About the author: David and RobinMcDonald own and operate Avila Sign &Design, a custom sign shop in Grover Beach,Calif.

THIS STORY INVOLVES a clientfor whom I had done past work.She is a dog breeder —

German Shepherds to be exact, but notjust any German Shepherds. These arehigh-quality canines with excep-tional blood lines. Mary atShepherds of Leybourne is aserious breeder and it shows inher product of dogs.

I was driving over toShepherds of Leybourne to mea-sure a new sign that we weregoing to put together for Mary,and as I approached her drivewayI found myself admiring the mainsign out on the road. It was sand-blasted and carved, withappliques and gilded letters, andI had created it.

(I often find myself staring atpast sign jobs, because I can’thelp but be critical of my ownwork; I see all the things that Icould have or should have done.But I believe that this in itself iswhat makes us all better at whatwe do and helps bring us to ahigher level.)

My attention was soonfocused on the logo pictorialcommanding most of the positivespace on this mini-monumentsign. I was drawn to rememberthe labor and intensity that wentinto rendering it. I was soon con-sumed with the pressure that Ifelt when I was first asked toreproduce this for Mary. Thelogo of the little girl huggingthat beautiful black GermanShepherd had been reproducedfor her in the past many times,

and every time she was very disappointed.My wife, Robin, assured Mary that wewould make a difference, and I felt prettygood with the results of my efforts on thatsign. Mary was also pleased.

I have to admit, I wasn’t real delightedabout rendering this pictorial again. Thebudget we had to work within was sure tobring about all those pressures that I feltwhen doing this job the first time.

Houndsof theBaskervilles

BY DAVID MCDONALD

Creating a multi-faceted, multi-media sign job.

This entrance sign (which we had previously made for the customer) features theelaborate logo we would reproduce on another sign for the property, detailed inthe following step-by-step instructions.

Reprinted from Sign Business magazine • May 1997

The paw on the right is all cleaned up and ready for cutting on theplotter.

The left paw is scanned and the right paw is cleaned. I like to dupli-cate the item scanned, so I can compare as I clean up.

After putting all the elements together, this was the final rendering that I referred to in pro-ducing the sign. Notice how the logo was not necessary to include, as it was already estab-lished.

INSPIRED BY GRACEAs I was heading up the driveway to

Shepherds of Leybourne, in the distanceI heard the sound of what seemed to bea gazillion dogs of all ages (and frequen-cies) welcoming me as I approached. I wasimmediately taken in by this choir ofdogs and the way that not a single one ofthem would sing the same note at thesame time.

It was an incredible lack of harmony,and it was evident that I was not going todrive up, measure the sign we were to re-do and then escape unnoticed. I was surethat everyone living in that canyon wasaware of my presence.

When I stopped the truck at my des-tination, I looked over to my left andsaw a group of dogs galloping aroundand around in circles, connected to oneof those exercise gizmos that you wouldnormally associate a horse team beingharnessed to.

There was one shepherd among thisgroup of canines that really caught myeye. Boy, what an attractive animal it was.To watch this dog move... the stride in hergate was so fluid that in contrast, shemade the other animals moving in thechoreographed number look like clumsyballet dancers.

Every time she would come aroundparallel to me, her eyes would lock withmine. She had a self-confidence andintensity that commanded immediaterespect; what a noble beast.

After inquiring, I found out that thisdog’s name was Grace Kelly, and thateven if I was interested in purchasingher, she wasn’t for sale. Grace was one ofMary’s prize breeding bitches (excuse thelanguage). At least I have good taste.

Mary names most of her animals aftercelebrities, and a lot of her dogs are pur-chased by famous people such as MelGibson, Bo Derek and others ofHollywoodish-type fame.

PLAN OF ACTIONExiting the truck with my trusty tape

measure in hand, I began assessing anolder sign that Mary wanted to replace.

After measuring the sign, I was dis-appointed to find out that it was over-sized — larger than any material youcould purchase over the counter. Thiswould mean that I would have to con-struct a unit which would be very labor-

intensive and time-consuming.Considering the time it would take

to render her logo, I elected to go backto the shop and design a sign utilizing herexisting background panel. My idea wasto apply another panel over the existingone.

This would achieve two things: First,we could produce an interesting sign witha background, middleground, and fore-ground. Second, this concept would allowme the time within Mary’s budget tofocus more on her pictorial logo ratherthan labor over constructing an over-sized, flat panel that wouldn’t contributemuch interest to the sign.

