Olivia Cahoon

By Melissa Donovan

In recent years, media manufacturers have created materials suited for window graphics that give the illusion of not being there at all. The graphics are so good in fact, it may leave the viewer to wonder if they are painted or printed on the window. Decorative by nature, they can also serve functional purpose.

Retail to décor—home and commercial—are ideal environments for window graphics. Offices in particular benefit from the opportunity. Despite the growing trend of open concept, work environments do still call for some enclosed spaces. Glass walls are an option, and leveraging aptly applied window graphics provides just the right balance between privacy and spaciousness.

Above: Source One Digital of Norton Shores, MI created window graphics–in addition to other applications–for Unilever’s corporate campus. A majority of the window film used was Lintec’s E-2200ZC, an optically clear PET film.

Bringing It All In
Based in Norton Shores, MI, Source One Digital is part of RC Productions. RC Productions began as an advertising agency in 1981. Increased demand for large format signage arose overtime. Outsourcing was the initial option, but finding a printer to meet its high-quality standards was difficult. In 1996, RC Productions acquired Signs by Jim, and that is how Source One Digital became the company it is today.

The print service provider (PSP) operates out of a 25,000 square foot facility, which is complemented by a 10,000 square foot warehouse, production, and fulfillment base located nearby. Serving customers throughout North America, Source One Digital offers extensive grand format digital printing and finishing capabilities. It is G7 certified, with an intense focus on hitting clients’ brand colors 100 percent of the time.

“The hallmark of Source One Digital is an unwavering dedication to deliver the highest quality product. Our staff is an experienced team of digital printing specialists and preflight engineers. We utilize the latest printing technology and achieve brilliant, consistent color across all projects,” shares George Atkinson, VP of marketing and sales, Source One Digital.

Clients include retailers, design firms, and sports and event organizations. Applications range from in-store signage, floor graphics, and vehicle graphics to awards and promotional products.

Optical Clarity
Ten percent of Source One Digital’s business involves window films. Increasingly used in commercial office spaces, medical facilities, and retail, according to Atkinson, custom window films allow for a range of both decorative and privacy effects. “Custom window films offer the ability to incorporate branding into the design and provide stunning results at a fraction of the cost of custom glass, adding interest and color to glass surfaces,” he continues.

The PSP regularly works with optically clear film from Lintec of America, Inc. It is preferred for its scratch resistance, high-quality print, and true optical clarity. The scratch resistance in particular allows the product to remain in good shape during installation, use, and removal.

To print on window films, Atkinson admits achieving the painted-on look requires just the right equipment. The company spent over a year traveling and meeting with manufacturers, and testing printers until it found the correct combination to produce a high-quality, custom window graphic. It is currently using a UV roll-to-roll printer configured specifically to its custom specifications.

Atkinson agrees that open office environments are trending, meaning more glass windows and walls are incorporated into office designs. “With more glass comes the need to reduce the fishbowl effect and create distraction and privacy effects to create a more enjoyable work environment,” he explains.

With this trend, the use of optically clear polyester films is increasing. Invisible where there is no color or graphic, these films still beautifully show color and fine detail, says Atkinson. He also believes they are much easier to install than intricate cut and weeded patterns.

Corporate Campus Windows
The PSP was recently part of the printing process for all of the window and wall décor found in Unilver’s new corporate campus located in NJ. Source One Digital was chosen for the job through its client, InnerWorkings, which was the on-site partner project manager.

Custom printed window films in all shapes and sizes were created for four different office buildings. Designs included distraction bands, full privacy effects, unique etched effects, and graphics that matched interior wallcoverings. The variety was one of the most exciting parts of the entire project, according to Atkinson.

“Window films are used more as a décor item similar to custom wallpaper. Designers look for more color, transparent, translucent, and custom privacy effects. Window and glass surfaces are becoming a focal point of interior décor in many ways and are decorated just like walls with custom printed graphics,” he shares.

The majority of the window film used on this project was Lintec’s E-2200ZC. A scratch resistant, optically clear PET film, it features a UV permanent adhesive with a 2-mil thickness. It is available in 61-inch by 150-foot rolls.

In addition to the window graphics, Source One Digital also produced custom printed wallpaper, magnetic material, and standard cut vinyl.

“Source One Digital was a great partner to work with on this project, as it understands the latest techniques in window films,” says Penny Simon, production manager, InnerWorkings. Install was completed by the InnerWorkings team, which commented on the dynamic colors, high print quality, and easily installable materials.

Committing to New Trends
Source One Digital is committed to the growing window media trend. With job after job under its belt, its expertise in window films is unmatched thanks to a combination of quality media and specially configured printing devices.

May2018, Digital Output

By Olivia Cahoon

Outdoor floor graphics provide décor and directional assistance for advertising, athletic events, retail, and short- and long-term events. Unlike indoor floor graphics, outdoor media withstands temperature changes, precipitation, UV glare, and increased human and vehicle traffic. Commonly applied to textured surfaces like concrete and asphalt, outdoor floor graphics incorporate safety concerns and anti-slip properties.

Above: Ritrama’s Floor Talker base vinyl film is complemented by an embossed overlaminating film with anti-slip properties.

High Visibility
Outdoor floor graphics communicate to customers, clients, visitors, and the workforce while withstanding high-traffic areas. Digitally printed floor graphics are customizable by shape, size, and color to attract pedestrians and offer versatility across industries including retail, public spaces, and schools.

