Missy Donovan

By Cassandra Balentine

Print service providers (PSPs) transform many surfaces with the help of media. In addition to printable, adhesive-backed pressure-sensitive vinyl and films, non-printable color-change solutions provide a substitute for paint.

Emerging as an alternative to color change films and traditional paint offerings on vehicles, reflective, retro-reflective, and color shift products demand attention. Many of the media manufacturers that PSPs are already familiar with offer specialty offerings that reflect, shimmer, and shine.

Fueling Growth
PSPs realize the benefits of specialty materials that reflect light and offer metallic effects to their client base. Applications that incorporate them are prevalent from the more traditional vehicle wraps to adhesion to walls and other inanimate objects.

Tammi Johnson, business development manager, 3M Commercial Solutions, sees many attractive benefits for reflective films, including extended, 24/7 visibility of a company’s brand, as well as safety and regulatory considerations.

Both PSPs and their customers want to separate themselves from the ordinary or in many cases this is referred to as the competition. “Including retro-reflective graphics helps attract attention and visibility at night,” points out Dan Rozzo, corporate specification manager, Avery Dennison Graphics Solutions.

“When light plays across reflective, sparkly, or shimmering surfaces, that surface attracts attention,” adds Amy Swaile, associate marketing manager, Mactac Distributor Products. “Creating a high-impact, high-quality impression is certainly a main driver for increased demand,” she adds.

George Marsh, VP/GM, FDC Graphic Films, Inc., says popularity in personalization and customization support the sale of specialty materials that reflect light or offer metallic effects, especially vehicle graphics. “It is easy to create a unique look with an accent color or pattern,” he admits.

The market requires more visible graphics at all hours of the day. Stephanie Kline, operations/product manager, Arlon Graphics, LLC, shares that currently, only two options make a graphic work at night, either an external light source, which can be expensive—or even impossible—depending on the environment; or a reflective material, which she says is the more cost-effective method.

Emergency responders and postal vehicles often use these materials for the enhanced visibility benefits. “Reflective films have been used for years on emergency, police, and fire vehicles,” notes Rozzo. However, because reflective substrates provide visibility at night, commercial graphics, such as bus and trailer wraps, are popular.

More businesses implement marketing strategies to ensure visibility at any time of day, says Johnson. She suggests that telecom companies and those who specialize in service and repair will wrap their vehicle fleets with an emphasis on keeping employees safe and branding as a secondary motive.

Craig Campbell, graphics products market manager, Orafol Americas, says its Oracal 970RA series is primarily integrated into the vehicle restyling space. “If this type of effect and finish was to be duplicated with paint, the price tag could easily go over $10,000, where a vehicle enthusiast can now get this look for a much lower cost and smaller timeframe,” he explains.

Rozzo points out that use of reflective vinyl was illustrated in Avery Dennison’s recent Wrap Like a King contest. Winner Kevin Kempf from New Orleans, LA-based PG Nola used HV 1200 black reflective film on the sides and wheel spokes of a Lamborghini Huracan to gain added attention for a chrome wrapped car. “Car wrap installers and their customers add details like these to make exotic cars really stand out,” he shares.

Marsh believes that reflective materials are not limited to vehicle applications. “The way reflective films bounce light back catches the viewer’s eye and makes designs visually interesting,” he says. “Anyone looking for a new way to make a design pop should look into using a reflective film.”

According to Swaile, reflective products and other specialty finishes have always had a strong presence with both vehicle wraps and signage and continue to show growth. “With more effort being used to educate designers, reflective and specialty films are now also used in wall murals, accent designs, furnishings, and electronics,” she says. “Designers are finding new ways to accent their imagery with the use of sparkles and enhance visibility through light reflective films. The bottom line is that reflective film gets noticed.”

The dominant purpose of reflective media is for long-term branding on a graphic that is adjacent to road traffic. “You will see the most use on vehicle graphics and roadside signage, but also on storefront graphics in parking areas gaining popularity,” admits Kline.

“We see this type of product anywhere there is a need for a space to be accentuated or attention drawn to it,” adds Campbell. “These types of colors are found as backdrops on wall murals and architectural spaces, just to name a few.”

