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A Deeper Perspective

Environmental-graphic designer Justin Molloy offers design and material insights

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Justin Molloy, principal of Cincinnati-based Signitecture, studied architecture at Columbia University. His training included very limited instruction about the role of signage in relation to architecture.

“Professors had very diverse opinions about how signage interacts with architecture,” Molloy said. “Some viewed signage as a necessary evil that should be minimized to what’s legally required, and others viewed it as an opportunity to integrate signage into the building’s character. It’s the fine details that differentiate an effective architectural-sign program versus one that simply meets code. Like any form of graphic communications, it needs to be harmonious within its environment.”

After having worked for Studio SC, a Seattle-based, environmental-graphic design (EGD) firm, he moved to Cincinnati and founded his firm in 2009. Although Molloy has developed a few EGD programs for retail and institutional clients, he primarily provides visual communications for corporate environments.

When devising EGD for corporate settings, he commonly works directly for an architect, or directly for the owner. Regardless, Molloy often sees EGD being reduced to a commodity.

“The end user increasingly views signage as a kit of parts, and design as a plug-in entity,” he said. “Customers don’t distinguish between what’s a product and what’s a service. Design/build has become a much more common approach for clients. Some fabricators execute design work, but it’s often not their area of expertise.”

Due to cost concerns, Molloy has observed that designers are often only brought in to develop an initial list of sign standards, and bypassed when a program rolls out for final implementation: “Without collaboration, a project suffers. Architects, fabricators and designers all bring unique skillsets to the table. To maximize a project’s value, all parties involved need to communicate their ideas and concerns throughout a project’s execution.”

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EGD providers particularly influence a project’s use of “green” materials. Although such a focus is generally client-driven, he said designers constantly research environmentally friendly materials. Molloy noted that the best answers are often found in a fundamental approach rather than via the newest, trendy substrate.
“Often, a ‘green’ material solution is simply a matter of reusing or thinking locally,” he said. “For example, if a certain locally sourced or recyclable wood has been used for millwork, and there’s a surplus, I’ll consider using it for the sign program. Reclaimed wood is often fairly easy to locate. And, when creating a program for the long-term, durable metals and woods are often preferable to plastics that usually require faster replacement.”

Molloy continued, “The simple answer is often the best. Early adopters for a new material touted as ‘green’ often end up with a failure because the research of how the material interacts with other media is insufficient. Outgassing from different materials is always a problem. And, these materials are often very expensive. For instance, 3-Form [a producer of textured or patterned plastics made from recycled-content, plastic resins] makes a good product, but it’s very expensive and requires a lengthy lead time.”

In the future, as digital signage plays an increasingly vital role in placemaking, Molloy believes an EGD provider’s role will change: “Instead of managing simple, static messages, dynamic, changeable messages will play a bigger role in environmental graphics. The designer’s role will change, but a deep understanding of the client’s mission will still be required to execute an effective program.”
 

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