Missy Donovan

By Melissa Donovan

Variations of ink are common. UV can be UV-curable or UV LED. Solvent is divided into eco-solvent, low solvent, mild solvent, and even a solvent UV—or SUV. Latex is considered aqueous. Sublimation and fixation inks—common for textile printing, but also used to print to hard surfaces—are categorized as disperse dye or acid dye, reactive dye, and pigment ink, respectively.

Each ink type is effected by similar trends. Customization and media compatibility are in demand. Buyers want an ink that offers cost-effective, on demand print capabilities on a variety of substrates. Ink sets are formulated and reformulated to meet market demand. The end result are a number of ink chemists working diligently to keep up with the current and future needs of the graphic arts.

Progressive and Established
There are differing opinions on the most commonly used ink type. Traditional chemistries like aqueous and solvent remain prevalent while UV and textile-based ink sets are up-and-coming forces. Conflicting views illustrate the variety of ink suppliers.

Aqueous is an established ink and latex is included in this category. John D. Peterman, EVP sales and marketing, Big Systems, LLC, believes its popularity remains strong because it matches up with some of the most affordable printing equipment—in addition to an ever-expanding range of printable wide format materials.

“Within the inkjet market, aqueous is the largest by both volume and end user value. The broadening range of applications that can addressed by this ink, coupled with favorable environmental and safety profiles, means that aqueous continues to be a favored ink class,” agrees Hamid M. Shirazi, global technical promotions manager, Fujifilm Imaging Colorants, Inc.

Solvent and its more environmentally friendly iterations offer staying power, mainly for their outdoor durability. “Of course, solvent ink has two issues which aren’t ideal—the smell of the ink and dry time. However, it continues to improve upon these concerns. Most notably, the emergence of eco-solvent inks with lower odor and faster dry times,” says Jun Kurokawa, technical marketing engineer, OKI Data Americas, Wide Format Division.

Eco-solvent ink provides the best of both worlds—the quality of solvent with environmental safety features. According to Vernon Jones, manager, marketing and promotions, Mimaki USA, Inc., this ink is becoming a preferred choice due to its capability to produce high-resolution printing on an economical scale. “It does not produce fumes, therefore, the low carbon footprint is regarded as environmentally friendly compared to heavy solvent ink. Eco-solvent ink is highly durable, making it ideal for fine art reproduction, wall décor, vehicle wraps, and outdoor displays.”

While aqueous and solvent—and the ink types that fall under those headings—remain, some of the biggest growth reported in ink usage falls in the UV category. Heather Rockow, UV business development manager, Collins Inkjet, cites the company’s UV/LED ink sales growing over 100 percent from 2013 to 2015 with LED growing faster than UV.

“Our estimations are that UV is growing at a rate of approximately six percent and has the dominant share of today’s inkjet market. And as UV achieves greater flexibility, its growth will accelerate,” foresees Deborah Hutcheson, director of marketing, NAFTA, Agfa Graphics.

Demand continues to rise as the newest UV formulations offer faster drying speeds and adhere to a wider range of media. “For printing to soft signage fabric, other than dye-sublimation (dye-sub) to polyester, new foldable and stretchable UV-curable inks printed to polypropylene are showing huge growth,” shares Craig Reid, VP/GM – digital division, INX International Ink Co.

UV LED effects this category’s steady increase. According to Guy Cipresso, VP sales and business development, Novus Imaging, Inc., UV LED cure inks are fast becoming a popular choice due to low curing temperatures and long lamp life. He cites analyst firm InfoTrends, which estimates the high end of the UV equipment market will grow by a compound annual growth rate of 6.3 percent.

“LED inkjet is perhaps the fastest growing segment, because printing companies and their customers want many of the benefits LED offers in terms of reduced energy usage, a ‘greener’ operation, and broader substrate versatility,” agrees Stephen Emery, VP, ink and Jetrion businesses, EFI.

Dye-sub and other textile-based ink technologies including disperse, pigment, reactive, and acid, are prevalent. Aaron Blank, business development manager, Alpha Ink Jet, sees dye-sub and reactive as the two segments in this category being used the most. He cites cotton costs as a direct reason. Escalating after 2010, the price change forced clothing manufacturers and designers to look for alternatives.

