As you know, explaining graphic file requirements to a client with limited graphic experience can be like explaining the earth’s curvature to a flat earther. The more you explain why an image from their website won’t work, the more defensive they become. To them, a graphic is a graphic — just make it bigger.
Is Bigger Better?
To be fair, the concept of vector vs. raster files isn’t
always intuitive. Then there’s the discussion of the graphic file types.
Bottomline… You’ve told them their file isn’t a high-resolution image. But
they still don’t understand.
Years ago, we added an Image Resolution Calculator to Classic’s website to make this concept more understandable. It relies on three variables: Size, Pixels, and Dpi. Size is obvious since it’s measured in inches. Pixels and DPI less so to a non-graphic savvy client.
Fortunately, you have graphic design software ranging from
basic photo apps to professional programs like Photoshop or Illustrator.
Opening their low-resolution file on those, and then comparing it to what’s
required in the Image Resolution Calculator is an easy way to demonstrate what
they have vs. what they need.
It’s Not Foolproof
They still may toss out a “flat earther” graphic objection, but you’ve at least gotten them to recognize they’ll need the assistance of a graphic designer. Preferably one with a background in large format trade show and event graphics.
For 30 years, Classic Exhibits has been designing and building creative custom solutions for our Distributor Partners and their clients. As North America’s largest private-label exhibit manufacturer, we have the unmatched capability, capacity, and creativity to create 3D projects ranging from 10 x 10 inline displays to 60 x 80 double-deck islands.
Everyone and everything has a story, including your trade show display. Many displays have seen things you haven’t, like the chaos of the marshaling area of a convention hall. You might want to listen to what your display has to say as you prepare for your next show.
My Crates Require a Hammer to Open or Close Them
Most exhibit houses build sturdy wood crates designed to withstand the abuse of shipping and material handling. But even the best crates don’t last forever. Bolts and wingnuts go missing, latches get bent, and doors and lids no longer fit without a little aggressive massage. Visually, your crate looks like it lost a street fight to a woodchipper.
New Wood Crates
You need to make a decision. If you plan to keep your exhibit for a while longer, then you should probably replace the crate(s). A new crate will ensure your exhibit has the best chance of surviving future shipments and drayage. Plus, if your exhibit has changed over time, the new packaging will be jigged to protect those extra components. No one, including the labor crew, likes to wrestle with a worn-out crate at the end of the show. It’s frustrating and eventually expensive.
My Instructions No Longer Match the Parts and Pieces
Very few exhibits remain the same over time. Graphics change, accessories are added, and broken and lost parts replaced. Your booth evolved as marketing plans change and that’s a good thing. However, with each change, the instructions no longer match the current design. Now, only one person knows how to assemble it.
This can’t continue. In most cases, your exhibit house can assemble the booth in their facility, check and replace any numbering, and print new graphics. If your exhibit house didn’t build it, then they will contact the manufacture for updated instructions based on their notes.
My Graphics are Dirty, Scratched, or Delaminating
Too often, we don’t see what others do. Think of those times someone pointed out a stain on your shirt/blouse that you didn’t see. Trade show graphics have a limited life, either because your message changes or they get damaged or dirty due to repeated handling. On the show floor, first impressions are always lasting impressions.
Not Dirty, Scratched or Delaminating
What’s with ALL the Extra Parts?
When the booth was new, there were no “extra” parts and pieces. Replacement parts, perhaps, but no extra ones. So what happened? The answer isn’t always straight-forward. If you’ve ever seen a booth that leans a bit or graphics that don’t fit perfectly, it’s usually because someone took a shortcut assembling the display. Which means, they didn’t bother reading the instructions.
Hey, the Rental Booth Across the Aisle Looks Better Than Me!
Admittedly, a rental exhibit from a reputable exhibit house should look indistinguishable from a new one. It may not have all the bells and whistles, or be totally custom, but it shouldn’t be the equivalent of a 1978 Chrysler Cordoba. When your exhibit pales in comparison to the rental exhibit across the aisle, it may be time to consider a display upgrade. And a rental just might be the right next step.
Why is My Disassembly and Repacking Such a Nightmare?
The show is over and you want to go to dinner, go to a bar, or simply go home. But, not yet. The exhibit has to be disassembled and repacked in the crate or case. That task can be straight-forward or a nightmare. There’s a good chance your dismantle team, whether the company’s employees or the hired I&D labor crew, may be unfamiliar with the repack.