Specialty media options are also utilized to create outdoor signage when minimal lighting is available, such as for roadside applications. Johnson suggests the use of these products in moving assets such as forklifts and bicycles. Other instances include dropboxes—like UPS or FedEx; United States Postal Service remote mailboxes; wayfinding signage; and items found near higher traffic areas that you wouldn’t want to run into while driving—such as dumpsters, ice fishing shacks, and sides of buildings by parking lots.

Rozzo states that Avery Dennison’s Diamond Supreme Wrapping Film are also used to wrap items like musical instruments to smaller consumer items like key fobs and cell phone cases. “They can add sparkle and shimmer to a variety of applications,” he offers.

Swaile says one area catching on is the use of Mactac’s 5700 Reflective Series films for shelf markings at warehouses. “The reflective finish makes seeing and scanning shelf labels on the upper shelves much easier, saving time and reducing mistakes,” she explains.

Outside of sign and graphics, the craft market is also participating. “FDC 3700 Series is a premium ultra metallic vinyl film popular with hobbyists because it looks like glitter,” says Marsh. “The craft market buyer likes to see films that have unique patterns and finishes. That is why reflective or metalized vinyl films can grow the market.”

Application Considerations
When embarking on new media selections, it is important to consider installation differences to ensure optimum performance and prevent media failures.

Johnson says PSPs need to consider different installation techniques when it comes to reflective materials. “Because of the nature of the product, it’s important not to damage the characteristics that cause reflection and stretch them throughout the application process.”

Reflective film has less stretch and is more brittle, according to Kline. She notes that it is often more difficult to remove and features shorter durability. “It is always a good idea to look at the application recommendations from the manufacturer,” she suggests.

Marsh agrees, adding that the reflective layered construction may cause reflective films to be stiffer and more brittle than regular sign vinyl and wet application is not recommended. “Generally, the application process is the same as applying any other vinyl film. Installers can help offset the stiffness by applying the film in a warm environment because the heat increases the film’s flexibility,” he explains.

Rozzo says that Avery Dennison’s retro-reflective films and reflective sheeting are ideal for flat surfaces. “Installing reflective films can be a bit trickier because the sheeting is thicker and typically features an aggressive adhesive,” he shares. “Retro-reflective films need to be repositioned with care because an issue known as bruising can occur, which means there will be lines in the film where it was lifted.”

It is important that graphic manufacturers play close attention to the conformability of the material because not every substrate will be able to handle compound curves or rivets, which are common issues in vehicle applications, points out Marsh.

Specialty Films
In addition to color change films and printable vinyl, specialty offerings including reflective, retro-reflective, and color shift products are stand-out solutions.

3M
3M offers its 3M Scotchlite Removable Reflective Graphic Film with Comply Adhesive 680CR, available in 11 colors including black, which reflects white. The film provides a similar day and night appearance that retains most of its reflectivity when wet and features pressure-activated adhesive for easy sliding and tacking.

The company also provides the 3M Scotchlite Reflective Graphic Film Series 680. The product is designed to retain 90 percent of its retro-reflectivity when wet. It features a positionable and pressure-activated adhesive and is available in 11 colors.

3M Scotchlite Removable Reflective Graphic Film with Comply Adhesive 680CR and 3M Scotchlite Reflective Graphic Film Series 680 are color change products. Alternatively, 3M Scotchlite Reflective Graphic Film IJ680-10 can be printed on.

3M Scotchlite Reflective Graphic Film 5100R and IJ5100R provide a similar day and night appearance that retains most of its reflectivity when wet. This series is available in 15 colors, including black. 3M Scotchlite Reflective Graphic Film 5100R is available in white and colors, and IJ5100R can be printed on.

Arlon
Arlon offers reflective vinyl for both its digitally printable and cut graphics line. DPF 2400 is the company’s premium grade reflective film, which is designed for decoration of decals on fleets and vehicles. Arlon’s Series 2400 reflective vinyl film is designed for cut graphics use.

Arlon DPF 2400 is printable with solvent and eco-solvent inks, while Series 2400 is recommended as a color change product only. The color offerings feature many options including white, yellow, black, blue, and gold.

Avery Dennison
Avery Dennison provides reflective sheeting and films for sign shops, vehicle marketing, as well as marking and traffic and safety industries. The company’s reflective sheeting films are engineered with omni-directional performance, allowing for maximum reflectivity from every angle.

