Material matters

Winners of this year’s Sign and Digital Awards Multiple Sign Project Award, Photocast Products, produces bronze signs and plaques using processes that have almost disappeared from the intensely competitive digital world of print and signage.

“Photocast has long recognised that the cost of fine art castings has specified bronze out for most signs and plaques, and traditional industrial castings were not good enough for the complex graphics that are demanded today,” explains Photocast’s Anthony McCullagh. “The casting process requires detailed casting patterns that traditional pattern making would find difficult to achieve.”

Photocast Products' commission for the Ritz-Carlton

Photocast uses high grade chemical milled magnesium sheet for patterns. This is coated with a photo sensitive acid resist, and the pattern image is transferred onto the sheet using film and UV light. It is then placed in a Master 48 special stainless steel and titanium etching bath and, using a hot nitric acid and oil solution, is deep etched to give a perfectly detailed pattern. The pattern is placed in a casting box that is then filled with sand, which is compressed around the pattern detail.

The pattern is then removed leaving a perfect mould into which the molten bronze can be poured. Once the bronze has cooled the sand is knocked of leaving a bronze replica of the magnesium pattern. The bronze is then cleaned, patinated and polished.

“With the exception of the magnesium etched patterns all the processes are traditional skills that have been used for centuries,” adds McCullagh.

A recent project undertaken by Photocast was for the Ritz-Carlton Hotel group. The company was asked by the hotel group’s agency group to produce four large bronze plaques for the entrances to the new Ritz-Carlton at Powerscourt, County Wicklow. The brief was quite simple, they needed to look old with a nice soft feel to the lion’s head logo.

“We made the two dimensional pattern using etch magnesium and finished the lions head using moulding clay to add the ‘soft feel’,” says McCullagh.

As well as its attractive appearance, bronze is highly corrosion resistant: “This property of bronze might be associated with the Victorian British Empire’s industrial ethos – ‘build to last forever’,” comments Ward Signs’ James Jacobs. “Bronze lettering and plaques will always be there as will the demand for them. While digital prints and vinyl appear in bank windows, the grand front doors to such sandstone buildings shouldn’t have anything less than architectural Roman bronze lettering. However, modern day applications have many surprises, ranging from simple time capsule coverings to complete helicopter landing pads!”

While consumers often think in terms of cast iron, cast aluminium is the modern equivalent for sign-makers today due to its corrosion resistance and also the lower melting temperature needed to cast.  Perhaps one of the better-known types of aluminium plaques that we see regularly is the heritage style blue plaque. A more unusual application is the large aluminium plaques, fashioned in the style of Mary Poppins and Dick van Dyke playing tennis, that were made for this year’s Wimbledon Championship.

Whatever the medium is to be, there are many specialist skills involved in producing traditional signage, whether it be bronze lettering, aluminium plaques, coats of arms or hand painted and modelled 3D plaques”

“Whatever the medium is to be, there are many specialist skills involved in producing traditional signage, whether it be bronze lettering, aluminium plaques, coats of arms or hand painted and modelled 3D plaques,” explains Jacobs. “Half a century of manufacturing traditional signage and keeping the skills alive has given Wards of Bristol resilience in the industry. Having numerous resourceful artisans for every stage of production, we have been able to bridge many gaps and achieve ‘the impossible’ where architectural concepts face physical limitations of materials. This pool of skilled professionals, including die casting and sand casting engineers, artists, sculptures and modellers (not to mention dexterous paint shop and master metal shop workers) has our sincere thanks for enabling us to keep this form of traditional industry alive.”

Whitby-based Croft Castings is another example of how traditional methods can be combined with modern technology to create signs that still have that intrinsically traditional feel.

Eleven years ago director Philip Shardlow took the decision to diversify and invested heavily in new technology, including a CNC router, laser etcher, and a new foundry.

“Some people wondered if I was making the right move, but it has been well worth the investment,” says Shardlow.  “New technology means that modern graphic artwork can be used in developing a design. However all signs are still traditionally hand painted as we feel that it gives a better finish than powder coating.”