“For those wanting to print digitally to cotton, they needed an inexpensive ink alternative. Therefore, we saw a rise in reactive dye usage. It is easy to use, widely available on all printhead types, and gives you a very large color gamut,” he continues.

Matt Gusse, VP sales and marketing, Advanced Color Solutions (ACS), admits that as a company, ACS sells five times more digital sublimation ink compared to both eco-solvent and UV. “The visibility and access to information regarding dye-sub is more available across multiple marketplaces. Dye-sub has grown into a standard in the lineup of decorating and printing both hard and soft substrates and is no longer limited,” he adds.

Trends of Customization and Compatibility
Multiple trends drive ink usage. Customization and media compatibility are the biggest influencers.

“The fundamental drivers for overall digital print include the increasing need for economic short runs, personalization, and improving the agility of supply chains to respond to end customers. These fundamentals underpin many markets,” admits Fujifilm’s Shirazi.

According to Collins’ Rockow, “as retailers strive to meet consumers’ hunger for individualized products, digital is the only answer. Consumers aren’t just asking for signs and point of purchase displays, now they want toothbrushes, diapers, athletic shoes, and airplane interiors custom printed.”

Décor is part of that list. “The textile inkjet market came into the U.S. from Europe. Décor printing is growing. Its effect in Europe will likely expand to the U.S. or other countries in the not too distant future,” explain Taka Suzuki, marketing manager, advanced material division, and Stevie Washio, technical manager, digital ink, Toyo Ink America, LLC.

This is not limited to fabric—take for example untraditional substrates like glass. “The major demand in construction glass is divided between interior and exterior applications. These trends are driven by designers/artists and architects. On the graphic aspect we notice increasing demand for textures, patterns, and different material imitation on glass. The functionality aspect of the printed glass is highly important for the consumer—light diffusion and light transmission energy efficiency. Moreover, there is an increasing demand from the interior sector for durable photorealistic images,” recommends Shimrit Marom, director of corporate marketing, Dip-Tech Digital Printing Technologies Ltd.

Not only do buyers request customized products, they expect graphics to be high quality. “Trends that are affecting ink usage are the desire for full coverage prints and photographs which require higher ink saturation,” suggest Tamara Pitman, product manager, and Kristina Devine, senior marketing and pricing specialist, Coveris Advanced Coatings.

“The trend is definitely towards higher definition imaging even in grand format printing. The move from analog to digital for a number of applications including packaging prototypes and short runs is one factor. Digital compresses packaging lead times from design to shelf and can be easily adapted to regional campaigns,” agrees Novus’ Cipresso.

Flexibility between ink and media is an important consideration. “The biggest trend is the need for inks that adhere to a range of substrates—both rigid and flexible materials—on much faster presses. Price is always a factor for our customers, but it is balanced by the application of the ink on many substrates,” shares Peter Saunders, business director – digital, Sun Chemical.

Specifically, “the ability to offer customers a multitude of different printed substrates and effects is driving the shift to UV,” adds Adam Larson, global portfolio manager – premium films, 3M Commercial Solutions.

“Pigment ink that knows how to print on all fabrics and in one simple process is just the answer for short turn-to-market cycles that are dominant in textile printing. One ink that prints on cotton, blended, polyester, viscose, silk, leather, and décor and in one printing line—any textile printer, dryer, and take-up unit to the roll the fabrics, will open new business opportunities,” points out Nufar Kiryati, marcom manager, Bordeaux Digital PrintInk.

Versatility doesn’t stop at media. Nitin Goswamy, president, A.T. Inks., says the trend is towards multi-platform inks. “Inks that work in more than one printhead, which allows a print shop with multiple models of printers to keep inventory of just one ink that can be used across all of their printers. The demand is almost always derived from print shops that need innovative solutions that allow them to function more efficiently.”

Adaptive Ink
To meet demand from print providers and even their customers, for a high-quality ink that enables customization and media versatility, ink chemists must adapt existing formulations or invent new ones.