CONTINUEDReprinted from Sign Business magazine • May 1997

As you read on, I will take you step-by-step through the process weemployed in producing this sign forShepherds of Leybourne.

THE DESIGN STAGEDuring my creating stage, the rea-

sons I do things are as important as theprocess by which I do them.

We had decided to utilize our client’sexisting sign (see Photo 1) because itwas not cost effective to try to recreatethe size she needed.

The design for the new sign face cametogether as follows... Her existing struc-ture would serve as the background. Itwould be painted a solid color (brilliantblue), and we would use a wallpaper pat-tern (paw prints) in grid form that wouldbe a softer shade of blue.

In creating the paw prints, I wantedto keep it simple. I have a boxer, and Ichose to use her paw print as my original.Getting this was another story. I used astamp pad and paper for her print, inthe same manner you would takesomeone’s finger prints. I do have to say,she was probably more patient than mostpeople who go through this process.After several tries, I chose one thatmatched what I had mentally pictured formy background.

Putting this on a light table, I laidanother sheet of paper over it. With a felttip pen, I traced the print. This is whatI scanned into my computer, cleaned upand later used on the sign.

I decided to use a 4' x 8' panel in thecenter of the sign for the middle andforeground panels. I thought it wouldadd more to the sign if these were cut-out shapes, versus a rectangle inside of arectangle.

The middleground is where I felt thelettering would be most effective. Idecided to use a fade and texture behindthe lettering to contrast with the back-ground panel. I wanted the letteringintegrated into a nice silhouette. To keepthis panel simple yet eye-catching, I usedonly minimal techniques.

I chose to do the S in Shepherds in astorybook drop capital. I was also giventhe challenge of incorporating puppiesinto this already busy sign. I saw the per-fect opportunity to do this inside of the

Photo 1: Wedecided to uti-lize the mainpanel on theexisting signthat our cus-tomer wantedto havereplaced. Thiswould help usstay withinbudget despitethe sign’s largesize. (I didn’tmake this sign.)

Photo 2: I cre-ated a rollerblend on themiddlegroundpanel usingthree differentshades of blue,working fromdarkest tolightest.

Photo 3:Texture wasachieved withcrumpled upwax paper. Idabbed it in mypalette andapplied thepaint, startinglightly andusing widespacing. Iincreased mypressure andtightened upmy spacing as Iwent along.

Photo 4: Next, Iairbrushedaround the let-tering to createcast shadows.

CONTINUED

Hounds of the BaskervillesCONTINUED

Reprinted from Sign Business magazine • May 1997

oin Leybourne. I believe this was a perfectspot because there was already so muchgoing on in the other panels.

For the foreground, I was confidentthat Mary would be pleased if I repro-duced her logo in lettering enamel,because this is how we had done herother sign.

After putting all of these ideastogether on my computer, I was veryhappy with the end results. We had beengiven creative license for the sign beforeI started designing, so with confidence Idecided to give it the go-ahead.

Photo 5:Working withmy light source,I did a quick,one-strokeconvex effect to sharpen theedge of the let-ters.

Photo 6: Ibrushed aslightly darkershade of grayinto the centerof the letters;this looks bestif done irregu-larly.

Photo 7: Pullinga faint pink lineto the shadowside of the let-tering and pin-striping aroundthe panel didwonderfulthings for thetext.

THE PRODUCTION PROCESSI began by projecting the middle and

foreground shapes onto a 3/8" thick, 4' x8' sheet of Medex. Then I traced theshapes onto the Medex and cut them outwith a jigsaw. This panel was then sanded,primed, and given a base coat of whiteenamel.

Now focusing on my middlegroundpanel, I cut out the vinyl lettering(Shepherds of Leybourne) using my com-puter. This would serve as my mask.

I then painted this panel, using threedifferent shades of blue, working from

CONTINUED

Circle Reader Service No. 160

Reprinted from Sign Business magazine • May 1997

darkest to lightest, as in Photo 2. I usedmy rollers to create a blend. I lightenedmy lightest blue, using white, and dark-ened my darkest blue, using black. Thisgave me the five colors I would use formy texturing.

I chose to work with wax paper tocreate my texture. I have found it worksbest for me to tear off about two feet ofpaper, wad it up, and crumple it withmy hand. After pouring my paint onto apalette (paper plates work well), I care-fully dabbed my crumbled wax paperinto it. I usually dab a dry pallet first torid any excess paint (omitting this stepcan create a very messy texture).

