Eric Larsen has found his match. His work with restoring or replacing old theatre marquee signs has become a specialty that is building impressions. These signs are more than signs. They are works of art and architecture. They bring lights and life to the building and stage where people and performances come together in a community.
Eric Larsen作为标识界的专家，在安装或者维修旧的戏院华盖标识方面，堪称建筑印象师都不过份。Eric Larsen修理过的这些标识可不仅仅是标识，它们是建筑学和艺术相结合的产物。它们为表演者的舞台带来了亮光和生命。
A native of Michigan, where he still operates from his shop in Midland, his projects with theatre marquee signs now span the country. Like many of us in the sign business, he grew up learning the trade hands-on. From hand lettering to bending neon, from running a service and installation truck to designing and selling projects, Eric's experience is best summarized as being an all-around true blue sign guy. How did this “designing sign guy” find his niche in building impressions with theatre marquee signs? Larsen provides a glimpse of his life and experience the following interview.
一个密歇根的本地人，他的公司横跨英格兰中部，他的剧院华盖标识覆盖整个国家。正如标识行业里的其他人一样，他也会亲身学历实践行业的最新产品。从发光字到霓虹灯的弯曲，从服务客户到安装项目，从设计到销售，Eric的经验可以准确地概括为一个全面的标识蓝领工人。这个标识设计的小伙子是如何在建筑印象领域找到他的利基市场的呢？以下即为标识奇才Eric自述他的标识生涯，Eric Larsen即为本文笔者。
I've always been artistic and design oriented as well as curious about architectural features in buildings, especially older buildings with ornamental architectural features. So I studied them and eventually found a way for me to work with them in theatre marquee signs.
我一直对建筑的艺术风格和设计很感兴趣，尤其是带有装饰的老式建筑。所以，我就开始研究他们，最终发现自己可以在华盖标识上有所作为。
My "sign life" started at the age of 12 when I began lettering boats in my parent's garage. I grew up on a lake in a small Michigan town. A local sign guy passed on his lettering techniques to me. By 14 I had steady business after school and on weekends.
我的标识生涯开始于父母的车库里， 12岁那年我喜欢到父母的车库里雕刻各种东西。我在密歇根湖畔的一个小镇上长大，一个当地的标识工人传授给我一些雕刻技术。14岁那年，我已经能够在放学后和周末处理一些华盖维修工作了。
In my early 20s I went to work for a larger sign company where I was able to expand my skills and experience by learning to install and service all kinds of signs. I was eventually able to layout and paint signs in the shop as well as bend neon. When a salesman left the company, I was able to jump in and take over. From there I was able to blend my ability to design with sales that gave me the opportunity to create unique signs that I would also describe as dimensional works of art.
在我二十几岁时，我进入一家大型标识公司工作，在那里我可以学到更多的技能和经验，直至我完全掌握了标识安装和服务的所有内容。最后，我连设计和喷绘以及霓虹灯的弯曲都学会了，有一次一个销售人员离职了，我就申请调到销售岗位。从那时起我就逐渐掌握了设计和销售能力，这让我在以后有机会创建独特的标识，我称它们为空间的艺术。
Eventually I got the bug and opened my own sign business: Empire Architectural Design. The emphasis was on design. I was tired of the seeing the same looking average signs when driving streets. I wanted to design and make the kinds of signs that were more creative and dimensional. Having my own shop allows me the chance to go after the more challenging but creative projects—like theatre marquee signs. My first theatre project finally came in 2006 for a historic theatre in Bay City, Michigan.
最后，我离开了这家公司开展自己的标识业务，公司名为Empire Architectural Design
（建筑设计帝国），公司侧重于设计。每当我走在大街上时，对马路两旁几乎没有差别的标识忍无可忍，我想设计出各种各样的标识充满创意和空间感。自己的公司给我提供了这样的机会，经历过很多充满挑战富有创意的项目之后，我的第一个剧院标识最终于2006年到来了，这是一个位于密歇根贝城的历史剧院。
Using my passion for historic buildings, I presented a design with a unique approach and they
choose me to do the project. Once completed, I entered the finished marquee into the annual International Sign Association's design competition and was awarded first place for the historic / traditional category. From there, I began searching for other theatre opportunities using this first one as the launching pad. I also joined an organization for historic preservation and word soon spread about my award-winning design work.
怀着对历史建筑的满腔热情，我提出的标识解决方案最终让他们选择我来完成这个项目。这个标识完成之后，我带着它参加了国际标识协会举办的标识设计比赛，并在传统建筑标识中获得了第一名。从那时起，我将这个项目作为我真正意义上的起点，希望可以给我带来其他的剧院标识的项目。我还参加了历史建筑保护组织，因此，我得奖的消息很快就广为传播。
To date I've designed and worked on several marquee signs. One of my favorites was a rehab sign project for Bohm Theatre in Albion, Michigan. The shapes, curves, colors and features reflect a time in the sign's past when it was vogue and complimentary to the day’s trends.
