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Boost Your Booth: How to Achieve Maximum Visual Impact at Trade Shows
Posted by Rick Sader on May 25, 2010 at 12:37 pmHave you ever attended a trade show and felt like your booth just didn’t quite measure up to your neighbor’s? Then you’ve just experienced “tradeshow booth envy”. Don’t worry…that can be treated.
Imagine being a vendor at the World Travel Market in London. It’s the world’s biggest tradeshow for the travel industry and features over 5,000 international companies displaying exhibits for over 45,000 discerning participants. How do any of them hope to stand out? A great-looking booth is the first step.
Whether you’re in advertising, retail, interior design, or any other industry that uses tradeshows to spread the word about your company’s innovative products, you’ll need to distinguish yourself from the crowd to be successful. Carefully crafted, superior quality visual displays are a great way to give your company the edge. If you have excellent graphics to add impact to your message, people will be more likely to notice your exhibit at the show and, more importantly, remember it later. It’s vital to choose the right combination of media and printing technology to deliver colors that pop and crisp visuals that capture every detail. Here are a few options that will make your next trade show display attention-grabbing and unforgettable:
Seeking a solution with maximum vibrancy and durability at low cost? Try graphics printed on polyethylene (PE) or polypropylene (PP) banner material. They’re made from recycled bottles and printed with water-based inks. And lamination will add protection as well as a variety of finishes including glossy, luster, or semi-matte. Try positioning three or four of these low-cost banner stands together to build one big, knockout image that won’t break your budget.
Graphics mounted to display boards
Keep your graphics looking fresh by mounting them onto sturdy, light-weight display boards. A variety of materials are available. Choose light-weight Gatorboard for ease of transport. Or Sintra for maximum durability. Or try Eco-Board; a strong corrugated display board made from 94% recycled cardboard. Pair that with graphics printed with water-based inks onto our FSC-certified coated paper and you’ll be the greenest exhibitor at the show.
Every aspect of your tradeshow booth should highlight what’s great about your products. Fabric table drapes offer a unique way to give your display a high-end finishing touch. A number of fabrics are available for large-format inkjet printing of your logo and branding message. Egyptian Sailcloth and Venetian Heavy Canvas are two popular polyester fabrics that have the look and feel of canvas.
Want to take advantage of a high-traffic yet under-utilized space for getting your message across? Just look down. Use your floor space to your advantage and give passersby something interesting to look at in an unexpected spot! And don’t worry; they’re non-slip and won’t damage the floor when removed.
You’ve seen these lighted displays at the airport and the mall. They’re a great way to add that extra ‘punch’ to your message. Backlit display boxes for tradeshows are lightweight and allow for easy changing of the graphics. So now you can keep your message fresh from season to season, show to show, or even hour to hour.
Your business is to wow the crowd.
Our business at Lone Eagle Digital Imaging is to help you to do it with flair.
Fine art reproduction is easy… if you know how.
Posted by Rick Sader on April 13, 2009 at 8:14 pmHmm, let’s see. So you just scan someone’s painting and then print it out… is that about it? Well, not quite. There are a number of ‘tricks’ to getting great results efficiently. Let’s go through the process from the beginning.
Fine art reproduction requires a number of steps to be done properly. The first step is the scan. High resolution flatbed scanning is one way to digitize original artwork. The first ‘trick’ is to use high enough resolution so that you’re feeding enough information to Photoshop in the retouching stage and ultimately to the printer in the printing stage. Typically, scans at 300 – 360ppi (pixels per inch) at the full dimensions should suffice. Higher resolution will be required if the artist would like prints larger than the original. The second ‘trick’ is to use the RGB color mode. If you use any other color mode, then the printer will make a conversion that may introduce color shifts. The third ‘trick’, if you’re really meticulous, is to use 16bit color instead of 8bit. This will give very fine gradations in color that may be required for some peices. The downside is that this results in 2x larger digital file sizes.
The fourth ‘trick’ is to include a grayscale taget within the margin of the scan. This is a small 12-step grayscale piece that allows you to adjust the white point, black point, and neutral gray once you move the image into Photoshop. This step is critical.
Once in Photoshop, the “levels” command makes the white, black,and grayscale adjustments a breeze. As with any fine tuning done to the image, make sure to use adjustment layers. This allows you to tweak the adjustment, change its blending mode and opacity, or delete it without altering the original file…. very handy. These adjustment layers may include things like saturation, hue, levels, curves, etc. If you’re looking at your image on a calibrated monitor (you are calibrating your monitor, aren’t you?) then these adjustments will help you to tweak the digital file so that ultimately the print looks like what you see on your monitor.
ICC profiles for your printer, ink, media, & print resolution are also required to get great results. You may be able to download generic profiles but the best option for high-quality fine art reproduction is to create your own. There are a number of hardware/software systems available. A final step in the retouching process is usually adding a small amount of sharpening. Don’t overdo it.
Now it’s time to print a proof. Usually a small print on the intended media will suffice. This will allow you to check the tone, color accuracy, color saturation, etc. At this point, it’s important to compare your proof to the original under proper lighting. A sneaky, sinister thing called metamerism is lurking in the darkness, waiting to trip you up. Metamerism refers to the fact that a color may look different under different types of lighting. The original and the proof may ‘match’ under the (ugh) flourescent lights in your office but they may be way off under natural sunlight or in the gallery. If you don’t have a 5000K light booth, then just take your prints outside in the natural daylight. At this point, you may need to adjust the saturation, tone, etc. to get a better match.
I recently completed a very successful fine art reproduction job for a local watercolor painter, Dr. William Robinson. Bill is a very talented, self-taught portrait artist. His most recent work was a very cute portrait of his granddaugher, Miranda. All of the steps outlined above were followed in order to translate his original watercolor painting into a digital file that could be printed quickly and accurately onto Epson Somerset Velvet Fine Art Paper using an Epson 9600 inkjet printer. This printer uses the Epson 7-color UltraChrome inkset which will resist fading for many decades. Various sizes were printed according to the client’s wishes. See Bill’s website for more examples of his beautiful work.