Sign & Digital Graphics

December '14

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96 • December 2014 • S I G N & D I G I T A L G R A P H I C S per book, but I usually eyeball it and then over-estimate the buy, and then try to conserve the gold used. You do not want to run out in the middle of the job. Step 5: Measure and/or confirm the dimensions with the client. Step 6: Discuss the artwork and return a proportional printout. Step 7: If artwork is provided, request vector format .ai, .eps or .pdf. Step 8: Clean up provided files by deleting the inevitable convoluted AI outlines and replace them with your own clean sign software vector outlines. Make sure to preserve the correct let- ter shape when deleting any extraneous outline layers. Step 9: Cut vinyl in reverse with out- line out of low-tack paint mask. Step 10: Weed letter centers only and leave outline un-weeded. Step 11: Apply transfer tape evenly. Cut-off excess mask and leave ample space around. Step 13: Add leveling or center lines for irregular art. Step 14: Print out sketch with place- ment measurements and make notes for on-site installation. Step 15: Use new razor blade on art area to remove paint specks, old tape and tough dirt. Step 16: Continue cleaning with Spray- way window cleaner or cake Bon Ami. MASTER'S TOUCH The Letterhead Sign Supply fast size is applied over the masked outline with a soft clean ¾" Mack fitch. I alternated 3-4 horizontal and vertical crosshatches with even strokes. With this method I try to level out the sizing varnish evenly as I carefully flood all of the mask edges and serifs. It is easy to miss spots if you are not consistent. A few minutes later I pull the mask by starting my tug with an X-acto knife. Usually it can be done immedi- ately if the size is nice and even, if it is thicker it would be good to wait a little longer to avoid blurred lines and smears. However, if you wait too long there the size could tack off and rip up. This stencil mask is frag- ile and it works best when it doesn't break and drag size into unwanted areas. I cut up the patent gold (the type that is stuck to a paper backer) into logical stroke sizes with scissors, although a razor blade would be better. I placed all the pieces in a box to prevent them from blowing away in the wind. This masking technique can waste material because the gold will stick to the size that went outside of the outline, and you don't want that because it causes too much gold to go to waste as it pulls off of the backing paper. It helps when the patent gold (the type with paper stuck to it) goes down perfectly flat with no wobbles while pressing down firmly with your thumb. A piece of used backing paper is held over the gilded area that causes little missed spots, which are almost impossible to see without the paper barrier, to suddenly appear like a miracle. You can then use the little remainders on the used paper to fill the small holidays and cracks.

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