The company also offers a portfolio of reflective conspicuity tapes used to mark commercial vehicles, trailers, school buses, agricultural vehicles, and rail cars.

The HV 1200 High Visibility Beaded Series of films and retro-reflective films that are designed for screenprinting and computer sign cutting can be used for fleets, bus graphics, railroad cars, and emergency vehicles such as police cars and ambulances. Avery Dennison retro-reflective films can be printed or plotter cut into decals and letters for graphics applied to flat surfaces. HV 1200 films are available with a variety of adhesives and technologies such as Easy Apply RS.

Avery Dennison Diamond Supreme Wrapping Films feature a combined colored film and protective layer in one construction. Car wrap colors include Diamond White, Diamond Amber, Diamond Red, Diamond Purple, Diamond Blue, and Diamond Silver. Supreme Wrapping Films feature patented Easy Apply technology from Avery Dennison and provide excellent conformability around curves and recesses. Avery Dennison Diamond Supreme Wrapping Films are ideal for color change wraps or to create sparkly accents for vehicle, trailer, bus wraps, and point of purchase displays.

FDC
Marsh says FDC provides three different types of products that could fall under reflective media, which include retro-reflective films, metal flake PVC, and metalized films including polyester and vinyl films. “Each offer different visuals and a unique effect,” he shares.

FDC offers two lines of retro-reflective sign vinyl. FDC 2407 Series is an engineer-grade retro-reflective film with a seven year outdoor durability. It can be used for a variety of applications, including fleet or vehicle markings. FDC 2409 Series is an intermediate utility grade reflective film that can be used in applications that do not require the same longevity as the FDC 2407 Series. Both are more traditional retro-reflective films.

The company also provides small and large flake metallic films for automotive, sign, and craft applications. The FDC 3700 Series is ideal for users looking for a metallic film that resembles glitter and is available in a range of colors.

FDC is a master distributor of RTape Corporation and carries the full line of VinylEfx films. VinylEfx features several visually dynamic metalized embossed decorative vinyl films.

VinylEfx films are split into several product lines containing multi-lens films, metal flakes, chrome colors, iridescent effects, and films that have a brushed or leaf finish. These films capture and reflect light and are available in a range of patterns and colors.

For more imaginative looks, Marsh says some of the films are digitally printable. For example, FDC’s two retro-reflective products can be printed using thermal transfer or screenprint technologies. RTape’s VinylEfx line can be printed on eco-solvent, solvent, latex, UV, or thermal transfer printers.

Mactac
Mactac manufactures specialty films, including its 5700 Reflective Series, which are five year, engineering grade, decorative vinyl. Other specialty finishes offered by the company include its TuningFilm Iridescent, 6400 Series Lustre Pearlescents, and 6700 Series Sparkle Metallics.

Swaile says Mactac decorative reflective films are one of the only reflective options on the market warranted for printing. Other Mactac specialty finishes are designed for either being plotter cut or installed in panels.

Orafol
Orafol manufactures retro-reflective products for vehicle applications. As it pertains to vehicle wrap products for color change, the company recently introduced Oracal 970RA Premium Shift Effect Cast, which is designed to change colors based on the viewing angle and light direction. The company currently offers six color/finish options and is looking to add more in the near future.

Oracal 970RA Premium Shift Effect Cast is not designed to be printed on, but for solid color wrapping. However, Campbell points out that he’s seen users get creative with their products in the past.

Stand Out Effects
Depending on the line of media and its intended use, colors and patterns differ. Johnson suggests some colors are inherent in emergency types of vehicles, including white, yellow, and red.

Kline agrees, noting white, red, and black as the most in-demand reflective colors. While printable white is fastest growing.

Rozzo says the most popular graphics are effects that stand out and are innovative, such as adding reflective, chrome, or sparkle into a wrap or graphics. “PSPs, installers, and customers want to create a new or different look and often achieve that by using films in unique ways.”

FDC sells more white retro-reflective than any other color, reports Marsh. For FDC 3700 Series and RTape VinylEfx, customers are drawn to silver and gold in smooth, flaked, or patterned finishes, he adds.

Of the specialty effect products on the market, Swaile sees reflective film increasing in demand the most. “Customers have long raved how reflective films really make their printed images pop, while the film itself is super easy to work with and apply. Mactac has seen sales for its 5700 Reflective Series consistently increase year over year due to these features. Similar options are designed for plotter cut graphics only,” she adds.