“They are highly visible to pedestrian areas and offer a way to communicate a variety of messages like promotional, safety, and logistical directions,” offers Jessica Stone, marketing specialist, Ritrama Inc. Digitally printed outdoor floor graphics include two components—the print media and overlaminate—used independently or together.

Sidewalk graphics, a popular form of outdoor floor graphics, display advertising messages on asphalt, concrete, and brick. Strong adhesives adhere to porous surfaces with easy removal, anti-slip characteristics, UV protection, and abrasion resistance. They are applied near malls, concerts, sports venues, and special events like marathons and parades, comments Jonathon Gerlach, U.S. marketing manager, intermediate films, 3M Commercial Solutions.

“Outdoor floor graphics offer businesses and brand owners an opportunity to extend messaging and take advantage of unused real estate with areas of high pedestrian traffic,” explains Gerlach. In retail, they communicate short-term sales and upcoming events, especially in areas cluttered with advertisements and visual promotions. “Graphics placed outside of the store entrance may be the first thing a customer sees and thus the messaging could have a greater impact,” he suggests.

According to E. Tyler Reich, director of product development, Que Media Inc., companies pay a lot of money to make their advertisements obscure so people remember them. “This is because we are inundated with advertising everywhere we go, which desensitizes us to our surroundings. The placement of an advertisement in a non-traditional ad space helps to separate a company’s advertisement from the competition,” he continues.

Temporary safety messages are displayed as floor graphics for workers in construction and manufacturing. “It’s as simple as the fact that while people walk, they focus on the ground in front of them,” admits Kevin Beckerdite, product manager, surface protection and graphics, SWM International. Used for short and long term, floor graphics offer easy removal and directional assistance.

The safety instructions applied to the floor appear in factories, plants, and production facilities. “Floor graphics are used in manufacturing facilities to get workers to pay attention in potentially dangerous places,” says Jeff Stadelman, marketing manager, distributor products, Mactac Distributor Products. Pedestrians look down while walking, which results in an increasing number of vehicle and pedestrian accidents. So much so, Stadelman says many outdoor malls use floor graphics and directional signage at sidewalk and roadway intersections.

Outdoor Media
While floor media is available for indoor and outdoor use, outdoor-only products address unique ground surface challenges like dirt, debris, texture, and environmental elements.

Unlike outdoor surfaces, indoor floors are smoother with materials like wood, linoleum, tile, and finished concrete that require less costly standard adhesives. “Products designed and qualified for outdoor surfaces are highly engineered, which increases price,” explains Larry Delesio, graphic media business manager, DAF Products Inc.

Outdoor floor media and mounting adhesives are designed for difficult surfaces like concrete, carpet, or tile. To select media with proper adhesion strength, Brian Biegel, marketing communications specialist, D&K Group, advises print service providers (PSPs) to know the graphic’s intended location prior to installation. “Outdoor floor graphics are typically exposed to more UV light and adverse weather than an indoor graphic, anything placed outside must be able to withstand these conditions,” he continues.

In addition to graphic protection, weather-resistant floor media also protects pedestrians. Darren Speizer, VP, sales and marketing, Drytac, warns that media and overlaminates become slick with rain or snow and pose a fall risk—leaving business owners and PSPs responsible. Outdoor floor media with conformability properties mold and adhere to rough surfaces to prevent injury and damaged graphics.

To keep graphics and pedestrians safe, outdoor floor media requires durability in several forms. Shaun Jaycox, product manager, S-One Holdings Corporation, recommends PSPs consider floor media strong enough to withstand direct sunlight, ice, and human traffic. “Intense heat can turn a graphic into a soft ooze and ice can cause it to crack, chip, or flake,” he explains. Digitally printable media features temperature use ranges between -5 and 200 degrees Fahrenheit.

The graphic’s intended geographical region determines the type of durability required. According to Jaycox, some multipurpose products don’t hold up to application surface or location needs, especially outdoors. Outdoor floor materials should include weather-ability for light, moisture, temperature, and print surface based on the graphic’s location. To extend the graphic’s life and meet safety regulations, Jaycox recommends a protective laminate and bond adhesive.

Outdoor floor media can be used for indoor applications but is usually not preferred. “They have a price premium that makes it undesirable for the indoors as they can be twice the cost comparatively to indoor floor graphics,” shares Speizer. In addition to higher costs, outdoor media is designed with strong adhesives to keep graphics in place.

“Many outdoor products have aggressive adhesives that are removed with a pressure washer or heat gun and a blade,” says Mark Six, technical product manager, wide format solutions, The Mosaica Group. Most retail locations don’t use strong adhesives for indoor use because removal is messy and difficult, he believes.

To keep outdoor floor graphics in place, floor media should be short and thin. “People tend to drag their feet a lot so the more thick or tall a floor graphic is, it’s more likely someone will trip on the edge and help peel it from the floor,” adds Six. Digital media for outdoor applications typically ranges in thickness from four to 6.5 mil.

Safety First
Floor graphics are applied in one- or two-step systems. A one-step system includes a durable vinyl media while two-step systems use a durable media and laminating film. Laminating films protect printed images from outdoor elements like weather and foot traffic.

PSPs prefer two-step systems for the added durability required in outdoor use. Although some media does have features like slip certification and UV protection, Cory Jones, associate product manager, wide format equipment and supplies, GBC & SEAL, believes the overall application is more durable with an overlaminate protecting traditional vinyl media.