Croft Castings has remained a fully in-house operation as this allows total quality control and greater flexibility regarding delivery times. Five years ago Shardlow took the decision to move away from domestic signage into commercial signs. “We also support sign-makers who don’t have the resources or knowledge to manufacture traditional style signs.”

Family run Woodstock Signs manufactures a complete range of hand crafted signage for a variety of applications. And with a recent investment in modern technology new types of signage are now being produced, such as rotary machine engraved and laser engraved signs, which have been added to the traditional hand made wooden signs for which the company is well-known.

However while CNC routing is quicker and more accurate it often not as attractive in appearance as hand routing”

Woodstock now uses digital printers, vinyl cutters and engraving machines alongside its joinery shop: “Because people want things more quickly and at less cost, and we also get more bulk orders now, the machine techniques are used,” explains director Dave Carter. “However while CNC routing is quicker and more accurate it often not as attractive in appearance as hand routing.”

Pete Ratcliffe of The Grain Sandblasted Sign Company adds: “We still hand carve some of our sign elements but use CNC digital print and laser technologies more-and-more. Gold leafing is also used less than a few years ago as it’s a very expensive process and requires maintenance over the years. Hardly any signs we now manufacture have hand painted lettering or graphics.”

Environmental considerations are also now taken into account when selecting wood for signage. “For example, we have gone from using oak posts to tamalised softwood, as it is not only more environmentally friendly, but costs less and actually lasts longer,” says Carter.

The Grain uses traditional techniques to create vivid
and high quality signage

The Grain specialises in three-dimensional wooden sign systems using quality timber from sustainable forests:  “Our signs are made to stand the test of time and will outlast conventional vinyl and perspex sign solutions,” says Ratcliffe. “We have perfected a cedar wood system that takes full advantage of new technologies now available in computer aided design and digital print, CNC routing, laser engraving and advanced paint and varnish systems.”

A typical example is signage made for Rich’s Cider, which incorporates 24 carat gilding to the lettering on the main cedar wood panel. Rope wrapping and triple posts completed the image required by Rich’s Cider. The signs are designed to last a minimum of 15 years with zero maintenance, simply being left to weather over the years to give the signs an aged look.

Supporting act

Although the market for more contemporary projecting signs is steadily increasing, the demand for the more traditional style still remains very strong, especially in the UK. This is because the traditional wrought iron bracket is ideally suited older style shop façades and other buildings in historic, regeneration and conservation areas.

Stringent planning restrictions, especially in conservation areas, mean that only more traditional style projecting brackets, such as those produced by Iron Design are permitted.

Iron Design offers a bespoke service that allows customers to specify exactly how the projecting bracket should look, and may often include reproducing an older existing bracket.

“The method of manufacture has changed little over the years, although stronger and lighter materials are now used, and with the addition of zinc plating and industrial powder coating, stainless steel fixings, the resistance to corrosion is now greatly increased,” says Iron Design’s John Carron. “All of Iron Design’s projecting brackets are fully TIG welded, giving a much neater and stronger weld than the MIG or stick welding process as previously used by many fabricators.”

A dying breed?

Detail of reverse gold leaf mirror work by David Smith

Not only the wall but just about anything you can imagine is a potential ‘canvas’ for the traditional craftsman and sign-writer.

Traditional sign-writing, a hand painting skill that uses only quality brushes and sign enamels, is still very much in use. Its applications span internal and external signage, directional signs, fascias, chalk boards, murals, pub signs, mirrors and canal boats. It is also used in many other applications for conservation areas, heritage sites and buildings, country parks, pubs, restaurants, hotels, vehicle livery and architectural designers, as well as for the theatre, television and film industries.

The quality of tools and materials is paramount to creating the right finish. Vimart Signwriting proprietor, Martyn King is a qualified time-served sign-writer who has worked in the trade since 1973. “We were trained to appreciate specialist brushes and I prefer to use quill brushes with pure sable hair. Traditional sign-writing largely relies on the sense of touch and the feel of the flow of paint from your brush, or pencil as they should be called. The quill brushes have a much more organic, smooth motion.”

However, modern health and safety legislation has brought its own repercussions, as King explains: “It was common then to use oil based paints that included the now banned additive, lead. The new, safer formulation, unfortunately, has less durability and opacity and I generally need to second coat all the lettering I do.”