In the vehicle restyling space, the more dramatic the effect, the more popular it becomes, according to Campbell. “Since the launch of Oracal 970RA Premium Shift Effect Cast, we’ve seen more demand for color shifting products, both from our user base and on our social media channels,” he says.

Special Effects
Specialty media including reflective, retro-reflective, and color shift offerings enable users to stand out from the crowd, whether it be for safety or marketing purposes. As different uses for these solutions are discovered and new products enter the market, exciting possibilities for vehicle wraps and beyond take shape.

Feb2016, Digital Output

By Melissa Donovan

Fabric optimized for digital printing of performance and athletic apparel is in high demand. Coupled with the short run and one-off mentality, buyers from multiple markets seek workout gear customized for certain events.

Specific features in these fabrics define them as performance or athletic wear. For example, wet wicking and other characteristics must contend with perspiration while simultaneously conveying comfort with a soft hand and stretch. Typically performance or athletic apparel is polyester based. Not only does it perform well while being worn, but it is also suitable for dye-sublimation (dye-sub) printing, which is the preferred print method.

An Exercise in Benefits
Performance and athletic wear benefits from wide format digital print. Buyers expect customization and short runs at low costs and today’s technology helps to achieve this in a number of ways.

Jeff Sanders, digital fabrics sales manager, Pacific Coast Fabrics (PCF), provides the example of a custom cycling jersey printer that is able to offer hundreds of images to the general public as a one-off option that can be printed and shipped in a matter of days. All thanks to wide format digital print.

Another example of the ideal buyer, the growing crossover athleisure market. “It utilizes performance fabrics that can also be worn for fashion, such as leggings, which has also adopted this model of on demand printing,” he continues.

“Corporate apparel also benefits,” adds Ken Siecinski, activewear manager, Top Value Fabrics (TVF). “There are options beyond solid cotton styles. Performance fabrics with flashy, extravagant imagery are often seen in corporations sponsoring large public events.”

Back stock is minimized thanks to digital. “Traditional athletic wear utilizing dyed fabrics requires a tremendous amount of fabric inventory, since you need to stock each fabric in every team color. Wide format printing can make any color jersey from a white fabric,” adheres Chris Hopkins, director of sales, Yarrington Mills Corporation.

Digital print also eliminates steps found in traditional performance and athletic wear manufacturing. Hopkins says it, “blends multiple processes, such as fabric dying, embroidering logos, and adding tackle twill names and numbers, all into one.”

Combining these processes serves a dual purpose. In addition to saving time and labor costs, it heightens the experience for the eventual clothing wearer. “The process of sublimation embeds the image into the fabric, nothing is on the surface disrupting the comfort, and graphics are more vivid than other print methods,” explains Sharon Roland, advertising and PR manager, Fisher Textiles.

Siecinski agrees, noting that today’s technology provides a process where the inks offer no added weight nor do they diminish the softness or performance a fabric offers.

Built for Performance
A fabric designed for performance or athletic apparel must address features such breathability, moisture control, softness, weight, and memory. Prominent characteristics center on comfort.

“Athletic fabrics are typically lightweight, breathable, and contain a moisture management chemical. This is a chemical that wicks away perspiration, controls odor, and promotes comfort. All of these are essential characteristics for fabrics used in performance environments and subject to harsher wear,” shares Roland.

Softness and weight play a role. “Airy yarns and open weave constructions add breathability, which makes a garment more comfortable in warmer clients. Garments for high-impact sports like lacrosse typically need heavier weights due to abrasion resistance, whereas a sport like track and field can sacrifice wear and tear for the priority of cooler comfort,” advises Siecinski.

Fabric memory is another interesting factor to consider, as modern performance and athletic wear utilize more spandex than ever before, cites Hopkins.

“Any stretch textile continually stressed by a contorting body must have the ability to return to its original form, or the result is a sagging fabric that no longer looks pleasing when worn,” explains Sanders. PCF addressed this issue in its Jennifer S/914 four-way stretch performance fabric by using Invista Lyrca yarn as opposed to generic spandex.

Sanders says that when crafting PCF’s performance apparel line, designing a fabric that will not pill, snag, or fray is a must for it to even be considered as part of its portfolio.