到目前为止，我参与过几个华盖标识的项目。其中我最喜欢的一个是位于密歇根州阿尔比恩的Bohm剧院的华盖标识。它的形状、曲线、颜色和造型都反应了过去华盖标识的特征。
With that project, I was able to also assist the theatre to capture rebates by going from neon and incandescent lighting to lower electrical use solutions that lowered consumption by 70 percent and reduced ongoing maintenance substantially. I'm currently working on several theatre projects in Alabama, Iowa, New Mexico and Indiana along with helping other sign companies with their design needs. The one I'm working on now is a dream come true. It is for the Temple Theatre in Saginaw, Michigan.这个项目中，由于我们的解决方案给剧院节省了华盖70%的运行成本，因此他们与我们达成长期合作关系。我在阿拉巴马州、新墨西哥州和印第安纳州还有几个项目同时进行，主要是为其他公司提供设计服务。我现在正在做的项目是我梦想已久的剧院，萨吉诺市的Temple剧院。
A: The theatre was built in 1927. The original sign was made from wood with a lot of hand carved features. As beautiful as it was, it was a maintenance nightmare. The entire marquee was removed in 1960. In 2003, the theatre was rescued from demolition by the Shaheen family. They invested heavily into renovations and were successful in getting the building registered with the Historic Preservation Society. Once they were ready to find and hire a marquee sign company, I was recommended and invited to bid. Eventually I was awarded the contract.
这个剧院建于1927年，最初的标识是由木材建造的，以木材上的手工雕刻为主要特征，看着虽然美丽，但是维修工作简直是一个噩梦。整个华盖在1960年拆掉了。2003年，这个剧院险些被毁，Shaheen家族不仅化重金维修并且成功向历史建筑保护协会申请保护。后来他们打算将这个华盖的维护和翻新工作承包给华盖标识公司，我被推荐和邀请去投标，并成功中标。
The project required many meetings with the theatre's board of directors as well as a lot of historical research. Fundraisers were conducted to help pay for the new sign. Along with renderings, I built a three dimensional model to better see and understand my design concepts and the detailed features that would be part of the sign.
这个项目有很多问题要与剧院的董事会和很多建筑保护的学者商讨，董事会一心想着换新标识，我做了一个三维模型给他们参考以便于他们理解我的设计理念。
When producing three dimensional models, I often collaborate with other artists like Sean Gallagher and Adam Wernecke. I provide the concepts and renderings, they either make my models or provide components so I can make my own. Some models are sculpted from clay. Others are produced by routing pieces of Sintra, then assembling the pieces together.
在制作这个三维模型的时候，我经常向其他的艺术家寻求帮助，我自己提供设计方案和模型，他们即不制作模型也不提供原材料，所有的事情都是我自己决定。有的模型是用粘土雕刻的，有的是经过切割形成的，然后把它们组装在一起。
These models become an important part of the design process that leads to winning jobs and building those impressions you talk about. That was the case with this project for Temple Theatre. Renderings as well as models helped me get my design ideas across and win the client's confidence. In all, over 300 hours went into the research and design of this sign including structural drawings, engineering, electrical requirements and how water would shed and drain. All of this was part of the process of designing and winning the job.
这些模型成为设计过程中很重要的部分，他们给我们带来与众不同的建筑印象。也是这些模型向客户展现了我的设计理念赢得客户的信任。总之，超过300个小时的研究和设计，其中涉及建筑设计、工程设计、电力学以及雨水的排泄问题等，这个项目最终完美竣工。
It wasn't my education. Kidding aside, I'm a believer as well as proof that a college education isn't necessary to be successful. It helps, and I'm all for education. I've even lost some jobs due to a lack of degree. I just happened to be from the self-taught school.
这不是我的专长，我不觉得高等教育是一个人走向成功的必要条件。我不否认，良好的教育有助于成功。由于缺少相关的学历证明我也错过很多工作岗位，我刚好是“自学成才”。
I think my passion and desire to work with architecture in signage where I can bring some of the past traditions into a modern work of art helps me land some of these kinds of sign projects. That and the fact that my portfolio is growing helps as well. I'm gaining a favorable reputation. When this project came along for the ![]() Temple Theatre, it presented me with the chance to honor the past by incorporating historical features into a new marquee sign.
我认为我与建筑师一起工作的热情和欲望可以将过去的传统与现代的艺术相融合，我可以创建更多这一类型的华盖标识。不得不承认我的文件夹越来越厚了，我在行业的知名度也在不断提升。Temple剧院的项目对我来说是一个很有荣誉感的工程，他为我提供了一个将传统建筑特点融合到现代华盖标识的机会。
The original theatre building contained features similar to those used in European cathedrals; pillars, spires, and accents—I wanted to bring some of these elements back and make them part of the new sign. My goal was to combine architecture from the past with modern-day technology and fabrication including the use of a 10mm LED display by Daktronics.
最初的剧院建筑具有欧洲教堂的建筑风格，高高的梁柱、螺旋状的尖顶，我想把这些古典的元素带到现代的建筑标识中来。我的终极目标是将古典的建筑风格与现代的建筑和标识工艺相结合，打造新一代的LED发光标识。
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