Jigged Crate with Reusable Packaging
Quality packing instructions and reusable packaging materials might be the single best investment you make in your exhibit. Not only will ensure that your exhibit looks good show after show, but it will also make the disassembly a stress-free. You’ll save money on labor, reduce damage, and ensure that no component gets left behind. Before you buy your exhibit, demand to see how the booth will be packed. And repacked. And repacked.
What’s with My Boring Flooring?
Flooring shouldn’t be an afterthought. It’s another opportunity for effective branding or creativity in your (very expensive) booth space. Some would say even more important than a hanging sign.
More than ever you have choices: an extra layer of carpet padding, foam tiles, printed graphics, or even raised wood flooring. Heck, some companies are using vinyl graphics on the concrete floor to create interesting and effective graphics. You don’t have to default to rented black or white carpet.
I’m Back in the Shop ONCE AGAIN? Repairs, Storage, and Turnkey Services
Storage and turnkey services are a given on nearly all large exhibits and most program clients. Most businesses don’t have room to store crates nor the time to inspect the exhibit before and after every show. At some point, however, those costs plus any ongoing repairs mean it’s time to consider a new exhibit.
You can minimize repairs and turnkey services by taking care of the exhibit at every stage. Storage fees are negotiable, depending on how much you store and how many other services you tap into at your exhibit house. And when it’s time to retire your display, then either sell it (via a used exhibit broker) or dispose of it. You would be surprised at how often companies continue to pay storage fees long after they no longer use the exhibit.
Still wondering what to do before your next show. Contact us. We’ll make sure you’re next show is successful, without a lot of backtalk from your exhibit.
Classic Exhibits Inc. designs and manufacturers portable, modular, hybrid, custom, and rental exhibit solutions. Classic Exhibits products are represented by an extensive distributor network in North America and in select International markets. For more information, contact us at 866-652-2100 or www.classicexhibits.com.
My first exposure to Silicone Edge Graphics (SEG) was in 2002. At the time, we (Optima) were using a foam/rubber gasket to finish fabric graphics. The gasket (similar to screen door material) was an aesthetic step forward from Velcro since it helped to remove ripples and waves in a fabric graphic, but it was not a viable long-term solution. In early 2003, Optima was approached by AIT. They were promoting an improved graphic attachment using a stretchy silicone material that could be tucked into a channel or systems groove on an engineered aluminum frame, like Octanorm or MODUL. I vaguely recall that they were selling frames as well, but don’t quote me on that.
During that same time frame, several truss suppliers were offering a “truss clip” option where an 18” section of aluminum channel would snap onto the individual truss rails. A magnet was sewn to the graphic, so it could be secured within the truss clip. There was nothing special about the magnet other than its dimensions were perfect for sewing it to the fabric and then tucking it into the truss clip. Functionally a shim. However, the magnet was impractical for shipping purposes.
With the ever-present desire to cut exhibit program costs, many “early adopter” exhibitors and exhibit houses were looking to fabric graphics as an option. Fabric or dye-sublimated textile graphics had two immediate advantages: they reduced the overall weight of an exhibit and they could be folded for compact shipping. But the Velcro and truss clip option each had aesthetic and practical flaws.
The Rise of SEG
Entering 2005, Silicone Edge Graphics were moving more mainstream, and our very own Mary Mueller coined the term SEG. Heck, we even tried to trademark it, but the US Patent Office claimed it was too generic (but “three peat” could be trademarked. Hmmmm?). By mainstream, I mean that SEG was being incorporated into display hardware, wall-mounted frame solutions, and custom exhibits.
As time progressed, SEG became a true building material, and fabric now clads the exterior of exhibits in the same way Canyon Blue Formica or Tempo loop did in the early 90’s. Customers want their visual message and presence maximized in their exhibits, and as dye-sublimation has progressed so has the boundaries of SEG. It is not uncommon to see a single 10’ x 20’ SEG fabric graphic whether backlit or non-backlit that’s as stunning and real as a Lambda print. A handful of companies have incorporated machinery that will produce a single graphic that’s 15 ft. in width, and the industry has been the beneficiary of R&D from many different perspectives. For example:
Backlighting. At Optima, we have launched three different backlit materials in the last 11 months, and our suppliers keep sending us a steady stream of potential new materials to test.
Opacity. Fabric may have been great for packing and hanging, but prior to 2013, there were functionally no opaque options. The blocker game is over because numerous opaque options exist and are ideal for trade show graphics. Eliminating blockers reduces installation time and cost. We can all cheer for that!