When I began to apply the paint tothe sign panel, I started very lightly andused wide spacing, moving very swiftlythroughout the whole process. As morepaint came off, I increased my pressureand tightened up my spacing. I did all ofthis along the line of color I wasblending.

I find it helpful to turn my wrist as Igo; this helps me to end up without a dis-tinct pattern in my finished product. Ialso try not to overwork the wax paper,getting fresh pieces often; this helps toavoid a mushy texture (see Photo 3).

With my texturing complete, I pickedone light source, and stayed true to thison the whole sign.

Next, I began to airbrush around mylettering to create the cast shadows, as inPhoto 4. I removed the mask.

Working with my light source, I choseto do a quick, one-stroke convex effect tosharpen the edges of the letters (seePhoto 5). I brushed a slightly darkershade of gray into the centers of the let-ters; this looks best if done irregularlyversus as a straight line (see Photo 6).

With the client’s colors being pinkand blue, I decided to pull a faint pinkline to the shadow side of the lettering,as well as a pinstripe around the panel. Ifelt this did wonderful things for the text(see Photo 7). It also made it harmoniouswith the design. This would complete thesteps I took for my lettering. The capitalS panel was treated in this same manner.

To begin my foreground, I projectedthe silhouette of the logo and traced itonto the panel with a Stabilo. I addedcritical detail lines as needed to indicate

Photo 8: I usedwall fitches topaint the fore-ground picto-rials.

Photo 9: Ibegan the pic-torial paintingby laying thecolors on inposterizedform.

Photo 10: Whilethe paint wasstill movable, Iblended mytones, workingfrom dark tolight, until I wassatisfied withmy results.

Photo 11: Iapplied thesame tech-niques in myrendering of the puppy.

Hounds of the BaskervillesCONTINUED

CONTINUEDReprinted from Sign Business magazine • May 1997

certain changes in color value. Withapplication tape, I masked off the areas ofthe sign that had already been painted tohelp protect them.

I then mixed my paints. I used threevalues of blue for the main color, black forshading, and white for tinting. I addedSmith’s cream to slow down the dryingtime of each paint; this makes it easier tomanipulate.

For my brushes, I used wall fitches,shown in Photo 8. There are betterbrushes that could be purchased for thisprocedure, but wall fitches are what wekeep on hand.

When working with a piece this large,I choose to break it up into separate por-tions: dog’s fur, dog’s eyes, girl’s clothes,out-of-focus landscape.

I began by laying the colors on in aposterized form, as in Photo 9. While mypaint was still movable, I blended mytones, working from dark to light, untilI was satisfied with my results.

The background landscape was donein the same fashion, only I blended moreaggressively to achieve a greater out-of-focus look. The results of my finalblending process can be seen in Photo 10.I applied all of the same techniques in myrendering of the puppy in Photo 11.

When I was finished with the picto-rial, I painted a frame to help separate thepanels so they did not appear to float. Ichose a convex frame versus a flat one, inour client’s shade of pink. I added blackto sign-finishing clear for a glaze. Then

I added a shadow to the frame so it wouldappear to stand off the panel. This con-cluded the cut-out panel that we made inthe shop.

Robin went on location to re-paintthe main sign panel. This was much morecost effective than bringing the sign intoour shop, considering its size. Robinwent through the procedures of prep-ping the sign: cleaning, lightly sandingand using Prepsol. Then she painted thebackground brilliant blue with a roller.With a softer shade of blue, she cut inaround the edge trim.

The next morning, I cut 38 paws inhigh-performance vinyl on our plotterand weeded them. On my computer, Icreated a mathematical grid to use as amap when installing the paws. I also mea-sured where the cut-out lay on the orig-inal sign to make my job easier once I gotthere. Then I loaded up the panel, thepaws, and my tools needed to install thisjob.

Arriving at the sight, I began applyingthe paws. I took a ruler and laid out thegrid according to my printout, markingwhere each paw would go. This wentfast, and the paws were applied.

The cut-out panel had been pre-drilled. To the existing sign, I had alreadyscrewed in 1/2" spacers made out ofMedex. All that was left to do was attachthe cut-out panel with drywall screws tothe main sign (see Photo 12). Our jobwas now complete, and we howled forweeks afterward.

