APG puts your business on paper. And on the truck.

A restaurant’s name has a different job on the side of a vehicle than it does on a business card. One has to announce itself across a parking lot. The other gets a few inches of someone’s attention. Advanced Printing & Graphics works at both distances. Its portfolio includes a vehicle wrap for Tortilla Grill; its service menu includes the cards, brochures, signs and promotional objects that let a business introduce itself again after the vehicle has driven away.

That range is the point of APG. The company combines graphic design with commercial printing and physical brand materials, giving customers a place to develop an idea and have it produced. For an owner trying to open a shop, refresh an identity or prepare a campaign, the appeal is practical: fewer separate conversations about what the same business is supposed to look like.

The portfolio is a useful antidote to the vagueness of the word “branding.” Here, branding has dimensions. It can fit in a pocket, cover a vehicle or appear outdoors. APG’s work sits where a visual idea has to become an object someone will actually encounter.

A logo with somewhere to go

APG offers identity development for new brands, rebrands and updates. That work connects to a menu of printed signs, banners, posters, brochures and business cards. The creative brief can therefore begin before there is finished artwork to send to a printer. A customer can arrive with a business idea and ask for help deciding how it should appear.

Its design service also includes product packaging and letterheads. APG says its designers can provide different layouts while working within a customer’s budget before final production. The relevant expertise is the relationship between the design and the thing being made. Choosing a layout early enough to consider its printed use is a more useful proposition than discovering production constraints after everyone has approved the picture.

A card, a brochure and a sign share a name, but they need not carry identical amounts of information. Think of the card as an introduction and the brochure as room for an explanation. APG sells both design and printing for each. The opportunity for the buyer is to give those pieces separate jobs while keeping them recognizably related.

The parking lot is part of the portfolio

Vehicle graphics make APG’s range especially tangible. Its published wrap collection includes Tortilla Grill, AV Hospital, Total Dentistry and a Thunder Bus project. The customer names span food, health care and event-related work. These examples show the breadth of the shop’s visual assignments; they should be read as portfolio entries, rather than a current customer roster.

APG offers wraps for individual business vehicles and fleets. That puts a familiar business asset to another use: carrying an identity in public. The company also advertises billboard and outdoor design and printing. In both cases, the object has to function beyond the controlled setting in which a designer first sees it.

For a buyer, the question is where the intended audience will encounter the work. A vehicle that regularly travels through its service area presents a different opportunity from one that spends most days out of sight. Likewise, a sign’s job depends on its location and message. The attractive object is only one part of that decision. Choosing a format should begin with how it will be used.

The order can be a campaign

APG’s advertising service extends from brainstorming to printed campaign production and placement. The company describes work across retail, government, financial services, energy, hospitality, education and medical businesses. It includes branding, logos, identity, art direction, brochures and advertisements within that remit. This is a broader assignment than receiving a finished file and making copies.

Its stated emphasis on in-house creative work and management explains where it wants to sit in the market: close enough to the initial idea to shape it, and involved enough in production to carry it through. A separate design studio and print supplier can divide that assignment between them. APG presents the combined conversation as part of its service.

The customer base is broader than the campaign language might suggest. APG’s portfolio introduction explicitly mentions large corporate print orders, small orders for start-up businesses and wedding invitations. An individual purchasing invitations and an organization commissioning multiple campaign pieces can therefore approach the same shop with very different scopes. The common requirement is a designed item that needs to become a finished piece of print.

The people still have their crayons

The team biographies have more personality than a list of print services. Chris Tombaugh, identified as an APG principal in a public business interview, writes about questioning authority as a child and using the resulting time at home to let his imagination roam. His biography connects that curiosity to a preference for a fast working environment and attention to detail.

“I still own a box of crayons.”

Chris Tombaugh, in his APG biography

Kevin Spiteri’s account begins with his father coming home with ink on his hands. He followed him into printing, then into graphic design. Spiteri describes earlier advertising-agency work with names including Nautica, OPI, Hang Ten and Nine West. Those are his career credits, not evidence that all four brands commissioned APG. At APG, he describes work involving interior graphics, vehicle wrap campaigns, image retouching and advertising consultation.

Jeff Portillo introduces himself as an illustrator, designer and “Professional doodler.” His biography traces his interest in drawing to his parents and childhood fascination with Disney animation. Movies, games and cartoons remain influences. Together, these accounts give some texture to APG’s self-described family atmosphere: commercial work made by people whose interest in drawing and printing started well before the customer brief.

A California business adds a Colorado chapter

APG’s LinkedIn company profile dates its founding to 1994 and identifies Lancaster, California as its headquarters. Its own account emphasizes long service to the Antelope Valley, including Palmdale and Lancaster. That history puts the shop in the business of serving an established local commercial community, even as its design service describes work for businesses across the country.

A July 2024 interview published by So. Co. Business Digest adds a second geography. The episode introduces Tombaugh as a principal and describes a Colorado Springs location with approximately two years of operation. That places the expansion around 2022. The interview description also frames the conversation around his family’s move from Southern California and the progress of the Colorado business.

APG’s apg4u.com contact page now lists both California and Colorado contacts, with visits by appointment. For a prospective customer, that is the useful operational detail: arrange the conversation with the appropriate location. The company’s footprint combines its Antelope Valley roots with a Colorado presence, while retaining a service offering built around design and print.

The mug needs a reason to exist

Promotional merchandise takes the same identity into everyday objects. APG says it has access to more than 100,000 customizable items, including pens, drinkware, bags, key chains, tech accessories and corporate gifts. The wording matters: access describes a sourcing range. It does not mean that every object sits in an APG warehouse waiting for a logo.

The company offers help choosing an item and navigating its imprint or design. That assistance is a meaningful part of the proposition when the catalog is so broad. A giveaway for a trade show and a gift intended for repeated daily use are different buying decisions. The buyer should be able to explain why the recipient would keep the object before worrying about where the logo goes.

Apparel, screen printing and embroidery also appear among APG’s listed specialties. Taken together, these services let a customer extend a visual identity from paper onto things people wear and carry. The commercial logic is project work: customers commission design, production or personalized merchandise according to the assignment. The service menu invites a conversation about the order’s scope.

Start with the brief, then count the objects

APG’s design page explicitly puts budget guidelines before final production. That is a useful sequence to copy. Bring the intended audience, the formats, the quantity and the deadline into the opening conversation. Ask the quote to distinguish the creative work from the physical deliverables and clarify what must be approved before production begins. These are buying disciplines, rather than a claim about APG’s internal quoting procedure.

The combined approach is most relevant when several pieces must work together or when a customer needs help turning an idea into usable artwork. A straightforward repeat order with finished files may call for a narrower production service. A campaign aimed at people who will never see the sign, vehicle or printed piece needs a different distribution decision. The format earns its place by reaching someone.

APG offers a concrete way to think about that choice. Look at the Tortilla Grill wrap beside the business-card and brochure services. Each gives the same underlying idea a different place to live. For a business owner, the useful starting question is simple: where should a customer meet your name next?