Stretch / Pliability. Installing SEG is, good bad or indifferent, a bit of an art form. A material that stretches east – west vs. east-west and north-south is a big deal because the added pliability reduces the artistic install talent needed by the end client or hired labor. “I have done this a million times” does not perfectly translate to “You are really good at it.”
Wrinkles. Let’s not mince words, Wrinkles suck! I get it. Paying as much as $250 an hour for Sunday OT steaming is unappetizing to any exhibitor.Here’s a snippet from an actual conversation I had this spring, “Sorry I am late. My shirt was a mess from packing, so I had to touch it up with the iron.” Fast forward to, “We arrived at the booth and one of the graphics was all wrinkled, so we had to steam it. Why do we need to do that? We should not have to do this” Logically, you know that a shirt (piece of fabric) needs to be ironed to eliminate wrinkles, but a fabric graphic should be impervious to similar wear and tear. Trust me, the holy grail of dye-sub fabric graphics is a 100% wrinkle-free material. This is and has been a R&D priority for years.
Flame Retardant (FR). Optima and many other high-quality providers will not sell an SEG dye-sub fabric graphic that is not FR. However, the FR treatment can increase the wrinkle factor or wrinkle-ability. Selling a NON-FR fabric is just plain stupid. Can you imagine ALL the instances where exhibitors are informed that all their fabric graphics need to be removed because they are unable to supply a FR certificate, and/or the material fails an onsite test? That is the stuff of lawsuits. It’s not worth it. Yet, there are instances where low-cost providers take that risk without informing the customer.
The Future of SEG
If the key ingredient in SEG is simply the attachment element (various rubbery / reasonably stretchy / reasonably firm 2.3mm x 7mm x 1mm-ish strips), then the sky is the limit. We have already progressed through print clarity (print resolution, density, color gamut via equipment and print technology), textile opacity, textile transmissiveness (backlighting), and ideal size of material.
A Prediction: LED incorporation into the textiles will progress from experimental to routine and full digital textile is only a few years away. Envision a wall frame with an SEG monitor installed at any size you want. A 10 x 20 inline that conveys your client’s dynamic message, creates and morphs from one environmental engagement to the next, and during breaks on the show floor – you can watch your favorite Family Guy, episode. AND the whole thing fits in a single airline shippable case.
Dave Brown is the VP of Sales at Optima Graphics. We all know and love Dave, so a long, detailed bio isn’t really necessary. And, yes, we all have a memorable Dave Brown story.
But you have a favorite, even if just a little. Yesterday, we talked about the Top 5. Today, we discuss five online children who deserve more love and attention.
Tip #16 — Graphic Inspiration Galleries
Glenna Martin, our Graphic Design Manager, is the genius behind the Graphic Inspiration Galleries. She knows, as do you, that most graphic designers rarely tackle 3D graphic design. They understand print and web, but designing for a display is a foreign language. Glenna lends a hand.
She created four galleries from Past Five Day photos. In each gallery, she describes why a graphic is successful. There are over one hundred examples. All positive. It’s a wonderful instructional playground for any graphic designer.
Tip #17 — Distributor Login
In the old days, every exhibit manufacturer had a top-secret distributor section. It was the vault of prices, literature, policies, etc. Those days are largely gone. However, we still have a condensed version where you can find literature, forms, and other helpful tools. It also contains a link to the Rental Gallery wholesale prices. So, how secret is it? Here’s the username (classicexhibits) and password (easypeasy). But don’t share!
Tip #18 — Printable Literature
At the top of the Classic home page, there is a rotating banner. If you click on it at just the right time, you will be taken to a magical page where you can download printable literature. This includes 22 product and “Under” brochures. I’m not opposed to using guilt as a motivator. So… You’ll hurt my feelings if you don’t click on this link.
Tip #19 — Hear Audio
The “Hear Audio” buttons are my baby. Most kits have a Hear Audio button where you can listen to a 30-60 second description of the product. All are done by professional voice talent. Ditto on the “hurt feelings” if you don’t click on them.
Tip #20 — Trade Show Tips
Trade Show Tips is a happening place, much like a middle child who wants attention. End-users find it via Google or Bing. I often hear from newbies in the industry who tap into it as their “Introduction to Trade Shows and Trade Show Marketing.” And like the Trade Show Tales blog, new articles are added to keep it fresh. We encourage you to suggest article ideas.
Wondering about the latest trends in Trade Show Land? Check out #21 thru #25 tomorrow.
