Signage for Museums & Heritage Sites: Four Projects Across Liverpool & Wirral

In 2025, Liverpool Cathedral asked us to design and install new signage at its main entrance gates. The project included a large welcome panel introducing visitors to Britain’s largest cathedral, along with various directional signage making the entrance easier to identify.

The main consideration was the setting. The signs were being fitted to original iron gates and sandstone piers rather than a modern building frontage, so the fixings, materials and positioning had to be carefully planned.

The finished signage needed to be easy to read, useful for visitors and robust enough for a busy entrance, while still looking appropriate alongside the Cathedral’s existing architecture.

It was a straightforward brief in principle: welcome people, point them in the right direction and make the entrance clearer. The challenge was doing that neatly and securely without making the new signs feel out of place.

At a recent project at Port Sunlight Museum, the challenge was completely different again.

Our team installed two custom one-piece wallpaper graphics, one within the reception space and another inside the museum's meeting room.

Both were printed as single seamless pieces with no joins, overlaps or visible panel lines.

In a museum environment, that matters far more than it might in a conventional office or retail setting.

Visitors come to museums to look closely at details. A visible seam, colour shift or misaligned pattern becomes surprisingly obvious once people start viewing graphics in the same way they view exhibits.

Printing the artwork as one continuous piece removes that issue entirely and creates a cleaner, more considered finish.

It's one of the reasons seamless wallpaper and large-format interior graphics are becoming increasingly popular across schools, offices, universities and visitor attractions, where the finish matters just as much as the message itself.

Our investment in large-format HP Latex print technology allows us to produce these seamless installations in-house, maintaining colour consistency and print quality across the entire piece from start to finish.

Not every heritage project is designed to last forever.

When Liverpool Cathedral hosted Helios by Luke Jerram, an illuminated artwork that attracted significant visitor numbers, our team produced and installed branded barrier scrims and mesh banners around the site in under two days.

Temporary installations come with their own requirements.

They need to be visually strong enough to guide visitors and support sponsors, durable enough to cope with British weather, and removable without leaving a trace once the event finishes.

Unlike permanent signage, the challenge isn't longevity.

It's delivering impact quickly, safely and with minimal disruption to the site itself.

Some projects aren't really about signage at all.

They're about storytelling.

During Liverpool City Region and Merseytravel's restoration of the Queensway Tunnel Monument, our role was to help explain the history of the structure and the work taking place behind the hoarding.

Rather than hiding the project behind plain fencing, the graphics turned the restoration itself into part of the visitor experience.

Passers-by stopped to read about the monument, its history and the restoration work underway.

Good heritage graphics often work in exactly this way.

They're not there to advertise.

They're there to interpret, educate and add context to the environment around them.