated. That curl factor is the primary cause of failure in un-primed applications.
Think about it...if you see lifting or "fingers: in your material, it typically goes across the grain, not with it. Those fingers are caused by the adhesive not having enough purchase on the application surface to overcome the lift of that curl memory. Also, if there is no primer present where a finger occurs, that is doubly bad news, as it means that the adhesive at that spot is likely contaminated by something on the surface...oils or dust, for example.
And by the way, if you have fingers that are running in line with the application, that is more often than not going to be poor squeegee technique. You have introduced torque into the panel as you’ve applied it to the surface. This is equally bad (sometimes worse) than the lateral fingers caused by curl, but that issue is typically entirely selfinflicted. I’ll cover squeegee technique in a later article.
Adhesion is the binding or attraction between dissimilar molecules, atoms, surfaces, or substances. The types of adhesive forces that bind two dissimilar substances or surfaces are electrostatic forces and mechanical forces.
I’m not going to dive deeply into the chemistry and physics of how adhesion and cohesion work, suffice to say that the bond between a fusion adhesive and the surface that you are applying to is primarily an "adhesive" bond while the bond between an adhesive and a primer is more of a cohesive bond.
Don’t freak...I’m not going to go crazy deep here, but I want to make the point that primers increase the ability of any adhesive to form a solid bond with a dissimilar surface. Did you catch that? Dissimilar surface...like, anything that isn’t an acrylic adhesive that is similar to what is used on a fusion finishing material. And we are almost NEVER applying to a surface that is truly compatible with the adhesive system. That is why we need primers...those primers make any surface more compatible with our adhesive.
The primer’s job is to bond chemically to the surface and provide a far more compatible surface for our installations, increasing the bond strength and durability of that bond. With a properly prepared surface and the correct primer, you can have faith that your fusion installations will last many, many years.
In our world we typically see 4 distinct types of products being used to prepare for fusion installs.
1. Paint or wallcovering primers
2. High VOC primers, like 3M Primer 94
3. Low VOC primers, like 3M WP-2000 and WP-3000
4. Tertiary (or secondary) adhesives
For our use, paint and wallpaper primers are actually not used as primers at all. They are actually surface sealers, intended to make a somewhat porous surface smooth and completely nonporous. The need to be careful here is that these materials are not serving the purpose of a primer, more practically they are performing as sealers. In some cases, sealing the surface does promote the ability of our adhesive to form a strong bond, but this is not always the case. In most uses, you will want to add an additional primer on top of your sealer.
High VOC primers, like 3M’s Primer 94, are intended for use on medium to high energy surfaces... things like plastic, laminate, aluminium, or other smooth and non-porous surfaces. The advantage of using a high VOC primer is that the primer is ready for fusion application in just a couple of minutes. The downside to these primers is that they do not work effectively on any surface that is the least bit porous and don’t work at all with porous surfaces like MDF.
With porous surfaces, you need something that has enough body to fill in those pores. The best solution is going to be a water-based acrylic like 3M’s WP-2000, which has a very high solids component, as opposed to the P-94 which has almost nothing in the way of solids. Those solids contribute to the ability of the primer to fill those pores and create a solid bond.
Lastly, there are Tertiary adhesives. This family of products are typically used in situations where extremely high adhesive bond strength is required...like advanced compound curve thermoformed applications.
Next month we will get into the discussion of exactly what types of surfaces that primers need as well as the recommended quantities and application techniques to make your projects a success. Stay tuned.
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These aren’t facts, they’re simply myths about colour which have evolved over centuries, and most countries have some very different viewpoints about colour, and even describe colour differently. Bonkers, eh?
I am an avid fan of colour. You might know that by now! But it’s really important to remember that what you might love, or loathe, about specific colours, is likely to be very different to someone else. And when that someone other is your client, it’s super important to get inside their head and create a look that works for them, or their business.
Having even the most basic understanding of colours can be a game changer for anyone working with clients on their home or office interior design schemes. Not only will it help you to steer them to a scheme that they love but it’ll create something that they love for many, many years to come.