Specific features are apparent in these reformulations, like “larger color gamut and more robust weathering properties,” explains David Conrad, director of sales and marketing, Mutoh America, Inc.

“Inks may be specially formulated or reformulated to meet regulations in place for specific regions. They are also often reformulated to improve attributes like richness of color, opacity, and outdoor durability,” adds Lily Hunter, product manager of textiles and consumables, Roland DGA Corporation.

Adhesion and reliability are also addressed. “Manufacturers have to be innovative to solve all of these challenges. It seems we are more restricted in terms of raw materials because of the suppliers’ rationalization, the demands of the printheads—which allow us to use less materials, and the environmental concerns that do not allow us to use some materials,” admits Pedro J. Martinez, CEO, Afford.

Kristen M. McNamee, technical manager – MCS/PG warranties, inks and clears, 3M, agrees. “New raw materials and increasingly discontinued materials are forcing formulation changes while attempting to maintain or improve on overall performance characteristics. Growing in importance is increased sustainability awareness globally and how ink formulations affect the environment.”

Jack Papaiacovou, director of product development, Hilord Chemical Corporation, provides reformulation examples specific to ink type. “More ink manufacturers are reformulating dye-sub inks to accommodate grand format printers. On the same token, printer manufacturers are designing faster printers that can be used with water-based, dye-sub inks.”

And for UV-curable inks, newer formulas serve to be more universal, or in some cases available in both hard and flexible versions, shares Big Systems’ Peterman.

More manufacturers find that as a new material is introduced—or a material new to the segment, not so much new in creation—the ink must be revisited to perform more than adequately.

“Inks are adjusted to the substrates in order to give expected coloristic and application properties such as rub, wash, or light resistance,” continues Christophe Bulliard, marketing director, Sensient Imaging Technology.

Cipresso says ink sets are required to be more versatile today to meet the variety of substrates being used for end products. “Therefore, you must have an ink set that is fast drying, flexible, and as vibrant on plastic corrugated as it is on a folded carton.”

“Ink manufacturers adapt to end user requirements by creating inks suitable to the application, some customers need the ink to be more flexible while others have an adhesion protocol that requires a more rigid ink,” concurs Scott Einsig, director of business development, Engineered Printing Solutions (EPS).

Out in the Field or Under the Hood
Ink research and development (R&D) is driven by both application introductions and printhead improvements. Applications because they define what media is used and therefore the chemistry required to successfully adhere to the substrate while providing a high-quality appearance. Printheads because a machine can only run well when its parts and the fuel are suited for each other.

“I believe the application is the top of the pyramid in regards to ink development. As an OEM, we build machines around the application. The first step in that process is to determine which combination of printhead and available ink set will be compatible with the end user’s specifications. Printhead development is a long process and ink manufacturers can be more nimble when it comes to developing a series of ink suitable to the application, while considering the constraints of the chosen printhead technology,” admits EPS’ Einsig.

INX’s Reid says ink R&D is driven by applications, but both the ink and printhead act as enablers to achieve the application. “In some applications, specific printhead requirements may be simply mandatory, such as actual addressable resolution and firing frequency. In some cases, the type of chemistry may drive the use of one printhead over another based on chemistry limitations,” he argues.

Printheads pave the way for ink development, according to Peter Andrich, president, S-Qbism Corp. He explains that with printhead technology evolving significantly over the past several years one of the side effects is an increase in cost per printhead. “Therefore, more than ever, inks need to be formulated in such a way that not only the longevity of the printhead is preserved, but furthermore extended due to the higher replacement cost,” he recommends.

“Changes or advancements in printhead technology do influence ink R&D. Different types of printheads require different formulations and viscosity for optimal performance. You can have great ink, but if it doesn’t function well with the printhead it is intended for, it’s essentially useless for that application,” cautions Roland’s Hunter.

Eyal Duzy, marketing segment manager, HP Scitex, says that if there is a planned major change in printhead technology, a new ink is usually developed to support that. That was exactly what happened at HP when it introduced its High Dynamic Range (HDR) printheads, HDR inks were created in response.

