San Rafael, CA – based SpeedPro Owner, Steve Moran-Cassese, Discussed Complexities and Features of His Award-Winning Project

Centennial, CO – SpeedPro Imaging continues to earn its reputation as the nation’s leading printing and graphics franchise with another major feature story in a leading national trade publication – Wide Format & Signage Magazine.

An awe-inspiring, multinational project managed by Steve Moran-Cassese, an award-winning SpeedPro Imaging owner based in San Rafael, CA, has been featured as September’s leading cover story by Wide Format & Signage Magazine. Click here to read the featured article and view the masterpieces themselves.

Moran-Cassese is garnering national attention for his outstanding rebranding work with Hewlett Packard’s Welcome Center – a project that earned him SpeedPro Imaging’s 2016 Project of the Year. In her article entitled “Application Spotlight: A Welcome Rebranding for HP,” editor Jennifer Wilberschied detailed how Moran-Cassese, hand-selected by the information technology giant, spent nine months installing majestic, intricate and mesmerizing wall murals, oversized window graphics and multi-dimensional wall treatments.

“There were many moving parts to this project, with each graphic component offering its own unique challenge,” said Moran-Cassese. “On top of that, this rebrand was for the HP [Hewlett Packard] Welcome Center – the flagship facility for HP’s partner meetings and VIP guests. We approach all client projects with the intent to create an exceptional final product. But when it came to working with an industry partner like HP, the stakes for perfection were even higher.”

The collaborative effort with German-based creative agency, Art Lab Studios, is characterized by its attention to detail. Hewlett Packard wanted a bold statement – and SpeedPro Imaging’s Moran-Cassese delivered. The article describes in detail the obstacles and the solutions implemented to install such transformative prints, including the project’s most complex component: a visionary wall graphic of The Painted Ladies (a famous set of homes in San Francisco). The treatment was comprised of wall covering media and an overlay of secondary prints.

“We were tasked with printing approximately 80% of the secondary prints and color-matching each to ensure they matched the wall mural,” said Moran-Cassese. “Each of the 16 prints were mounted on more than a dozen different substrates of the various sizes. All substrates had to be contour cut, creating a puzzle of secondary graphics. In mounting the prints to the primary mural, we had to account for numerous variables including the print angles, exact spacing between each print and precise alignment overlay of the graphics.”

As of the time the feature story was published, Moran-Cassese’s installations had been in place for a year and are intended to stay up indefinitely.