Big Picture - June/July 2017 - 13

TURNING IDEAS INTO JOBS
How many colors are there in the world? According to Google,
the number clocks in at 10 million. Like many established
wrappers, I must admit that I get very giddy when a film
manufacturer releases new colors, finishes, or textures into the
market. Flipping through a vinyl swatchbook is like flipping
through a rainbow of origami paper; the two art forms share the
same principle of transforming themselves into decorative 3D
shapes and figures. In our case, vinyl molds itself onto vehicles,
walls, floors, pianos, etc. As inkjet technology advances, shops
are more able to achieve a distinct color match or an astonishing digital print of themes, images, and silhouettes that are
emblazoned on an exotic car or 53-foot trailer, revamping their
appearance to delight clients and pique the public's interest.
After you have mastered "Basic Wrapping 101," the next
stage in your evolution as a graphic installer or wrapper is to
stay on top of your craft. Whether it's a fleet wrap with 300 van
units or a custom wrapped McLaren, each job opportunity
presents itself as a means for you to develop your technique
and your design ingenuity with your cuts, panel alignments,
etc. When you're armed with a concept or theme in mind,
these opportunities provide a truly unique learning experience where you get to experiment with an array of graphic
options and wrap techniques: vinyl overlays and underlays,
mixtures of different textures and finishes, gradient color
schemes, and more.
In the world of vinyl wraps, I realize there are no dominant
design trends. Nothing is original; everything that catches
your eye has been borrowed and recycled, but it's made
different with the designer's personal touch. When you're
tasked with a graphic design job, the client gives you a
number of conditions and requirements before you begin the
work. As any designer can attest, it can be a very confining
experience - or it can be freeing.
I treat every job that lands on my desk with the utmost
seriousness, approaching it as an opportunity to build
relationships with my clients through trust, the ability to
design creatively, and the quality of our wraps. But not all jobs
are created equal; sometimes you get a chance to flex that
creativity, and sometimes you don't.
With our entertainment-based jobs, I can only describe
the behind-the-scenes atmosphere as a potent mix of politics,
allure, and the macabre. It's the early development phase of
these assignments that truly excites my team; that's where
the creative exchanges, film tests, tight timelines, and the
inception of proofs take place in anticipation for the actual
installation phase. There never seem to be enough options to
present to the client when it comes to these "high-security"
wraps that are specifically commissioned for television,
commercials, public events, or films. We are required to have
backup plans on hand to accommodate all the last-minute
changes; that takes more ideas and inspiration.
Designers should be mindful that creating something based
on another person's requirements is vastly dissimilar from
doing something that meets your own personal requirements.
This rule is not as applicable to a project where you are granted
the creative freedom to pitch your own interpretations or
themes to the client with little or no direction. Either way, the

vinyl work we do is all subjective, and I believe you're doing
your best job when you open yourself up. Of course, this can
leave you vulnerable - I tend to take things personally when a
client rejects my initial ideas, in some cases with scathing

In our endless quest to push boundaries
with our wrap designs, we should never lose
sight of satisfying our core audience - our
customers - whose expectations become more
demanding with each job we're awarded.
remarks. But that's also when you truly step out as an artist. It's
about channeling those creative impulses and not being afraid
to make those choices that will hopefully shape your project
into something special.
Those choices will also develop, refine, and define your
signature style. As I take my last stroll down Tokyo Midtown,
I find myself under a line of Sakura trees (also known as
Cherry Blossoms) in full bloom. The flowers will fade in one
week. I guess nothing lasts forever, and that's what makes it so
beautiful - just like the ideas floating in your head. Capture
them now and apply them to your next work of art.

BOLD NEW IDEAS

THAT CATCH YOUR EYE
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Table of Contents for the Digital Edition of Big Picture - June/July 2017