Others believe it isn’t as clear cut as applications or printheads. “It is a mixture of usual drivers, namely cost, environmental and regulatory changes, and application driven requirements, such as faster output. Printheads, higher resolution, smaller drop sizes, and higher frequency droplet firing, all demand developments in ink technology,” lists Sun Chemical’s Saunders.

Diverse Inkscape
Whether driven by applications, printheads, customer demand, or something else entirely, the number of ink sets available to PSPs is staggering. Which to choose depends on whether the ink is right for the job at hand. With the diverse landscape afforded by digital printing, it is no surprise that most ink types are actively used. The possibilities of digital are endless and ink contributes to its potential.

Click here to view the Distributors and Manufacturers of Ink Target Chart – an all-inclusive information resource!

Apr2016, Digital Output

By Cassandra Balentine

Media selection is a critical component to any print job. In wide format, options are endless—pressure-sensitive vinyl, cling, rigid boards, and fabric each offer a certain appeal. However, let’s not forget the practicality of poster paper. Available in different finishes—matte or gloss, weights, and coatings to enable compatibility with a number of ink sets, this substrate is versatile and cost effective, especially for short-term promotions.

Lily Hunter, product manager, textiles and consumables, Roland DGA Corporation, suggests that poster paper prints are generally used for retail sale promotions and point of purchase (POP) displays, or for advertising special events.

Depending on the application’s destined environment, poster papers provide excellent printability and low cost. On its own, poster paper is well suited for short-term promotions. However, the addition of lamination makes for a lengthier solution. This versatile medium offers a variety of attractive benefits for both customers and print service providers (PSPs).

Factors of Success
The primary benefits of poster paper include versatility, affordability, quality, and sustainability. End customers are drawn to the media for these reasons.

Marty Davis, director, wide format and graphics, Mac Papers, says end users typically choose poster paper prints for short-term, one-time promotions. “Usually the promotion is indoors and the brand owner often has a smaller budget, for which poster paper prints are ideal,” he explains.

Shaun Jaycox, product specialist, Brand Management Group, believes that poster papers are useful communication tools used to spread information quickly and build brand and product awareness to a large audience. “They are a highly versatile and inexpensive form of advertising when compared to other marketing materials and methods of distribution.”

Tamara Pitman, product manager, and Kristina Devine, senior marketing and pricing specialist, Coveris Advanced Coatings, also point to the versatility of poster paper. For example, retail stores, grocery stores, and beer distributors utilize poster paper for advertisements in store windows and hanging posters. Additionally, law firms use it for court room graphics. The media is also found in the general public as temporary posters and banners for special occasions.

In addition to versatility, economics also play a role. “Poster papers are usually used for an advertisement that will be changed periodically, it is important that it is economical,” state Pitman and Devine.

Angel Georgiou, senior marketing specialist, imaging supplies, Canon Solutions America (CSA), adds that print quality drives the use of poster paper media. “Whether it’s printed on an eight-color inkjet machine or a toner-based color device, the print quality is acceptable, the turnaround time is quick, and the cost is low compared to other products.”

Davis agrees, adding that when compared to vinyl-based substrates, the end result is more vibrant colors and higher quality.

Bruce Walker, client solutions and apps-tech, Sihl Inc., suggests posters are used anywhere someone wants classic impact. “They are eye catching and ergonomic due to being the ideal size to roll up and transfer. Posters transcend traditional demographics as they appeal to all age groups,” he says.

Additionally, Walker explains that the surface and coating options offered on some poster papers allow the media to match the tone of an advertisement. “This flexibility combined with a basic fundamental size and impact expectation makes the poster ‘the’ advertising medium of the modern age.”

The “green” benefits of poster papers are attractive to PSPs looking to lower their environmental footprint or appease clients with strict environmental guidelines.

“Poster papers have no PVCs, and most are recyclable,” shares Hunter. “Customers that are attracted to poster paper are typically seeking a substrate that’s user- and environmentally friendly. They’re also after media that has an appearance that’s smooth and not reflective,” she explains.