Overlaminates for floor applications offer scruff and scratch resistance, transparency, and durability to withstand weathering. Before selecting an overlaminate, it’s important to know if it is intended for outdoor use. Indoor overlaminates offer resistance to dirt and durability for cleaning floors but don’t apply as well to concrete and asphalt like ceramic, marble, waxed vinyl, or wood floors.

“Two-step systems are really more desirable because they last longer and stay more vibrant and unscathed during the life of the advertisement,” explains Reich.

A one-step method can be efficient for short-term outdoor floor graphics, says Stadelman. “If the graphic is down for a week, some wear from foot traffic will occur but it’s minimal.” He recommends graphics used for more than three months include a slip-resistant laminating film for protection.

It’s important outdoor floor graphics prevent and protect consumers and pedestrians from falling or tripping. Property owners face high risks for inadequate flooring, which affects the PSP’s reputation as well. Anti-skid laminates offer added protection and walking friction.

Textured flooring surfaces with enough anti-skid properties don’t require an additional anti-skid laminate, offers Craig Campbell, market manager, graphic products, ORAFOL Americas. “PSPs should perform their due diligence and check with local municipalities to learn about specific regulations,” he suggests. For outdoor events, PSPs should verify insurance requirements with clients.

Testing procedures advance to improve durability and safety as new slip property risks are identified and better understood. “Anti-slip properties are even more important in exterior applications than in dry interior applications,” adheres Stadelman. It’s critical for media manufacturers, PSPs, and property owners to maintain new specifications and keep apprised of building code changes.

A Specialty Product
Considered a specialty product, floor graphics are found in locations like malls, schools, downtown areas, and zoos. With a presence in daily advertising and activities, floor graphics are becoming a popular means of advertising and décor.

Timothy Schoenbeck, wide format business development manager, Kernow North America, believes the everyday use of floor media should be a sign of how mainstream it has become. He offers, “you cannot go to a retail or grocery store and not come across some sort of floor graphic. Even now, seeing floor graphics in restaurants, sports venues, and even walking down the sidewalk is commonplace.”

Today, floor graphics offer more than retail advertising and special event décor. Schoenbeck says the newest trends and advancements in outdoor floor applications include three-dimensional characteristics, illusion graphics, directional signage, and marathon and 5K advertisements.

From a manufacturer’s standpoint, Campbell encounters floor graphics daily, however, the end user may not understand all the available opportunities that floor graphics offer. He sees it as an excellent method to increase the PSP’s value, educate clients, and find new business. “Advertising agencies and PSPs really see the value these graphics provide and the unlimited space to place an advertising message. This trend will likely put floor graphics as a must for any outdoor advertising campaign.”

Optimal Flooring
Before offering outdoor floor graphics, PSPs should fully understand the project, customer expectations, and requirements to successfully install in an outdoor environment, recommends Bill Rothe, national sales manager, Better Life Technology LLC. He suggests PSPs consider longevity, performance, minimum and maximum temperatures, weatherability, and adhesive.

“Outdoor floor graphic material should be easy to apply, durable, easy to remove, and weather resistant,” adds Rothe. To ensure a compatible media is selected, PSPs can run test trials for durability and appearance.

Matt Buckley, director of business development, wide format, GPA, says PSPs should consider the durability level to meet the customer’s expectations—whether the project is short or long term, and the location to ensure it’s a clean, dry surface at the correct temperature. Installing floor graphics during or after poor weather conditions, like in rain or snow, interferes with the graphic’s installation and impairs durability. Floor graphics should remain durable, visual, and intact for the client’s requested time.

Vehicle safety is tested on floor graphics placed in vehicle traffic. According to Buckley, most outdoor floor graphics endure light traffic, but if a vehicle turns on the surface, it creates more torque, which damages the graphic and causes it to lift. Floor media should be durable and strong enough to withstand heavy items without distortion or adhesion loss.

Wet environments not only pose safety risks but also affect the graphic’s visibility. In wet environments, Kylie Schleicher, product manager, Ultraflex Systems, Inc., explains that clear products can cloud with precipitation and recommends an opaque product with a printable first surface and top coat. Clear products also risk clouding under heavy sunlight and work best with opaque products. “Some clear vinyl products can blush in sunlight so it’s better to have a solid product with first surface printing,” she adds.

Floor Décor
Outdoor floor graphics effectively market limited time sales and upcoming events. Floor media for outdoor use features anti-slip properties and lamination to abide by safety regulations while protecting graphics from environmental elements, human traffic, and vehicles. Outdoor floor graphics provide strength and durability to create customizable floor décor.

Apr2018, Digital Output

By Elizabeth Quirk

Today, print service providers (PSPs) looking to enter into digitally printed packaging need to consider the automated routers and cutters required to successfully complete the process.

In this article, we discuss the end process of digital finishing for package printing and why digital, automated routers/cutters are a necessity for handling even the most robust packaging materials, like corrugated surfaces or substrates.

Above: Finished standees cut on a DGS router/cutter device.

Why Digital
Many PSPs already employ some type of finishing device, whether it’s a manual cutter or fully automated system. The strategy of entering into the digital packaging market is one of the methods PSPs can use to elevate their printed material from a commodity to a higher level price point. Any time a printed square or rectangle is post-processed with intricate cutting, creasing, or folding, it garners a higher profit.