Let’s Get Physical
Polyester is the overwhelming choice when it comes to fabric used in printable performance and athletic wear. Fisher Textiles’ Roland says whether 100 percent polyester or a polyester/spandex blend, these two options are ideal.

Most of TVF’s customers choose fabrics made up of 100 percent polyester to create their performance apparel. “The main reasons for this are that the fabrics print beautifully while providing the performance aspect of drying quickly. Drying time is important in aiding the performance properties of the wicking fiber. Additionally, advancements in technology have yielded polyesters with fibers that are cottony soft,” explains Siecinski.

It is easy to treat a polyester-based fabric, according to Sanders. It can be coated with advanced moisture management or water repel finishes.

“Polyester performs the best in terms of moisture management. Adding spandex improves the overall feel, stretch, and flexibility of the fabric,” admits Hopkins.

Of note, multiple fabric manufacturers utilize polyester made from recycled yarns. For example, Fisher Textiles added three styles to its portfolio in 2015 that consist of Repreve recycled yarns produced from recycled plastic PET bottles. “This characteristic is very appealing to consumers,” adds Roland.

Working Out the Print
When it comes to printing on textiles, there are three main practices—transfer dye-sub, direct dye-sub, and direct print. For performance and athletic wear fabrics optimized for digital print, dye-sub is a common choice due to the nature of the fabric—polyester—being used.

“Dye-sub has always been the go-to method for performance apparel printing. Highly detailed photographic images and graphics can be printed on polyester with great color coverage and fine line definition. An image can be printed on fabric before it is assembled—allowing for all-over coverage on the finished garment,” adds Sanders.

Between transfer and direct dye-sub, both are used in printing onto performance and athletic fabrics. “Both dye-sub methods are suitable for athletic apparel, but if printing dye-sub direct with disperse inks, the PSP should use fabrics that are stable—with little to no stretch—and specially treated for the inks to stay in place. Also, run the fabric through a heat press after printing dye-sub direct,” recommends Roland.

While both methods are suitable, dye-sub transfer tends to be preferred due to that fact that polyester cannot be direct printed without a pre-treatment, according to Yarrington’s Hopkins. This can add a step to the process and change the hand of the fabric.

“Dye-sub transfer is best as the imagery is fantastic, the costs are competitive, and it is a relatively straightforward process to operate, which means the printer can focus on creating dynamic printed apparel for their customers. Dye-sub transfer does not add weight and allows the hand of most material to maintain the softness and performance aspects of the fabric,” agrees Siecinski.

Commitment to Fitness
The vendors mentioned in this article offer performance and athletic wear fabrics optimized for digital print. These are just a sample of the products available.

Fisher Textiles introduced ETP 2319 Athletic Mesh to its Digital Apparel fabric line in October 2015. Compatible with dye-sub printing, the fabric is comprised of 100 percent Repreve recycled polyester and 100 percent post-consumer waste. ETP 2319 contains a moisture management system that allows perspiration to move away from the body, dries quickly, controls odor, and promotes comfort. It is available in widths of 60 inches and suggested for use in athletic, fitness, or activewear.

Made in the U.S., PCF’s Jennifer S/914 is a four-way stretch performance fabric featuring an advanced moisture management and wicking technology coating. Available in 58/60-inch widths, it is 88 percent polyester and 12 percent Invista Lycra. It is ideal for workouts or athleisure, used for yoga pants, leggings, performance shorts, and compression tops. Dye-sub printing is recommended.

TVF offers its 90/10 Polyester Micro Fiber/Spandex, 4-Way Stretch fabric. The stretch fiber provides comfort and flexibility for the eventual wearer. It is well suited for dye-sub printing and available in 58/59-inch widths. Popular uses include board shorts, swimwear, and surf wear-inspired apparel because it is lightweight and dries quickly. TVF also suggests its use for wrestling and other sports involving quick movement.

Designed with sublimation printing in mind, Yarrington’s newest offering in performance apparel is FE795MF Power Stretch Doubleknit Spandex. It is 92 percent micro-polyester and eight percent spandex. Available in widths of 60 inches it offers a combination of softness, durability, and stretch/recovery. Common applications include cheer and dance, warm ups, compression garments, wrestling singlets, yoga pants, and leggings.