In addition, modern materials for the main signboard have different qualities that often do not enable the modern paints to adhere well. “A good quality marine plywood backing, well protected will always be reliable. Perspex too is very good for bases and here is a good example of modern materials working well with tradition.”

One of Vimart’s specialities is glass gilding, which requires a more substantial range of techniques and materials and also involves sign-writing in reverse on glass doors or shop fronts. “When gold leaf work is required I only use 23.5 carat gold, which ensures a highly professional and lasting finish,” says King. “The processes involved are cleaning, sizing, application and burnishing of the leaf.”

Like King, Brian Scargill of Bradford-based Brian the Brush is a time-served sign-writer.  Starting his career at Busby's Department Store in Bradford in the 1960s one of his early tasks was learning how to create eye-catching display notices and price tags for every department.

With over forty years’ experience under his belt, his sign-writing and gilding skills are now well honed and sought after.

“There are now fewer and fewer traditional sign-writers in the country and I find I am often travelling up and down the country undertaking projects because a local sign-writer or gilder cannot be sourced,” says Scargill,

All of the work I do is by hand – I don’t even own an electric screwdriver.

I enjoy the feel of tools in general. It was how I was taught and, although I've used more modern methods of ‘manufacture’ and occasionally new materials, I find most to be poor imitations compared to traditional methods and materials”

John Leeson of Letter Knight, a third generation sign-writer, is a firm advocate of hand skills. “All of the work I do is by hand – I don’t even own an electric screwdriver. I enjoy the feel of tools in general. It was how I was taught and, although I've used more modern methods of ‘manufacture’ and occasionally new materials, I find most to be poor imitations compared to traditional methods and materials. I have stuck the occasional vinyl letter down, but the whole process leaves me cold. There’s a lack of soul to it that I find galling. The few times I’ve done it I never know if I’m somehow cheating the customer or cheating myself. Whichever, it just doesn’t feel right.”

London based sign-writer and graphic artist Paul Sweeney of Signs and Artwork.com, whose
portfolio includes chalkboard signs, shop fascias and murals, echoes Scargill’s comment: “In the 15 years or so that I've been in this business I've got steadily busier. This is mainly down to repeat business but also, as new clients have told me, it is getting harder to find traditional sign-writers.”

Although he uses only brush, paint and marker for all his work, Sweeney trained initially as a graphic designer and later taught himself the skills of sign-writing. He has found his design background gives him an advantage over those who have either ‘brush’ or ‘CAD’ skills only. 

“It’s fine been able to draw a well crafted letter, but choice of font and sensitive layout contribute more to the overall sign - walk down any high street and it’s not hard to see that most of the signs were created by CAD operators rather than professional craftsmen and designers,” adds Sweeney.

Whilst hand skills are still firmly at the heart of sign-writing, a number of sign-writers are now also embracing modern technology to aid them in their craft.

David Smith, who is renowned for his reverse gold leaf mirror work, combines modern computer and plotter technology with traditional techniques and crafts for some of his work, as he explains: “I use Photoshop to draw and then use hand skills to complete, which means that I can do much more intricate work that the Victorians could only dream about. Tradition and technology can work together and this probably will be the way forward, but it will never replace a proper hand painted sign, pictorial or gold leaf honours board.”

A changing market

Bronze time capsule cover produced by Ward Signs

In recent years there have been many changes in the market for traditional signage, not least the growth in perspex, vinyl and digital printing, but general consensus among sign-makers is that awareness and interest is currently on the increase, as customers seek the quality and individuality of hand-crafted work, sometimes with a modern twist.

Andrew Grundon’s key area is pictorial work, specialising in pub signage, with St. Austell Brewery being a major client: “Demand is increasing as people are now looking for quality and originality - no two hand painted designs are ever exactly the same. People are also looking at the eco-friendly aspect of traditional materials and the eco-friendly paints that can also be used.”

“With vinyl lettering there is only one chance to have it looking right,” says Vimart’s King. “If the sign looks wrong on the board due to inaccurate measuring it has to be thrown away and wasted. In comparison a hand crafted sign can always be adapted on site to suit the possible changing conditions. A skilled sign-writer can add a flick here and a flourish there to overcome obstacles that were not defined in an initial visit to the site.”