By having a digital, automated router or cutter involved in the process, it makes the job easier and gives the company a competitive advantage. Plus, with the explosion of digital print as a viable technology, the industry benefits from shorter runs, more customization, and regionalization.

Heather Roden, strategic account manager, Zünd, believes this when she says the consumers in the North American market respond more readily to customized packaging, and marketers tend to keep campaign cycles shorter to retain buyer attention.

“Digital packaging is an ideal answer to these market demands. We have found the versatility and productivity of Zünd cutting systems to be advantageous to a variety of PSPs, including those who cut flexographic plates, coating blankets, prototypes, and short-run packaging,” adds Roden.

Automated routers/cutters provide better accuracy and end results compared to manual cutting. They permit perfect finishing for all rigid substrates, and for new or poorly trained workers, this is extremely helpful.

Aimee Heuschkel, director of marketing creative services, Gerber Technology, believes PSPs should invest in digital, automated routers/cutters because of the labor savings, improved quality of the finished product, flexibility, increased profit, and the ability to expand into new market opportunities—such as industrial part manufacturing.

“Plus, it provides the ability to accept jobs from other PSPs that don’t have digital cutters. The competitor becomes the customer,” suggests Heuschkel.

The versatility of these automated machines are crucial. Digital cutters accept multiple tools and are used for corrugated, cardboard, wood, plastic, cutting, routing, and creasing.

Help at the End
The end result is not the print itself, but a finished product that has been properly cut, and perhaps sealed or laminated, before it is delivered to a client. With wide format printing, and materials from digitally printed fabric, to plastics, to wood, and even metals, routers/cutters fit the bill.

It’s much easier for a PSP to take a job off a printer and immediately place it on a digital finisher, overseen by software that drives the printer with a PDF file and finisher with a corresponding cutting file, admits George Folickman, director of business development, digital finishing, Esko.

“Plus, there is no waiting time for rush jobs, very accurate and clean work can be done with the right finishing table,” he adds.

With a digital, automated router/cutter PSPs easily provide a complete end-to-end solution. From print to finished product; turnaround time is shortened,.

Roberto Rodriguez, president, DGS – Digital Graphic Systems Inc., believes a digital, automated router/cutter has a fast return on investment (ROI) since it lets the PSP sell applications with added value.

“On the other hand, it helps create three-dimensional (3D) structural designs, point of purchase displays, and trade show booths, which are not sold by the square foot. This increases the margins substantially. In the case of simpler applications, the equipment increases repeatability and efficiency in the production process,” explains Rodriguez.

A digital cutter is ideal for complementing traditional processes, for example digital prototyping. According to Josh Hope, senior manager, 3D printing and engineering projects, Mimaki USA, Inc., they can “help the agency or customer requesting the prototype to move from design to finished concept within minutes, using the exact packaging materials that are intended for final use.”

Roden describes prototyping as an area where digital cutting assists both traditional and new digital methods for creating packaging. “Designers can test shapes for functionality, appeal, material endurance, as well as structural support in protecting contents,” she continues.

Lastly, a digital, automated router/cutter allows the PSP to make unlimited shapes and structural elements with added value.

Guide to Buying an
Automated Router/Cutter
While in the process of looking for a cutter/router, Hope suggests keeping a close eye on functionality and size. Pay attention to if it has the necessary functions to cut/trim the majority of jobs, or if the cutter needs to be at least as big as the largest job, making office space a consideration as well.

Avoid the “build and they will come” way of doing things, advises Javier Mahmoud, VP of sales and marketing, CET Color.

“Make sure you first have the work to feed a cutter. Also, automation is two staged. One, once the product is cut, the belt that the product was on will advance so you can load the next piece. Stage two is automated media handling. This can always be added onto later,” he explains.

For those looking for a table to cut corrugated or heavy-duty substrates, the strength of the platform and lifespan are important considerations as well, shares Folickman. “The tools need to be well tested to provide v-notch cuts to honeycomb materials, as well as offering specialty tools for cutting materials such as foam.”

For PSPs, software matters as well. Robert Marshall, director of marketing, AXYZ International, argues a fast and accurate camera registration system is an essential to ensure perfect alignment of printed materials within the cutting program.

Folickman believes vendors that provide turnkey solutions offer a way for PSPs to be as efficient as possible with their equipment because of its structural design and workflow management capabilities.

“Esko’s ArtiosCAD, for instance, provides PSPs a lower bar of entry for packaging and displays. You do not need to be a seasoned packaging engineer to offer creative designs. PSPs can purchase a design, add graphics in Adobe Illustrator, and very quickly show virtual 3D or hard proofs to the customer,” he explains.

Steve Aranoff, VP business development and marketing, MCT Digital, believes that its company’s all-in-one approach for laser cutting and sealing of fabric, laser cutting of acrylic, etching on many materials—even ones that cannot be cut, such as ceramics and stone—on a single system with full automation capability, puts a PSP into the position of virtually never having to turn down a job.

“While the VersaTech2 is not a so-called entry-level solution, the fact that cutters last 12 to 15 years compared to an inkjet printer’s three years, means that operators can be trained to use—and be comfortable using—a more versatile cutter for a longer period of time. Many customers have found that a VersaTech2 can be justified on doing just a week’s worth of cutting in a month, but many with higher throughput requirements can pay off a system in seven months or less” adds Aranoff.