“Allowing the posters to be recycled in the everyday blue recycling bin offers considerable savings and ease of handling when projects change,” suggests Greg Maze, senior brand manager, digital and wide format, Neenah Paper Inc.

Georgiou points out that depending on the printer used, the whole print is possibly recyclable.

PSP Attraction
In addition to the benefits that draw print buyers to poster media, PSPs are attracted to the substrate for different reasons, including runability, color reproduction capabilities, and compatibility with a wide variety of print technology.

Often, poster paper isn’t limited by the technology a PSP is running. “Poster paper works great with low-end, aqueous printers through the high-end equipment. It’s very flexible. There is also a range of products to choose from. This gives PSPs an easy selling point when meeting with customers,” adds Davis.

Georgiou says most media selections can run on more than one ink technology platform, which makes it a win-win for a PSP.

Hunter suggests PSPs carry poster paper primarily because there is a significant end user demand for this type of product. “Additionally, PSPs want to be able to offer their customers various green media alternatives as well as the widest possible range of product offerings,” she explains.

Walker notes that the general width of poster paper is a consideration. “The width is ideal for transporting and for mass producing on all print platforms—both digital or traditional. With the advent of digital, a single poster can now be produced just as automatically as thousands. With variable data, the content can also be fine-tuned towards a specific audience or demographic.”

Since customers have the ability to change messaging fast with quick-turn large format printing, the ability to sell short-term indoor and outdoor messaging is growing. “Printers need to sell the change-your-message-regularly idea to their clients,” says Georgiou. Maybe they just need a quick promotion for an item, or there is a special event taking place that they want to make a special offer on, she continues.

Pitman and Devine say PSPs are attracted to poster paper because of its printability, whiteness, and the various thicknesses and sheens it is available in.

Lifespan
Poster paper is generally associated with short-term promotions, but that is a loose definition that largely depends on the specific environment the print is intended for.

Generally, the length of time a poster is up is due to the purpose of the advertisement as well as the content. “Typically, most posters are up for about three months as a rough average for advertising applications. If the content of a poster is deemed to be collectable, like many popular movie posters, they will actually be preserved for decades,” comments Walker.

Jobs printed on poster paper are generally up for 90 days or less, according to Davis. “It’s a short-term product, but is an affordable option for one-time events,” he offers. Factors that play into this timing include the strength of the paper product, the tear-ability, and environmental considerations. “The product must be used indoors—unless laminated—and should be used in a low-traffic area to protect it from damage.”

Hunter estimates the typical length for a job printed on poster paper to be up anywhere from a few weeks to six months. “Poster paper is generally used for relatively short-term applications, such as promoting limited-time retail sales, menus, or events,” she offers.

Maze says the lifespan of a typical job printed on poster paper really depends on the length of the campaign. “People still associate paper-based products with short-term campaigns, but some products are designed to last inside the retail environment because they are moisture resistant and built to last longer than standard paper products available in the marketplace.”

“We find that if we tell someone it will last 30 days they are happy,” says Georgiou. The length of time for graphics is dependent on the job specification. Retail or POP can be used for a short-term promotion that is thrown out in a few weeks. But, if they are generic posters they may be used for a month, replaced, and then returned, she says.

On the Market
Many vendors manufacture or distribute poster products.

Through Brand Management Group, HP offers many media choices appropriate for posters and displays for both latex and aqueous printers. The company introduced its next-generation HP Premium Poster Paper, designed to be cost effective and produce a wider color gamut, including high-contrast blacks and brighter whites. It is ideal for indoor and outdoor applications, photorealistic posters, and presentations as well as POP and retail displays, signage, and bus shelters. It is Forest Stewardship Council (FSC) certified to satisfy the growing market of environmentally conscious customers and is compatible with all HP Latex, eco-solvent, and UV-curable inks.

For aqueous, HP offers HP Everyday Instant-dry Satin Photo Paper. Designed for maximum ink absorption, the photo paper achieves vibrant, long-lasting color. It is also designed to provide everyday image quality, is recyclable, FSC certified, and works well for presentations to displays and photo enlargements.