Pumping Up
Performance and athletic wear fabrics optimized for digital print are rising in popularity. Thanks to the latest technology advancements more one-off and personalized pieces of apparel are created quickly and cost effectively. While this trend continues, it is important to use the correct fabric. Materials crafted for this specific application are generally polyester based, dye-sub compatible, and include features such as breathability and moisture control.

Feb2016, Digital Output

By Melissa Donovan

Point of purchase (POP) standees are a popular way to present rigid substrates in digital print. They often serve as traditional sign backdrops, but other instances allow them to become much more interactive, acting as furniture or intricate holders for a product. Today’s newest materials are manufactured to remain durable for the longest short-term promotions and withstand interaction from consumers.

Multiple types of rigid substrates with varying levels of durability are used to create POP standees. Lifesize cut outs of people or animals, furniture, literature or product holders, and other three-dimensional (3D) displays are configured into innovative solutions. Print service providers (PSP) savvy to the trend promote this as a unique form of marketing to customers who look for out-of-the-box options.

Just the Right Amount of Durability
Rigid substrates from aluminum to foamcore are available to PSPs. For POP standees, some of the most popular contain varieties of foamboard and paper-based, which includes corrugated. A common requirement for any type of substrate used in this application is that it provide stability.

Application and durability typically dictate substrate choice. Products that come in standard thicknesses of ½ and ¾ inches are preferred for long term and three-sixteenths of an inch thickness is ideal for short term, according to Tony Lampariello, national rigid media manager, Agfa Graphics.

“When graphic designers and fabricators are creating POP standees, selection of rigid substrates is most often dictated by the length of time the standee will be displayed, as well as its location,” adds Brandon Wyatt, marketing manager, 3A Composites USA.

3A Composites’ Fome-Cor board, a lightweight extruded polystyrene foam, is suggested for short-term seasonal POP. Gatorfoam, a polystyrene foamboard between two layers of wood fiber veneer laminate, is ideal for medium- to long-term displays requiring durability. Smart-X, a lightweight foamboard that consists of an all-plastic sheet constructed with an expanded polystyrene core and two layers of UV-resistant polystyrene, is positioned for long-term displays that benefit from not only durability but moisture- and UV-resistance as well.

Steve Loudin, president, Tricel Honeycomb Corporation, suggests the company’s Tripanel/50WDF for long-term applications. “It features the thickest clay coated white facing stock available. A 50-point skin takes more abuse in a retail environment than other similar products with much thinner facing stock.”

Think indoor or outdoor as well. “If it is for outdoor purposes, you have to consider PVC foamboard because it is more durable in the outdoors. If it is for short term, polystyrene foamboard and polypropylene hollow are the best options because they offer cost savings and are easy to transport,” explains Marcus Tam, marketing department, Eastsign International Ltd.

Free-standing displays, according to Roberto Rodriguez, president, DGS – Digital Graphic Systems, require thicker boards at least a half-inch thick including foamboard, honeycomb, and fluted polypropylene. “They are lightweight and have a nice surface finish for sharp images, easy to contour cut, and very stiff to keep a nice looking finished product,” he continues.

If the material is going to be turned into a holder of some sort, it must be able to take on the weight of the products being displayed in it. The Gilman Brothers Company’s Eaglecell, an all-paper honeycomb graphics board, is constructed with this in mind.

“The core is fabricated to form a series of triangular cells with a proprietary open core design engineered with 95 percent open space, making it lightweight, yet able to deliver I-beam like superior structural strength for carrying shear, bending, and compressive loads,” explains Bill VanHorn, director of sales, Gilman Brothers.

EnCore Products’ newest substrate is DuraPrime, a plastic board with high-impact polystyrene facers that offers the structural strength required for POP standees. Its MightyCore line of foamboard is also ideal because of its rigid, rock-solid center that makes it suitable for large fabricated pieces.

Another consideration when it comes to choosing a rigid substrate for POP is whether it can be easily and cleanly cut, especially into unique, complex shapes. This is a key requirement for standee applications, according to Ross Van Burkleo, senior sales manager, digital and wide format, Neenah Paper Inc. The Neenah conVerd Board portfolio is composed of a fiber composition that makes it easy to cut.

Robert Cunningham, branch manager, Calsak Plastics, agrees, citing corrugated polypropylene and styrene skinned foamboards as ideal for cutting. “They allow you to do scoring and folding for pop-up type standees and give you the ability to ship flat and assemble them on site.”