Heuschkel explains that when looking at a digital, automated router/cutter and its ROI, many different analyses need to be done. Consider cut quality, ease of file conversion, time to cut, reliability, ease of use, ability to expand capabilities, footprint, software compatibility with existing and future software, file import and export, and ability to present print/cut concepts to customers for proposals.

Robotic Arms
A combination of router/cutter and material handling technology has advanced immensely over the years, and is now able to be leveraged in terms of automation.

“To compete in this environment, graphic industry finishers should be able to work faster and offer more flexible cutting particularly in their use of harder, rigid sheet materials. Hybrid technology has been designed to respond to these growing needs,” argues Marshall.

Heuschkel agrees, saying it seems like a no-brainer to automate more steps in the process. But warns the cost and ROI of the automation need to be weighed against other investment opportunities.

Manually handling large sheets is tedious, and assuming that production levels are adequate, utilizing an operator is less efficient and cost effective than a machine.

Folickman believes the technology of finishing tables has reached a point where there are diminishing returns trying to increase machine speed. However, he argues, “there are still extraordinary efficiencies by reducing the inactive time a table experiences as it waits for a finished sheet to be removed, replaced by a new one.”

“For instance, utilizing the multiple vacuum zones on a finishing table, a robotic arm can keep a table cutting almost every second. While a sheet is removed and replaced on one side, it immediately begins cutting the robotically placed sheet on the other,” explains Folickman.

Advances in robotic technology minimizes worry of cutting mistakes. The downfall of this, however, are companies whose print capacity is not enough to keep the automation tools working. In this case, the cost of entry and the space requirements can pose a challenge.

Zünd offers two solutions—a sheet/board cutter that utilizes vacuum grippers to advance paperboard/cardboard, and the Board Handling System – BHS, which is fully automated for corrugated materials in conjunction with a dual-beam 3D system.

“Because our corporate philosophy is to have an open system, we integrate with a variety of automation enhancements involving robots. For example, packagers can systemize board feeding via a robotic arm picking up sheets from a completed printer skid and placing them on the cutter for processing. Because robots can be programmed to sort pieces into different piles, this makes post-process kitting even easier,” says Roden.

End Process
Printing technology has changed considerably in recent years. Rather than be limited to printing on paper and vinyl, it’s now possible to print directly to a range of different substrates. Traditional print finishing tables employing only high-speed knife tools are no longer sufficient. In order to see the end process of digital finishing for package printing go smoothly and successfully, PSPs should weigh the benefits and add digital, automated routers/cutters into their shop.

Apr2018, Digital Output

By Cassandra Balentine

Wide format graphics make a big impact. Beyond traditional signage, innovative brands look at ways to maximize promotional space. The craft beer industry is booming, and many breweries open their facilities for tours and tastings. These environments represent a great opportunity for brands to connect with loyal customers—who will often drive for hundreds of miles and wait in line for hours.

One VT-based print shop worked with a local brewery to enhance its new tasting room with custom graphics. Here, the graphics are part of the experience. With a little creativity and technical know-how, the opportunities to make a lasting impression with wide format graphics are endless.

Above: The Alchemist Brewery and Visitor’s Center in Stowe, VT provides samples of beer for tasting, retail beer sales, and merchandise. The company approached Yipes! of Williston, VT with the goal of making its holding tanks at the Stowe location resemble its popular beer cans. Eco-solvent Roland printers and media from 3M were used to complete the project.

The Print Shop
Established in 1985 by Marshall Learned, Yipes! Auto & Graphics is an automotive and graphics provider based out of Williston, VT.

The company evolved from performing mobile pinstripe installations out of a Volkswagen Rabbit at nearby car dealerships. “The 1980’s were a popular pinstripe period in VT and business was booming,” says Craig Maines, graphic department manager/creative director, Yipes!

The small mobile operation soon transitioned to a brick and mortar storefront and began offering vehicle accessories, cut vinyl, and large format printed graphics. In 2016 Stephen Ferreria, a local Vermonter, purchased the business and currently serves as its president. The facility is approximately 10,000 square feet and houses a staff of 21.

In addition to serving local automotive and printing needs, the business has a nationwide clientele. Its automotive division offers accessories for cars, trucks, and SUVs including remote car starters, bug guards, bull bars, trailer hitches, rain guards, window tints, seat covers, and sun roofs. Its graphics business includes promotional media, graphics design/branding, and paint protection film.

Printed graphics were introduced at Yipes! in the mid to late 1990’s. “The pinstripe business led to premade graphic installs, which led to plotter cut graphics, which led to the need for printed graphics,” explains Maines.

Yipes! operates a fleet of eco-solvent printers from Roland DGA Corporation to produce its wide format graphics. For finishing it employs Roland CAMM-1 GX and Graphtec America, Inc. devices to cut vinyl.

“We chose Roland for is solvent ink and print production software,” offers Maines. He says the equipment provides excellent speed, great resolution, and solvent ink that allows for fully utilizing printed reflective media.

The print provider relies on an array of software, including Adobe Creative Suite for design. For production workflow, it runs Roland VersaWorks production software as well as CADlink Technology Corporation SignLab VinylPro.

The Brewery
VT is home to many craft breweries, putting Yipes! in an ideal position to offer creative branding and promotional solutions for these companies.