CSA’s Océ Imaging Supplies carries several poster paper options in widths from 24 to 60 inches. Offerings include PM35 presentation matte paper aqueous inkjet media, available from 24 to 60 inches at 13 cents per square foot; HW48 48 lb. coated bond paper aqueous inkjet media, available from 24 to 60 inches at 16 cents per square foot; 6040 Premiere Collection uncoated poster paper, a product that works well with color toner machines including Océ ColorWave printers, available in 24 to 42 inches at 12 cents per square foot; MW38PS mid-weight paper with PSA, which is available from 24 to 42 inches at 37 cents per square foot; and WS7 7-mil wet strength poster paper display media, compatible with UV, latex, eco-solvent, and Océ ColorWave printer technology, available at 30 to 60 inches at 16 cents per square foot. All carry a one year warranty on performance.

Coveris offers a range of poster papers, including its top four products, ECOSATIN, GFIOP140, GFIOP212, and FIRENZE 132. ECOSATIN is an 8.5-mil satin paper compatible with solvent, eco-solvent, UV-curable, and latex inks. GFIOP140 is a 6-mil latex saturated, wet strength paper compatible with solvent, UV-curable, and latex inks. GFIOP212 is a 9.9-mil latex saturated, wet strength paper compatible with solvent, UV-curable, and latex inks. FIRENZE 132 is a 132 gsm economical, mid-weight coated matte paper compatible with water-based dye and pigment inks. The company also offers Magic media, which is available in a variety of sizes.

Mac Papers offers a range of poster paper products. Its premiere line is produced by Neenah Paper’s FiberMark and is available primarily for latex, solvent, and UV printers. The company also carries poster paper from other brands. The papers are available in a variety of sizes from 36 to 96 inches with differentiating features such as back lighting, textures, self-adhesive, dry erase, and blockout for pop-up banners. “Virtually anything we can do with a vinyl or polymer product, we can also do with newer paper-based products,” says Davis. Pricing and warranty information varies and can be explained to customers through local Mac Papers representatives.

Neenah Paper provides a selection of options for poster paper media under the FiberMark brand. Neenah Endura is FSC certified, bright white, and latex saturated for extra durability and for use indoors and short-term outdoors. Available in 34-, 54-, and 60-inch widths it can be printed with solvent, latex, and UV platforms. Blox-Lite is FSC certified, recyclable, and made with ten percent recycled content. The company says it is an economic alternative to blockout banner. It is 100 percent opaque and can be printed on two sides. It is available in different calipers from 8.5 to 14 pt., with the most common widths being 54 and 64 inches.

Roland offers two paper media offerings mostly used for retail display and POP applications, Paparazzi Premium Matte Paper and Solvent Glossy Paper. Paparazzi is a premium quality, 8-mil, 190 gsm constructed paper that images beautifully and features great body. It’s intended for high-resolution, full-color printing and features excellent opacity and white point characteristics. It’s also specially designed for high ink saturation and yields a wide color gamut without cockling. Paparazzi Premium Matte Paper is available in 30- and 54-inch by 100 foot rolls.

Roland’s Solvent Glossy Paper is a heavyweight, 8-mil paper with an advanced inkjet receptive coating. Similar to Paparazzi, it’s ideal for high-resolution, full-color printing and boasts outstanding opacity and white point characteristics. Designed to image vibrantly and reduce ink consumption, Roland Solvent Glossy Paper features a gloss finish on the coated side and a durable, glossy base sheet that stabilizes the product against cockling and excessive curl. It’s available in 20 inches by 50 feet and 30-, 54-, and 63-inch by 100 foot rolls.

Both Paparazzi Premium Matte Paper and Solvent Glossy Paper are backed up by Roland’s Certified Media Guarantee. Hunter explains that this certifies that the products are free of defects. When used for the recommended applications and with Roland’s Eco-Sol MAX, Eco-Sol MAX 2, and EJ inks, they are guaranteed to produce vibrant printed graphics.

Sihl provides a range of poster papers, including higher end photo papers that come in different finishes, such as pearl, gloss, satin, and matte, depending on the particular needs of the user. The company also provides options for all digital print platforms including aqueous, eco-solvent, latex, UV, solvent, and laser.