Hounds of the BaskervillesCONTINUED

Photo 12: I attached the cut-out panel to the main existing panel (which Robin had repaintedon-site) using 1/2” Medex spacers and drywall screws.

SB

Circle Reader Service No. 217Reprinted from Sign Business magazine • May 1997

SOFTWARE

Sign BusinessSeptem

ber 1997

$5.00

September1997

In This Issue:

Software Update

YESCO History

Designing a Wall Mural

Gettingfrom hereto there

About the author: David and RobinMcDonald own and operate Avila Sign &Design, a custom sign shop in Grover Beach,Calif.

ICOULD USE A CUP OF COFFEE rightnow. As I sit writing this article byhand, across from me is a computer

technician tearing through my computer,which is now beginning to look like anold beat up appliance one might see in aboneyard somewhere. What a scary sight!

My computer is down; there I said it!You hear about this kind of thing hap-pening, but never did I think it would behappening to me. How stupid can I be?

I find it very ironic how just today Ireceived my Zip drive by mail to handlethis kind of situation. I guess I’ll just haveto chalk it up to having a bad experience(with a great lesson thrown in).

When I look back to the way thingsused to be done in this busi-ness and compare themto how things aredone now, I

realize there is a certain amount of con-trol we as sign makers have exchanged forthe sake of the speed and accessibility acomputer offers.

Now, I’m not saying I would go backto the old way; I love my computer! I dorealize that though we are becomingmore and more dependent on these tools— whether it be a computer, toaster orcoffee maker — if you take it away youcreate total chaos.

The Coffee Cafe at Bean Junctionsign was done the old-fashioned way, byhand. I’m sure a lot of people readingthis are thinking, “Why not just cut it outon a computer-controlled router table?”

Well I could have, if I had one, and itprobably would have been done muchquicker and been more efficient. We havebeen considering purchasing a tablebecause the bulk of our work is dimen-sional signage, but as I watch this com-puter tech hack away at my hardware Istart to question the whole transition.

But ultimately, I know it’s a good idea!

Taking a sounddesign andbreaking itdown into prac-tical productionelements.

Coffee to Go?BY DAVID MCDONALD

CONTINUED

Using epoxy to glue thelayers together gave us ourfinished results.

About the author: David and RobinMcDonald own and operate Avila Sign &Design, a custom sign shop in Grover Beach,Calif.

THIS STORY INVOLVES a clientfor whom I had done past work.She is a dog breeder —

German Shepherds to be exact, but notjust any German Shepherds. These arehigh-quality canines with excep-tional blood lines. Mary atShepherds of Leybourne is aserious breeder and it shows inher product of dogs.

I was driving over toShepherds of Leybourne to mea-sure a new sign that we weregoing to put together for Mary,and as I approached her drivewayI found myself admiring the mainsign out on the road. It was sand-blasted and carved, withappliques and gilded letters, andI had created it.

(I often find myself staring atpast sign jobs, because I can’thelp but be critical of my ownwork; I see all the things that Icould have or should have done.But I believe that this in itself iswhat makes us all better at whatwe do and helps bring us to ahigher level.)

My attention was soonfocused on the logo pictorialcommanding most of the positivespace on this mini-monumentsign. I was drawn to rememberthe labor and intensity that wentinto rendering it. I was soon con-sumed with the pressure that Ifelt when I was first asked toreproduce this for Mary. Thelogo of the little girl huggingthat beautiful black GermanShepherd had been reproducedfor her in the past many times,

and every time she was very disappointed.My wife, Robin, assured Mary that wewould make a difference, and I felt prettygood with the results of my efforts on thatsign. Mary was also pleased.

I have to admit, I wasn’t real delightedabout rendering this pictorial again. Thebudget we had to work within was sure tobring about all those pressures that I feltwhen doing this job the first time.

Houndsof theBaskervilles

BY DAVID MCDONALD

Creating a multi-faceted, multi-media sign job.

This entrance sign (which we had previously made for the customer) features theelaborate logo we would reproduce on another sign for the property, detailed inthe following step-by-step instructions.

Reprinted from Sign Business magazine • September 1997

To keep the pattern lines from wiping off, I sprayed them with a light mist of shellac. When cutting the shapes out with a jigsaw, it becomes a loteasier if you first lay down Styrofoam for support.

We used a band saw and a router table to create the letters and profiles.