Located in nearby Stowe, VT, the Alchemist is consistently rated one of the top craft breweries in the nation. Opened in 2016, the Stowe facility brews one of the company’s flagship beers, Focal Banger, as well as seasonal beers that rotate throughout the year. The Alchemist Brewery and Visitor’s Center in Stowe provides samples of beer for tasting, retail beer sales, and merchandise.

The company approached Yipes! with the goal of making its holding tanks at the Visitor’s Center resemble its popular beer cans. To produce the job, each tank consisted of four to six varying panels at 170 inches tall. “This allowed us to work around tank hardware obstacles and fit in the tight spaces around the tanks,” explains Maines.

The artwork was provided by the Alchemist’s art director and Yipes! tailored the artwork to fit the space and paneled it to contort around hardware without obscuring the client’s graphics.

The graphics were printed on 3M Commercial Solutions’ 3M Print Wrap Film IJ180mC and 3M Controltac Graphic Film with Comply v3 Adhesive IJ180Cv3-10, both laminated with 3M Scotchcal Gloss Overlaminate 8518. All panels were printed on the shop’s Roland printers with Roland Eco-Sol MAX 2 ink. The files were reworked and prepped in Adobe Illustrator and then printed through Roland VersaWorks software.

The Yipes! installation team performed the three tank install. “The only unique challenge that came up during install was at certain hours of the day the tanks would collect condensation, creating a difficult environment for backing paper removal,” admits Maines.

The approval process took just under one month. Following that, the Yipes! team needed to coordinate the installation with the Alchemist’s canning schedule, resulting in installation being spaced out over two weeks. Between approval, production, and install the inquiry came in around mid-October and the project was fully competed the first week of December.

“The project was a ton of fun. It was a great challenge that ended with the desired look and feel the Alchemist was shooting for,” comments Maines.

Brewing Success
It is an exciting time for print providers and brands. In addition to traditional signage, creative professionals are able to truly make an impression with the abundance of media options available today. Those willing to move outside of their comfort zone often produce excellent portfolio pieces that are sure to create a buzz.

Apr2018, Digital Output

By Cassandra Balentine

Wallcoverings present a high-impact branding opportunity. Retail shops and restaurants let their imaginations run wild, as the creative potential for point of purchase (POP) and display wall graphics is limitless.

Depending on the media selected, wallcoverings serve short- or long-term needs with varying installation requirements. This type of graphic is popular for POP and display due to its relatively inexpensive ability to transform a specific area and allow maximum use from a previously unused space.

“Wallcoverings can change an interior space instantaneously, adding dimension and texture to a plain environment,” comments Jaimie Mask, product specialist, S-One Holdings Corporation.

They brighten and energize walls, rooms, or displays. “Using digitally printable wallcoverings is a relatively inexpensive way to add personality and yet a professional way to upgrade a display,” shares Jeff Stadelman, marketing manager, distributor products, Mactac Distributor Products.

Above: Mactac wallcovering offerings are pressure-sensitive, adhesive-backed vinyl.

Display and POP
Custom wall décor is more popular as designers create unique spaces for consumers in stores, hotels, fitness centers, restaurants, schools, and healthcare facilities. “Companies execute branding, corporate culture, or marketing promotions easily by creating specialized wall and environmental graphics. The films are enhanced to reflect color better than ever and easier to install,” explains Cindy Richards, regional technical specialist, Avery Dennison Graphics Solutions.

Matt Buckley, director of business development, wide format, GPA, says versatility is a big advantage of wall graphics. “They can be changed up for different seasons and promotions, or be left up for longer periods if that’s what the client is looking for.”

Wallcoverings have revitalized the POP space, allowing advertisers to make an advertisement appear as a permanent installation even though it is still fully removable and replaceable. “Permanent installation advertising has always given a product that regal or high-quality look and feel. Now this can be accomplished without the expense of a permanent installation via wallcoverings,” recommends E. Tyler Reich, director of product development, Que Media Inc.

Darren Speizer, VP of sales and marketing, Drytac, adds that wallcoverings help elevate the overall look and feel of a space. “Wallcoverings give retailers the ability to enhance their space and convey their brand message in such a way that traditional signage cannot.”

It’s an exciting time for retailers looking to create fresh, inviting environments that captivate and motivate. “Manufacturers want POP options that stop traffic, even if just for a second,” admits Daren Silverstein, president, The CLI Group. “They can reinforce quality points, scream the brand, or simply flood the area with brand images and colors that engage the customer.”

Jonathan Gerlach, U.S. marketing manager, intermediate films, 3M Commercial Solutions, sees a growing trend of a two-pronged approach with POP wallcoverings. “Long-term graphics are placed on the wall and short-term graphics are layered on top and switched out as necessary.” With proper lamination this approach can be cost effective and efficient. He says it’s key to use an overlaminate on the base graphics that can be wiped down and cleaned between applications.

Timothy Schoenbeck, wide format business development manager, Kernow North America, adds that further technical improvements on wallcovering materials offer solutions for changing designs as well as features like protection against mold and bacteria.

Printing and Installation Tips
PSPs should consider the application and the environment where a wallcovering will eventually be installed.

Kylie Schleicher, product manager, Ultraflex Systems, Inc., points out the importance of media durability and longevity of the applications. In terms of durability, many people may run their hands along the graphics. In terms of longevity, determine if the graphics should receive a top coat or laminate.