Poster Solutions
While trendy media selections, such as pressure-sensitive vinyl and fabric, tend to get a lot of attention, traditional options like poster paper are still widely requested by end users and stocked by PSPs.

“Poster paper is a great, cost-effective, easy-to-produce promotional vehicle for short-term solutions for retail, educational, safety, POP, and environmental applications,” says Jaycox.

In addition to low cost and versatility, these products offer environmental benefits and ease of use.

Apr2016, Digital Output

By Courtney Saba

Floor graphics are designed to be durable, built to withstand the high traffic areas they are commonly placed in. In the case of floor graphics installed outdoors, vendors look to provide enhanced durability. Varied products allow brand owners to customize driveways, roadways, and pathways found in zoos, amusement parks, fairs, and other open air venues.

These substrates are engineered for durability despite undergoing human interaction, vehicle traffic, and environmental elements. Part of their composition includes adhesive strong enough to fuse to surfaces like asphalt, concrete, and brick. Some vendors suggest pairing the media with overlaminates, while others offer a solution manufactured to withstand its installation period on its own. In either scenario, when a floor graphic is placed outside, the material should be designed for the outdoors.

Ideal for the Outdoors
Floor graphics used in outdoor spaces rely on a strong and secure bond to achieve success. In comparison to floors found in interiors, exteriors present irregular surface characteristics. This is why most vendors don’t suggest using a product intended for inside outside.

Successful outdoor floor graphics need to meet a number of criteria. According to Kylie Schleicher, marketing manager, Ultraflex Systems, Inc., outdoor floor graphic media is engineered to be thicker and stronger to live up to foot traffic, vehicles, and weather.

Common floor types found outside include asphalt, concrete, brick, and stucco. “It’s important that the media is able to conform to the peaks and valleys of the ground surface. This prevents the graphic from lifting up and produces an aesthetically pleasing ‘painted on look,’” shares Alison Zepp, VP, marketing & strategy, Jessup Manufacturing Company. The adhesive must be permanent, resistant to water, but also removable without leaving a residue, she adds.

One of the main features to be considered is the adhesive type, agrees Craig Campbell, graphic products market manager, Orafol Americas. “The most important aspect of providing outdoor floor graphics is to ensure the type of adhesive on the film is intended to be used on the substrate the graphic will be applied to,” explains Campbell.

One also needs a good quality print media that handles environmental changes—heat, rain, snow, direct sunlight—expected of an exterior, horizontal surface. Simultaneously, the graphic supplier must create a safe walking surface that can also withstand all that nature throws at it and protect the image from wear and fade.

According to Jeffrey Stadelman, marketing manager, Mactac Distributor Products, the company uses only high-performance films in the design of exterior floor graphics. These films need to breathe to allow moisture found in concrete to escape rather than become trapped underneath and result in bubbles, blistering, and failed graphics. The films and adhesives are engineered to handle constant temperature changes, for example, the heat of the day and cold of the night, repeatedly.

In general, floor graphics are presented with many challenges. Specifically speaking to the outdoors, media is designed to protect from human traffic, vehicles, and weather. Using a floor graphic material intended only for the indoors leaves room for application failure.

Matt Buckley, wide format product manager, GPA, suggests the reasoning for the failure of indoor floor graphics utilized outdoors is due to the general lower adhesive bond. While this allows for clean removal, it is not strong enough to securely bond to outdoor surfaces.

In addition, Stadelman notes that outdoor graphics require a high-tack, high-bond, and high-shear adhesive that easily conforms to rough, irregular surfaces, while indoor graphics are made with a low-coat weight, low-tack, low-bond, removable adhesive.

Micah Causey, VP, FloorGraphics, LLC, says that indoor floor graphics are commonly made of vinyl, and these materials feature memory. “So when installed and molded to textured concrete or asphalt, they will fight the adhesive and lift up. This allows moisture to get underneath and causes the graphics to come off, creating a failed application.” he shares.