After chiseling most of the material away, I used themasking tape as a boundary during the sanding processto form the round-over on the edges.

Intricate details in the embellished borders were achieved using a Dremel.

Reprinted from Sign Business magazine • September 1997

FOOT IN MOUTHI was on the phone with the editor of

this fine magazine, Mr. Dickinson, and wewere discussing the series of Coffee Cafedesign articles David Butler was workingon. I told him how cool I thought it wasand how I felt all of the readers couldreally sink their teeth into it.

I asked if the process of design wouldend this series, or was someone actuallygoing to make the sign. Mr. Dickinsonthought this was a great idea and I beganto wonder, what with this being a busytime of year and all, just how many braincells I had left in my noggin to instigatesuch an undertaking.

Well, our conversation ended and Iwas left to ponder how I would put thispiece together. David Butler is an incred-ible designer and I have always admiredhis work. I was sure this was going to bea very exciting adventure.

Sandblast resist has been applied and hand cut. Now it is ready to be sandblasted.After scoring with a #11 X-ACTO blade thematerial was removed with a flat chisel toaccept the inlay of glass.

After the layers were sealed they were stacked to assure their fit. At this stageeverything was ready for finishing.

Here, fine sand is being sprinkled onto the wet paint tocreate an embossed effect.

The embossed areas of the letters were blended with 23-karat, 18-karat, 16-karat and 12-karat loose leaf gold. Note: The leaf does need to be stomped inwith a brush because the surface is so irregular.

Coffee to Go?

CONTINUED

Reprinted from Sign Business magazine • September 1997

STACKED LAYERSAfter receiving the artwork on a JPEG

disk file I sat down in front of my com-puter and started breaking down the art-work into the layers I would use toassemble the sign.

As it was coming together it seemedthere would be mostly cut-out shapeswith a little sandblasting on the founda-tion layer and some hand carving on theletters.

There’s a technique I’ve done in thepast of inlaying tempered glass, and Iwanted to employ this onto the capital C’sof Coffee Cafe. To do so I would need toseparate those two letter forms with acenter embellishment.

I was not comfortable changing theintegrity of Mr. Butler’s design on myown, so I contacted him. I asked him ifhe would design some centers and pos-sibly fax them to me. He graciouslyagreed and I was on my way.

SignFoam II‚ high-density urethane(HDU) was the material I chose to usefor this sign. I knew I could count on itsstability and ease of workmanship forthis dimensional project.

After some manipulation it madesense to me for the layers to go togetherin this sequence:

Layer #1 (1" thick): It would be theblack outline and border that defines thesign. Including the secondary copy, AtBean Junction, it would contain the panelreceiving the green smalt.

Layer #2 (1/2" thick): It would consistof the tablecloth panel, the green borderwith flourishes, and the bullet.

Layer #3 (1/4" thick): It was simplythe outline and shadow of the main copy(Coffee Cafe).

Layer #4 (5/8" thick): The Coffee Cafecutout letters.

PRODUCTION TIMEThe first thing to do was to make an

accurate pattern. In doing so I printed atransparency of the design on my inkjetprinter. I laid that on my overhead pro-jector, and sketched and perforated thedesign to the intended size of 48" x 28".

CONTINUEDReprinted from Sign Business magazine • September 1997

The pattern was measured for theindividual panel blanks needed, whichwere cut and set aside. The piece used tomake up the shadow was then milledfrom 1/2" stock to 1/4" on a planer.

The letters were also milled from3/4" stock to 5/8". The 5/8" figure wasneeded to fit the profile of the router bitI intended on using on the letters.

The pattern was applied and pouncedonto the appropriate blank. The pouncelines were given a light mist of sprayshellac to act as a fixative and to eliminateany lines from rubbing off.

It was time to start cutting out theshapes. Rather than use the band saw Ielected to use my saber saw (the length

28 September 1997 • S IGN BUSINESS

After applying the yellow colored Instacoll size I wiped on the activator with a lint-free rag. Then I gilded with 23-karat patent gold leaf toachieve an extra brilliant burnish.

After pounding the tempered glass in this fancy peanut can of ours, the glass is refined through a screen to achieve appropriate size for the inlay.

To achieve a blend with a smalt background you need to use extreme tonal con-trast in the colors applied.

CONTINUED

Coffee to Go?