“Wallcoverings are manufactured in several ways and the end application may dictate the type of substrate used,” suggests Eric Tischer, president, Verseidag US. For instance, in high-traffic applications or restaurants, vinyl/coated wallcoverings are typically chosen. In this case, a more durable substrate and ink may enhance the longevity.

Mark Shaneyfelt, director, sales and marketing, printable textiles, Aurora Specialty Textiles Group, Inc., says understanding the specific installation challenges are important to a successful project. How long will the product be up? What kind of traffic is expected for durability, ease of removal, and cleaning?

Mask suggests considering any environmental requirements in the area where the graphic is planned like fire ratings, Greenguard, LEED credits, and REACH compliance.

The wall itself also plays a role. Tyler Pacheco, product marketing communications manager, Sihl Inc., says the surface the media is mounted on can change the performance and aesthetic of the media if not installed correctly.

“Walls are rarely completely smooth and many materials allow the use of heat to promote adhesion and ensure a solid bond with the wall surface. Because most walls are never cleaned and tend to be a little dusty or grimy, the wall should be tested for adhesion and cleaned before application,” recommends Buckley.

Lily Hunter, product manager, textiles and consumables, Roland DGA Corporation, believes that bumpy walls require higher adhesion than smoother walls. And permanent adhesive is preferred for longer term applications, whereas removable media is a better choice for graphics that are changed frequently.

Consider whether the paint on the wall has low or no volatile organic compounds, what the finish of the paint is, and how long it has been since the wall was painted, advises Richards. “It is important to test all surfaces for proper paint surface finish, paint outgassing, and surface to substrate adhesion and include this in the pricing and time considered for an application estimate.”

Reich suggests running a test swatch on the surface before printing and installing. “It is crucial for print shops to test the media they use—at least a 24×36-inch swatch to ensure the adhesive can hold the weight of the media—before spending the time and money on ink and installation.”

For traditional glue and paste wallpaper installations, “make sure that the wall is prepped with a primer and allowed to dry according to the manufacturer of the primer and paste. This will help avoid bubbles and ensure a smooth finish on the installation,” recommends Anthony Pappalardo, sales manager, North America, Dickson Coatings.

Depending on the media selected and the goals of the application, installation could be simple or complex.

Dennis Brunnett, technical service specialist, FLEXcon, explains that the right media selection may depend on the installer. For non-professionals the product needs a less challenging install. Aspects like thicker films and air egress liners make installs simpler for novices.

“When it comes to wallcovering media, the biggest concern is the actual installation process. Many beautiful printed wallcoverings end up failing because the wrong product was selected for the specific application and wall type,” admits Hunter.

Heather McCusker, wide format product line manager, Agfa Graphics, agrees and says that finding an installer good with handling wallcoverings is sometimes the hardest part of offering this service.

“While many people believe that a standard self adhesive is a simple, cost-effective option, you’ll find that these products are more difficult to install than products specifically designed for wall applications,” cautions Speizer.

Tips and Tricks
In addition to the factors discussed above, wallcovering media providers share tips and tricks for a successful wallcovering.

Silverstein says success is often a matter of collaborating with the designer to develop and edit patterns to minimize material requirements with the aim of saving the client money.

Buckley shares that most products print easily, similar to materials used for other surfaces, such as windows. However, it is important to pay close attention to the position of copy and images for tiling and to allow extra space for overlaps and working the material at the top and bottom.

McCusker agrees, adding that it is not recommended to butt the seams together.

Pappalardo explains that most wallcovering fabrics are 40 to 54 inches wide and need to be seamed. “Make sure the graphic material you use does not shrink or stretch. This creates gaps in the graphic that can be unsightly.” He adds that seamless options are available.

“Using a cheaper material with even a small risk of shrinkage will be a no go, especially as wallcoverings are applied with butt joints,” recommends Schoenbeck. “Using a too thin material will not offer the required resistance for commercial use especially in high-traffic areas. If you need an easily changeable wallcovering you’ll need a non-woven based product.”

Pricing the Project
Wallcovering costs range from economical to high end. “PSPs should price their offerings accordingly. Determining the prices of the wallcoverings is just like pricing any other product or service. There are a number or factors you should consider, including the market, the difficulty of the installation, your material and labor costs, and the expectations of your customer,” suggests Hunter.

Walter Gierlach Jr., president, Photo Tex Group, Inc., points to pricing depending on the size of the job, who is doing the installation, and number of placements. Also, if the graphic is a repeat image and whether or not it requires contour cuts.

Buckley recommends considering the cost of the material, length of the display, proper time to clean and prepare the wall surface, and if trained/qualified installers are needed when pricing out a wallcovering job.

While material costs are always a factor, it is encouraged that customers look at the project costs in totality, says Speizer. “For example, if your material varies from $0.30 per square foot, but your labor goes from $1 a square foot to $3, how important is the material price in the grand scheme of things? To take it a step further, what if your application needs can be met with materials that don’t require professional installation?”

Silverstein cautions against aggressive pricing. “It may be part of the equation, but we feel that there has to be a balance of quality, prompt delivery, and great communication during every step of the production and delivery process. Results count. Keeping promises count, too. Of course, having the ability to print on a range of materials provides the buyer with greater choice. Above all, having knowledgeable personnel available on the phone when changes, issues, or problems arise.”

“Sell the value, not the price and educate your customer on the variety of options out there. Instead of quoting on square foot cost, talk to them about good, better, and best strategies for their graphic approach when building a job. Place an emphasis on the end result and how it will elevate their space,” encourages Gerlach.

