LED displays · Corner
A corner site is the most valuable frontage a business can have and the most commonly wasted. A display that turns the corner is read by both streets — if the content is designed for a bend rather than a flat wall.
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Corner displays wrap a building or shopfront edge so the image continues around the turn instead of stopping at it. On a junction, that converts a frontage that half your audience never sees into one that both approaches do — which is why they are worth the extra engineering on corner plots and why they look wrong when treated as two ordinary screens bolted together.
Two things make them different from a flat installation. The panels and the structure have to meet cleanly at the angle, which is a fabrication problem rather than a purchasing one. And the content has to be composed knowing that nobody ever sees the whole surface at once — every viewer sees one face plus a foreshortened second.
Get both right and the effect is striking from across a junction. Get either wrong and you have paid a premium for a visible seam and text that breaks in the middle.
The decisions that are expensive to reverse once the structure is built.
How the two faces meet at the angle is what separates a corner display from two screens next to each other. It needs cabinets and a mounting structure fabricated for the angle, and it needs the actual angle of your building measured — corners are rarely exactly ninety degrees in practice. This is measured on site, not assumed from a drawing.
Nobody views a corner display flat-on. Text that runs across the turn breaks visually, and a centred logo lands on the edge. Content is composed per face, with the wrap used for background and motion rather than for anything that must be read. This constrains the design and it needs to be understood before someone produces artwork for a flat rectangle.
The two faces of a corner point in different directions, which means they rarely get the same light — one may take direct afternoon sun while the other stays shaded all day. Treating the display as one uniform surface leaves one face washed out or the other glaring. The faces are specified and calibrated separately.
People coming along one street see the display from further away than those turning into the other, so the pitch has to satisfy the closer approach while the content has to work for the further one. Both distances get measured during the survey, because designing for the average serves neither.
A shop display has about two seconds of a pedestrian's attention. Almost every specification decision — brightness, position, pitch, content length — follows from that, and most shops get sold a screen that ignores it.
In a showroom the screen is compared directly against the thing it's showing. Colour that's approximately right reads as wrong when the actual car, sofa or jewellery is two metres away.
A digital menu that a manager can't update by Tuesday lunchtime becomes an expensive printed board. The specification question is who edits it, not how many pixels it has.
FAQ
Not sure this is the right format? Here's what the alternatives are for.
Indoors, the constraint is rarely brightness — it's viewing distance and finish. Get the pitch wrong and a beautiful screen looks like a grid of dots to the customer standing in front of it.
Outside, the display is the easy part. What decides whether it still looks good in year three is the structure, the sealing, the power and who is contracted to fix it.
Every other display on this site is a construction decision. A poster display is a purchase you can reposition next week — which makes it the right first screen for most businesses.
Tell us where it's going and roughly what you want it to do. Every question has an "I'm not sure" option — working the answers out is our job, not yours.