John Zipay, GM of Exhibits Northwest (Observations)
Last week, I attended SEGD (Society for Experiential Graphic Designers) in Seattle.
The speakers covered topics from Landscapes & Way Finding Signage to Crafting Experiences & Shaping Space with Art. Each topic gave me insights into the creative process. Typically, the artist starts with an idea that evolves into something similar but different during the fulfillment process.
As the creative energies flow, the artist makes changes to get the look they want. More often, it’s the trial and error, the missteps along the way that creates something extraordinary. In other words, their failures contribute to their success. Attending SEGD allowed to take a deeper look into the creative world and understand the importance of creative failure as a stepping stone to creative success.
My brain sees the world as a square grid with capital letters and dollar signs. As a result, I have never been very good at managing designers. SEGD provide me with insights into their world. Going forward, I plan to create an environment that fosters creativity and that allows designers to tap into organic uses of a space, whether exhibits or corporate environments.
While at SEGD, I met with vendors at NEXPO, the conference for directional signage and substrates. Just like in our world, LED’s are the wave of the future in signage and substrates. In the trade show business, large backlit fabric lightboxes grab the most attention on the show floor. This is also true in the world of SEGD. I discovered signage companies backlighting 3-D acrylic letters, plastic-formed logos, and graphics.
Finally, I attended the SEGD Seattle Chapter Networking bash where I talked with local Seattle architects and other creative agencies, including a great conversation with a firm working on the Seattle Waterfront development. I was intrigued by the process of how they incorporate so many creative ideas into functional space planning along the Seattle Waterfront. For example, just imagine the time and spacial studies involved to ensure views of Mt. Rainer and the “Pikes Place” sign are maintained.
Katina Rigall, Design Director (Observations)
What a well-done conference! Several Classic employees attended the SEGD “Experience Seattle” Conference from June 9-11. It was well-attended by top professionals in the Experiential Graphic Design community, well-stocked with expert presenters, and well-staffed with knowledgeable personnel.
The “Experience” conference jumps from city to city each year. Last year it was in Chicago. Next year it will be in Miami. It capitalizes on the intrigue of each host city by pulling together historic and present-day experts who discuss the areas’ architecture and large-scale graphics.
Attendees are encouraged to explore the city. Tours of distinctive landmarks, such as the Space Needle, are part of the conference schedule, and restaurant recommendations are readily provided by all the locals – both presenters and attendees.
What a great way to experience a city! I’m from Portland, just a few hours south of Seattle, but I found myself learning so many things and falling in love with the personality of this place, what locals call the “Seattle Spirit.” How cool to be in the home of innovators like Amazon, Starbucks, Nordstrom, Microsoft, and Boeing (in its 100th year of business), just to name a few. Not to mention the valuable networking and education.
So as an exhibit professional, you may be wondering how much of this applies to what we do? Quite a bit actually.
Most of the agenda focuses on the large-scale graphics that are applied to built structures in distinctive and informative ways, a.k.a. Experiential Graphic Design. How valuable are well-appointed graphics on a trade show booth? I’m convinced after designing trade show exhibits for nine years now, that booth structures are close to worthless without strong graphics.
Quite a few of the presenters shared their expertise with permanent installations, from museum exhibit design to exterior applications of digital and 3D signage. The crossover Classic has experienced in retail and museum projects has steadily grown over the last five years, not to mention exhibitors looking for booth properties that can withstand the outdoor elements.
This conference brought together cutting edge architects, installation artists, museum exhibit designers, UX designers, fashion designers, and retail designers, in addition to experiential graphic designers. From a designer’s perspective, any chance to see how other creatives work and what they are doing is beneficial. By bringing together so many different creative mediums, I discovered new ways of approaching design challenges and new technologies. That aspect reminded me of the Gravity Free Conference by EXHIBITOR Magazine for several years which brought together a plethora of design experts to stimulate the cross-pollination of ideas. The unique element that SEGD’s “Experience” brings is that the experts are all from one specific locale.
Creativity is fluid and crosses a lot of professionals. There is much to be borrowed from the experts in fields adjacent to the exhibit industry. I hope to see you all at next year’s conference.
Based in Portland, Oregon, Classic Exhibits Inc. designs and manufacturers portable, modular, and custom-hybrid exhibit solutions. Classic Exhibits products are represented by an extensive distributor network in North America and in select International markets. For more information, contact us at 866-652-2100 or www.classicexhibits.com.