CONTINUED

Reprinted from Sign Business magazine • September 1997

of the panels would be too cumbersomefor the band saw). This operation can govery smoothly if you lay a piece of reg-ular Styrofoam down first and cut yourshapes on top of it.

With the shapes cut out they nowneeded to be profiled. The bevel on theborder of Layer #2 was handled with abeveling bit in my hand-held router.

The tablecloth round-over was doneby hand. To do this I scribed the panelwith a line 1" from the outside edge,then applied masking tape to the line.Using a flat chisel I carved out most ofthe material.

At this point I simply hand-sanded(with 100-grit sandpaper) to the line,which formed the round over. This wasa very quick process due to the structuralmakeup of the HDU.

The embellished design on the borderof Layer #2 was hogged out with a smallDremel tool. I then came back and handcarved the chisel profile.

Layer #4, the letters Coffee Cafe, werehand-routed on a router table using anogee bit. The capital C’s were handcarved to allow for the inlay of glass aswell as the center embellishments.

Next, we applied sandblast resist toLayer #1 and pounced the pattern. AfterI cut the border outline and the line ofcopy, At Bean Junction, we sandblastedabout 1/4" and removed the stencil. Atthis point everything was put together soI could see how it looked; things werestarting to get fun!

30 September 1997 • S IGN BUSINESS

THE HOUSE BLENDTwo coats of primer were applied to

everything except Coffee Cafe, whichreceived three. The depicted colors weremixed and two coats of paint were appliedto all of the surfaces.

The centers in all of the Coffee Cafe let-ters were masked and painted. Onto thiswet bath of paint I sprinkled fine sand,then I removed the mask. This wouldproduce an embossed effect, and since Ielected to gild the letters, this texturewould produce more of a matte center tobreak things up a little.

The centers were oil sized and blendedwith 23-karat, 18-karat, 16-karat and 12-karat gold leaf.

The checkerboard patterns were applied in sections to keep the integrity of the registration.

I used a sponge to create the fade. You must be cautious when blending over a smalt background; if it is not done delicately you will createfuzzies on your letter edges.

The outlines were then oil sized andgilded with 23-karat gold and outlinedwith Chocolate Brown lettering enamel.

The areas left in the capital C’sforthe inlays of glass were sized withInstacoll (from Sepp Leaf Products) toreceive 23-karat gold leaf. Instacolldelivers an incredible shiny mirror-likefinish for surface gilding. It’s a two partsolution; the size and the activator.

After the size is dry you wipe on theactivator and you’re given about a half-hour window to gild. The shiny goldcolor is what I was looking for to pushthrough the inlaid glass, keeping it warm.

The tempered glass was applied asfollows… I brushed in Frog Juice as a

CONTINUEDReprinted from Sign Business magazine • September 1997

32

binder and sprinkled on the glass. ThenI dumped off the excess glass. It was assimple as that. Hint: The Frog Juice ispretty optically clear but dries fast soyou have to move quickly!

The center embellishments of the C’swere oil sized and copper leafed.

For the green smalt on Layer #1 Imixed two colors — dark green andemerald. I blended this to highlight AtBean Junction. The two colors neededto be very exaggerated because whenyou apply the smalt it will cover most ofthe color and marry them together.

The lettering, At Bean Junction, wasblended with a sponge. The white wasfirst applied to the bottoms of the letters

and a golden brown (coffee color) wasapplied to the tops. I charged (primed)the sponge with gold and gently blendedback and forth until I was happy with myresults.

The checkered pattern on Layer #2was created and vectorized in mySignLab program. Red vinyl was cut onmy plotter and applied to the layer.

Each piece of the sign was epoxy-glued together, finishing this sample thatI will be proud to display in my shop.

I guess you can say our business, insome regards, will become the home ofthe Coffee Cafe at Bean Junction, so ifyou’re ever in the neighborhood, stop inand have a look. We may even serve youup a nice hot cup of coffee.

Hey, by the way, that glitch in mycomputer system turned out to be a com-plete hard drive failure, so before you gohome tonight don’t forget to back upyour work.

September 1997 • S IGN BUSINESS

Coffee to Go?

CONTINUED

If you’re ever in the neighbor-hood, stop in and have a look.We may even serve you up anice hot cup of coffee.

SB

Circle Reader Service No. 245Reprinted from Sign Business magazine • September 1997

Reprinted from Sign Business MagazineMay/September 2008

©1997 National Business Media, Inc.All rights reserved

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