Mask warns against comparing street pricing for pre-printed wallpaper you can find in retail to your custom printed digital wallcovering. “It is not an apples to apples comparison. First, the digital wallcoverings base you choose may have a different construction. Second, it’s likely your client came to you because they want a specific image on their walls. If they could find the same thing cheaper in retail they would have already done that. When comparing digital to digital, know your competitive advantages, which include print technology features and benefits, product type, performance, and your ability to service your customers.”

Product Differentiation
Since wallcoverings are a high-value application, competing on price is not always the best solution. Therefore, PSPs need to differentiate themselves in other ways.

Schoenbeck suggests PSPs can stand out by showing a real understanding of the needs and expectations of their customers, choosing the best suitable product for that job, promoting the specific features of the materials, and working on the quality profile of their materials.

Pacheco says PSPs should provide a variety of products. “This gives the provider options and prevents the need of a competitor.”

“PSPs need to be as versatile as possible with regards to their substrate product offerings as well as offer premium printability regarding dpi, vibrancy, and durability,” recommends Tischer. Finishes, spot or post coatings, quick turnaround times, and a flawless installation are other ways for PSPs to differentiate their wallcovering products and services from the competition.

Many wall graphics are associated with advertising or marketing, and therefore should be high quality. “A brand spends more money to enhance their brand and if the graphic looks fuzzy, is falling off the wall, or too shiny, that defeats the purpose,” explains Brunnett.

Fabric and effects like metallic provide unique aesthetics. PSPs can differentiate themselves by providing wallcovering options along with other display solutions, advises Shaneyfelt.

When selling it is a good idea to focus on the design and aesthetic appeal of the application. “The texture of the material matters as well,” shares Pappalardo. “Many customers are drawn to a textured fabric appearance of the wall.”

Quick turnaround is the number one factor of differentiation, according to Bill Hewitt, marketing manager, Yupo Corporation. “Anyone can find a better price, but delivery and superior service are winners over time. If you can also offer unique features that others do not have, this helps generate more sales,” he continues.

Brunnett says quick delivery, damage-free material, and appropriate price are expected. If a PSP wants to differentiate themselves, they must fill the needs of the customer—whatever they are—and do it for a premium.

Sales teams should bring samples and swatchbooks to show clients the options and materials. “Sample rolls are available for test prints. Doing some installs in your own office space is a great way to show wallcoverings while practicing install,” points out McCusker.

Type Considerations
Several features differentiate wallcovering media types. Popular choices include vinyl and fabric. Installation is another consideration, adhesive-backed and pasted or glued options are available.

Selecting the best media for the job comes down to flexibility. While vinyl provides durability and cleans easily—especially in high-traffic areas—fabric offers texture and dimension, creating depth and warmth to some designs, comments Silverstein.

“While vinyl is less expensive, it often appears flat like a decal was put on the wall. Fabric is usually more expensive, but it provides a softer, richer look,” adds Buckley.

Tischer notes that vinyl is durable and long lasting due to its composition, and is best used in high-traffic applications and restaurants due to its ability to be cleaned.

Fabrics and heavier gauge vinyl are ideal for not-so-smooth walls, as they help disguise some of a wall’s imperfections, explains Brunnett.

Speizer says vinyl wallcoverings tend to be easier to print on and produce a consistent color gamut. They also provide stronger durability in display and POP environments where other materials may not hold up to the everyday wear.

Pappalardo believes that fabrics are lighter weight, making them easier to handle during installation. They have a softer finish appearance and a dimensional stability. “Textiles reduce glare and create a look of high quality,” he adds.

Fabric wallcovering media tends to be more design related and provide more versatile finishes and weaves, says Tischer. While it is not as durable as vinyl products it represents natural textile.

In terms of installation features, adhesive-backed wallcovering is popular. Mask shares that pre-pasted or adhesive-backed wallcovering media offers an ease of installation and a shorter term solution in some cases.

Adhesive-backed wallcovering products present a quicker installation process for the PSP or installer, but it is typically a higher price point, recommends Tischer.

“Adhesive-based removable vinyl can be removed cleanly, providing the opportunity to go back in with additional graphics without the worry about costly damage to the wall during the removal process,” suggests Gerlach.

Lisa Schultz, operations manager, DreamScape, explains that wallcoverings that are self adhesive, repositionable, and removable are ideal for short- to mid-term POP applications. Installations that require a longer display time benefit from the durability and longevity of traditional paste-and-apply vinyl or PVC-free media.

Self-adhesive, vinyl-only films should be a no-go as a multi-panel wallcovering except for very short term, as it will inevitably shrink after time, especially as 100 percent of the surface is printed and usually with high ink load, advises Schoenbeck.

Glue pasted install is generally more permanent that adhesive-backed applications.

“Materials to be pasted offer the PSPs the freedom to choose the correct paste designed for the wall that will be covered. Pasting the wall is the best solution for accurate and fast positioning of the panels. The removability of the material is also definitely more likely to be given on a pasteable, non-woven wallcovering than on any self-adhesive substrates,” continues Schoenbeck.

Wall Options
Wallcoverings offer retailers and restaurants a unique option for POP and display graphics. A range of media choices allow for unlimited creative possibilities. However, to ensure success PSPs must select the best media for the environment and closely follow installation guidelines.

Apr2018, Digital Output