Oh! And if it puts you way ahead of your competitors when you’re
Hello, it’s great to be back! And this month, we’re talking about the psychology of colour. At Vinyl Pros we’re going all out to add full-on value and to help you enhance your interior design skills.
More skills? And FOR FREE? What’s not to love? Intrigued? Well, let’s get going... So, what do you know about colour psychology?
I bet, even if you don’t know much, you’ve heard at least one of the following; green is lucky (think 4 leaf clovers), red makes you hungry (think Chinese restaurants), black is slimming (or is it?!).
quoting for work, then that’s a massive bonus, right there!
Colour psychology is becoming more and more talked about as designers understand that colour really is emotion. And what do I mean by that? Colour is emotion. Let me briefly explain...What blows the mind is that there isn’t actually colour in the world. The world is completely colourLESS.
Colour is actually light. Electromagnetic wavelengths of light that travel from the sun, into our eyes. Into our retina, to be exact. Your retina contains rods and cones which send electrical signals to your brain through the optic nerve. The different rods and cones react to different wavelengths (or colours) of light.
Our optic nerve is attached to the thalamus. And this is where it gets interesting! The thalamus is the part of the brain that’s involved in the processing and regulating of, guess what? EMOTION!! And THIS my friends, is why it’s correct to say that colour is emotion. It evokes emotion within us.
Every colour, and every specific shade or tint of a colour, will evoke a different emotion in us, which can vary from person to person depending on a few different factors. In essence, though, we’ll all feel a similar emotional connection to the same colours because of the way those wavelengths of light hit our brains.
Here’s a handy colour wheel to simplify and demonstrate what I mean. Tools like these are useful for a basic level of understanding and can really help you to focus on your client’s needs. Once you get your client brief, you’ll begin to understand:
- Who your client really is
- What space you’re working with e.g. a kitchen / office / hotel
- What the space is being used for (if it’s an office there might be different usages)
- How your client wants to feel in the space
Then you can use the colour wheel to help you to create that feeling, based on their requirements.
Your client is a well-established firm of accountants, based within walking distance of a popular town. Their website lists their core values of innovation, teamwork, community, confidentiality and honesty.
They’ve been at their premises for a few years and they’re looking at refurbishing their office in a way that aligns with their ethos and their branding. Their values of innovation and community have led them to make more sustainable choices in their refurb.
You’ve been asked to quote for wrapping their communal office space as well as reception, private client meeting rooms and café. This is epic.
There are a few different spaces to consider, each one with a different usage so the way you’ll want to feel in the space will vary.
Take the reception area. This is of course the window into the organisation and the first place that visitors see when they arrive. With that in mind, it needs to try and encapsulate all those core values in one. No easy task! It needs to feel welcoming, yet with an air of authority. Like these guys really know their stuff. Because this firm is innovative, you might want to suggest some contemporary touches that other accountancy firms wouldn’t even dream of, but that clients will love.
As for the communal office space, it’s one room and there might be 15 people working at any one time. There’s a lot of number crunching and other high IQ activities going on (can you tell I’ve never been an accountant?) so again the space needs to feel orderly and productive but with some warmth too.
It goes without saying that the client meeting rooms are used to discuss confidential information. It’s pretty serious stuff in there and it needs to give off more vibes of authority, plus a warmth and honesty that clients will appreciate.
And finally the café. The most collaborative, creative and conversational area in the building. This is where employees go to chill out and have informal meetings with colleagues or clients, so the space needs to feel relaxed, welcoming and uplifting.
Are we asking too much of our spaces?
Do you think that colour has the power to do everything we need it to?
I’m going to leave you on a cliff edge this month my vinyl wrapping heroes. That’s code for I ran out of my word count and so I have to spread this over 2 articles. But it’s a juicy subject so I hope you’ll agree that it’s worth the wait.
Part 2 will break down some different options for all the above 4 scenarios, and show you, if you’re still in any doubt, how the correct and clever usage of colour will have your clients thinking you’ve landed them at the end of the rainbow.
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