Oriam Green Ltd.’s Re-board is ideal specifically for this purpose. The paper-based board is 20 percent the weight of timber sheeting and cuts easily with a cutting table, according to John O’Reilly, director, Oriam Green.

Popular Uses
Thanks to the durability and construction of today’s rigid materials, POP standees are made into a number of different configurations.

Lampariello says one common type of standee is informational/directional signage used in trade show halls. “The typical installation is the use of a heavy floor base with the substrate standing five to six feet tall,” he explains.

While standees are frequently used for wayfinding signage, they are taking off in other ways. “In-store options range from perimeter interior wall signage to lifesize displays with unique cutout and lighting systems, drawing attention to featured products in various store locations. Everything from 3D dinosaurs to honeycomb structure furniture as chairs and tables are now possible with affordable, flexible, recyclable board products,” shares VanHorn.

Unique furniture, promotional boxes, and display racks are other options, lists Van Burkleo.

Practical uses are also prevalent. Unlike other applications that might require additional materials to hold a graphic in place, substrates used for POP standees can also be utilized as the base. “Many are strong enough that not only can you cut any shape and design you desire, you can also cut the support leg with the same material,” suggests O’Reilly.

Stand Works
PhotoWorksGroup Inc., based out of Charlottesville, VA, recognizes the vast opportunity in rigid substrates when it comes to POP standees. The shop, founded in 1986 by Denise and Geoff Kilmer, operates out of a 15,000 square foot workspace with a staff of 17. A family affair, Geoff’s brother Mike joined the business in 1989 and in 2015 Denise and Geoff’s son Ben became the business development director.

Today the company works closely with customers in the Mid-Atlantic region to offer graphics for corporate interiors, college sports departments, trade shows, airport displays, and museums. With recent installations of a Zünd digital cutter and an automated sewing system, it’s looking to become more involved in the POP retail market.

One of the applications Kilmer hopes to capitalize on in this segment is standees. “I haven’t produced any truly unique standees for customers, but we are looking forward to that with the addition of the digital cutter,” he explains. Prior to the Zünd, the staff would cut out a shape on its CNC shop router and then direct print onto the cut out with its Screen USA Truepress flatbed UV printer.

“Now that we have installed a Zünd digital cutter with a vision system, we can print first with registration/cutter marks, and then cut. It was a complete workaround before since we didn’t have the cutter with a vision system to registrate the graphic,” shares Kilmer.

The majority of standees the PSP has experience creating involve life-size cutouts of people. For this type of job, PhotoWorksGroup usually relies on Sintra or Dibond from 3A Composites. Sintra for interior and Dibond for exterior, both are chosen for surface consistency and ease of use when mounting, overlaminating, and routing.

For example, a repeat client of the company’s is the University of Virginia’s sports department. It routinely requests standees to promote certain products and services. One time the client’s goal was to draw attention to a Pepsi display in a cooperative promotion with a life-size cut out of the school’s basketball coach, Tony Bennett, holding a basketball and a bottle of Pepsi.

This job was produced prior to installing the Zünd digital cutter. In a two week turnaround, the PhotoWorksGroup team secured a digital image, cleaned it up in its design software, drew a vector path of the image, cut the shape on its CNC shop router, and printed the graphic on 3A Composites’ Fome-Cor board using its flatbed UV printer.

With the addition of the Zünd digital cutter Kilmer hopes to ramp up production on its standees and translate their prior experience into POP.

Stand Up
Rigid standees, specifically found in POP, successfully perform when the correct material is chosen for the job. Certain substrates are ideal for indoor or outdoor, long- or short-term installations. Today’s materials are lighter in weight, but still offer a level of durability while simultaneously providing a high-quality print that any big box brand would be proud to use to promote their goods and services.

When the right material is chosen, there are endless possibilities. Standees can take the shape of the more traditional shelf-like product holder or become 3D representations of animals, food, or transportation vehicles. Customers willing to step outside of their comfort zone are ideal for these types of applications. PSPs with the capability are in line to reap the rewards. Combining sophisticated layout software-—see sidebar—and digital print compatible media yields high-quality graphics.

Click here to view the Rigid Ways Target Chart – an all-inclusive information resource!

Feb2016, Digital Output