ginger.
one fascia, five layers deep. a white aperture-cut aluminium tray with black push-through lettering, an acrylic strapline and a 5 mm keyline of light.
five parts, one panel.
every detail is cut into the fascia, not stuck onto it. the letters press in from behind, through apertures cut 5 mm oversize, so each character wears a thin ring of light after dark.
the drawing is the product.
scroll far enough and the finish falls away. this is the cut file the workshop builds from: apertures, keylines, panel joins and returns, dimensioned once, cut once.
a 5 mm line of light.
the letters read at a glance; the keyline does the atmosphere. light from the opal backing escapes through the 5 mm shoulder around every character.
every layer home.
the sign reads as one piece, because it was designed as one piece.
the assembly, front to back
drawn so the making was already decided.
the brief
Ginger needed a fascia that felt engraved into the building, not applied to it. [the Ginger story, venue and location to follow.]
the lettering
display capitals drawn for push-through, with an acrylic strapline beneath: black blanks press in from behind the face, every counter and apex checked against the aperture cut before a single sheet was folded. [the typeface and any bespoke drawing to be confirmed.]
the light
a 5 mm keyline of illumination around each letter, thrown from the opal backing behind the face. quiet by day, a precise line of light by night.
the making
one drawing drove the machine. the tray, the apertures and the acrylic were cut from the same geometry, then folded and assembled by hand. [fabrication timeline and site install to follow.]