Heritage, restoration and regeneration projects account for a large proportion of work for the traditional sign sector.

“The use of a traditional artist with lots of experience fits in more with the conservation friendly approach to new builds and restorations,” comments Scargill. “And, of course, the traditional sign-writer's skills are a must in areas where planners insist on signage being in keeping with the appearance of town and village centres, particularly those with a strong heritage such as Saltaire and Haworth.”

Sign-writer David Kynaston says the past decade has definitely seen a revival, with more of his work now being heritage and restoration based. “As it always has been for me, getting the design right for the customer is the priority, many jobs of this nature require a large amount of research, and an understanding of period lettering, design and colour.”

Keeping the dream alive

Detail of reverse gold leaf mirror work by David Smith

Ensuring that the skills of traditional sign-writing are passed on and kept alive is now almost entirely down to the passion and enthusiasm of the craftsmen already working in the field, through apprenticeships, training workshops and sharing their skills with each other.

There are virtually no college courses available and current sign-making courses barely touch on traditional hand skills. New blood comes via enthusiastic young people who have studied subjects such as art and design or those who have trained in modern sign-making techniques who are keen to develop a different skill.

“I work a great deal of the time on narrow boats where the traditional skills are being kept alive, but, unfortunately many sign-writers associated with the canals are self-taught and relate back to ‘folk art’ principles,” says King. “Like so many traditional skills it is very difficult to retain an apprentice today since there are no colleges offering training to complement the work experience, therefore making it difficult to offer certificated experience.”

In order to pass on their skills many sign-writers have developed their own specialist courses.

For example, Brian ‘the brush’ has established a set of courses in sign-writing and gold leaf gilding aimed at the novice, but providing enough of a skill-base to encourage students to want to develop the skill to a higher level; Wayne Osborne also runs small classes in his own workshop; and David Smith passes on his gold leaf skills. “I teach twice a month to people from every corner of the world,” says Smith. “I run a one-to-one and sometimes a class of four people in a workshop. Many go on to do some incredible pieces with this skill.”

Skills are also passed on and shared between experienced sign-writers through the Letterheads movement, a gathering of sign-makers, old and new, modern and traditional. “The shared passion in making nice signs,” says Kynaston. “It’s a great way to make new friends and learn from each other, through workshops, seminars and hands on projects.”

Emerging trends

Detailed hand painting of cast aluminium
signs created by Bristol-based Ward Signs

Alongside the heritage, restoration and regeneration market and the desire for a traditional style sign there are a number of emerging trends in terms both materials and styles, as well as customers.

“We find many clients now are looking for a natural ecological look that shows sensitivity to the environment as one of their priorities,” says Ratcliffe. “We constantly have to use FSC and PEFC certified timber and the majority of our paint and wood finishes are water-based or vegetable based paints. Many customers are pleased with the wooden sign process and the fact there is virtually no by-product, along with the fact that any waste is biodegradable,” he adds.

In terms of style, The Grain has seen a move towards clean typography and simplistic and minimalist graphics for a project.  “Less is more even with our wooden signs,” emphasises Ratcliffe.

Indeed, David Kynaston of  David Kynaston Handmade Signs is seeing an increase in popularity in a new retro look that celebrates this ethos. “The 1950s and 60s are very fashionable at the moment for shop fascias, vehicles and pub signs. There’s a definite opportunity for sign-writers here to capitalise on.”

Items such as replica pub signs for collectors and the memorabilia market is also an emerging sector,one which Grundon has been able to tap into. However, as he points out: “There will always be a market for businesses in regeneration areas, historic locations, traditional businesses, hotels and restaurants as well as the huge variety and levels of listed buildings.”

While modern sign-making techniques and technology offer a wide range of innovative signage solutions, it is quite clear that traditional methods of sign-making still have a very firm place in the market, especially where empathy with a historic or rural environment is required. And while there is a desire for originality and a passion among traditional craftsmen to keep the skills alive, the traditional sign will continue to have a place in the future.

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