Durable Media
In some cases an overlaminate is the means of protection for a graphic, and in other scenarios it is the print media itself that holds its own against outdoor elements. Whether or not an outdoor floor graphic needs an overlaminate depends on the type of material used and how long it will be in place.

For example, GPA offers an outdoor floor graphic material that does not need an overlaminate because it is engineered to accommodate traffic on the print surface.

In regards to foot traffic, the media’s slip-resistance needs to meet ASTM International—formerly known as the American Society for Testing and Materials—standards. ASTM is an international standards organization that develops and publishes voluntary consensus technical standards for a range of materials, products, systems, and services. This ensures safety precautions for pedestrians are covered in both wet and dry conditions.

Stan Holt, business development manager Americas, Continental Grafix USA, Inc., says the product the company offers features a built-in texture, providing the certified non-slip surface without the use of a laminate.

FloorSignage offers an aluminum foil-based media that does not require an overlaminate. A built-in slip-resistant texture protects graphics and pedestrians.

Another major factor in the success of an exterior graphic depends on the length of time it is exhibited. Whether the graphic is long or short term generally determines the use of laminates or if they are required at all.

Although many outdoor floor graphics are short term, Matt Hatfield, marketing, DaVinci Technologies, Inc., provides insight into long-term exterior graphics that do not require laminates. “Several products on the market do not require an overlaminate. These are designed to be quick and easy to install, without the extra time needed for lamination. DaVinci Technologies offers a product made from pliable aluminum foil, a unique property that aids in the longevity of the media. It is rated with a one year expected life performance,” explains Hatfield.

“The vast majority of ground and floor graphics are short term, less than 30 days. Thus by making the media textured this eliminates the need to overlaminate. This saves both time and money,” says Zepp.
It is important to note that this is a preferred scenario as long as the media in question passes the appropriate slip resistance tests.

Overlaminates
With outdoor floor graphics, a combination of media and overlaminate provides the ultimate in durability. Adding an overlaminate provides the additional protection from weather and UV degradation while simultaneously providing high traction for safety. This offers the right balance of outdoor endurance, image quality, and slip resistance.

“An outdoor overlaminate is thicker and tougher and has UV absorbers in it so the sun doesn’t degrade the quality of the film,” shares Elizabeth Ziegler, senior technical service specialist, 3M Architectural Finishes – Commercial Solutions.

Schleicher concurs with Ziegler, explaining that thicker materials are durable and will last longer in high-traffic environments. “Materials may also be coated to further protect images and coloring from sunlight. These coatings offer a slip-resistant finish, prevent scuffing, and absorb weight and friction,” says Schleicher.

According to Stadelman, laminates are specifically designed to take heavy foot traffic and still provide a high-traction surface when properly maintained.

These make the final graphics a little more expensive when compared to indoor floor graphics, but this product design is required to make sure the graphic creator and the end customer or property owners are providing not only a good looking graphic but a safe walking surface.

Campbell agrees that it is the laminate that truly protects exterior floor graphics. “The texture of the laminate—which can be irregular or a grit-type of texture—gives an anti-skid surface that prevents slips or falls. The thickness of the laminate also provides the mechanical protection needed to preserve the graphic,” suggests Campbell.

Hatfield recommends a clear, textured vinyl overlaminate with UV protection and a thickness in the four to six millimeter range, while Stadelman prefers a heavily textured laminate that offers superior pedestrian traction, even when wet, and exceptional durability.

Trending Graphics
Outdoor floor graphics continue to be an attractive trend in graphics applications. Floor graphic media designed for the outdoors is engineered to withstand foot and vehicle traffic and any weather- and temperature-related issues.

Their adhesives are generally stronger and able to bond well with common exterior horizontal surfaces like asphalt, concrete, brick, and stucco. Similar to its indoor counterparts, however, this media must still be removable without leaving residue behind in busy vehicle and pedestrian areas.

The durability of the media and—sometimes—overlaminate allow a long lasting work of art, as well as ultimate protection from environmental elements, human traffic, vehicles, and UV exposure. Media and overlaminates used for exterior floor graphics continue to evolve and increase in strength and durability to create customizable art in an outdoor space.

Apr2016, Digital Output