Whether you’ve wrapped a thousand stadiums or just a handful, there’s always something new to learn. There’s always new mistakes to make because there’s always unexpected challenges you’ll face. The key is learning from them and applying them to your next job. That’s what Gary Lucke, owner of a Fast Signs franchise in St. Petersburg,...
http://supply55.com/blog/2013/06/a-titan-sized-wrap-wrapping-the-home-of-the-tennessee-titans/
Tuesday, June 25, 2013
A locomotive wrap in California demonstrates the value of prep work
Wrapped Graphics might not be faster than a locomotive when it installs vinyl, but it has applied vinyl to a fast train. Wrapped Graphics, a wide format graphics provider headquartered in Stockton, Calif., wrapped a full-size commuter train for Altamont Commuter Express, a passenger rail service that runs between Stockton and San Jose, Calif. San...
http://supply55.com/blog/2013/06/a-locomotive-wrap-in-california-demonstrates-the-value-of-prep-work/
Monday, June 24, 2013
Successful sign making depends on effective visual communication
Signs have many functions, but POP signage is designed to advertise a product at the location in which it’s displayed. Experts say effective POP signage is a critical component of a merchandising program. According to the Small Business Association, effective POP signage develops a memory for a location of the products or services, reinforces a...
http://supply55.com/blog/2013/06/successful-sign-making-depends-on-effective-visual-communication/
Friday, June 21, 2013
Small Colorado Shop Wraps Up Success
It all began when his customers starting requesting full-color prints instead of just cut vinyl. Reynolds didn t have a large format printer of his own, so he outsourced the jobs. The quality was so low and the price so high that he decided to invest in his own printer two years ago. As the proud...
http://supply55.com/blog/2013/06/small-colorado-shop-wraps-up-success/
Thursday, June 20, 2013
A locomotive wrap in California demonstrates the value of prep work
Wrapped Graphics might not be faster than a locomotive when it installs vinyl, but it has applied vinyl to a fast train. Wrapped Graphics, a wide format graphics provider headquartered in Stockton, Calif., wrapped a full-size commuter train for Altamont Commuter Express, a passenger rail service that runs between Stockton and San Jose, Calif. San...
http://supply55.com/blog/2013/06/a-locomotive-wrap-in-california-demonstrates-the-value-of-prep-work/
Wednesday, June 19, 2013
Vinyl Techniques: Considering Environmental Conditions
While an indoor facility with controlled temperatures is an ideal atmosphere for vinyl application, that is not always an option. Many smaller shops do not have garages large enough to hold vehicles and storefront windows are subject to external temperatures.
All cut, weed, mask and release operations are subject to the conditions of the environment. If the temperature is too hot or too cold, if the humidity is too high or too low, then the results of your application could vary greatly.
“The temperature of the adhesion, the vinyl and the substrate make a huge difference,” says Jeff Stadelman, technical marketing manager for MACtac, a manufacturer of pressure sensitive adhesive products. “Since these things are affected by external temperatures, you need to be wise about how you store vinyl and when you apply it.”
Starting with Storage
Even before you begin to apply vinyl there are environmental conditions that could hinder your success. Just as vinyl films are temperature sensitive during the application process, they are also temperature sensitive while in storage. If you have not stored your materials in the appropriate environment, then you may have damaged the film.
Vinyl is delivered in rolls and these rolls should always be stored in a cool, dry place that is protected from sunlight. The storage temperature should not exceed 86 degrees Fahrenheit and the rolls should be either suspended or stood on-end on the roll blocks provided. The length of storage time is also a consideration. Most manufacturers don’t recommend storing the film for more than two years.
“Before processing, the self-adhesive films should be accommodated to the humidity and temperature prevailing in the processing area,” says Julio Burgos, product specialist for Oracal, a vinyl manufacturer in Jacksonville, Fla. “Extreme variations between storage and processing conditions could cause the protective paper to shrink or expand, leading to insufficient flatness of the self-adhesive material and dimensional changes in the cuts.”
Application Ranges
Most adhesives have an application range capability that falls somewhere between 50 degrees Fahrenheit minimum and 90 degrees Fahrenheit maximum.
If the temperature is too cold, then the adhesive will not stick. By contrast, if it is too hot, then the adhesive becomes overly aggressive. The same holds true for the vinyl itself. If it is too cold, then the vinyl becomes stiff and less flexible. If it is too hot, then the vinyl softens up and becomes difficult to handle.
Finally, the temperature of the substrate is a factor. If the surface is hot to the touch, then it is probably over 90 degrees Fahrenheit. Putting vinyl on substrates that are too hot or too cold will result in the adhesive getting either gummy or brittle. Any which way you cut it, applying outside the recommended temperature ranges reduces the vinyl’s ability to perform.
“If you are in Canada in the wintertime, then you are not going to be able to go outside and apply some graphics because it’s just too cold,” says Stadelman. “By the same token, if you are in California or southern Florida in the summertime, then you are not going to be able to go outside and apply graphics very easily.”
Temperature Tips
Since not all installation work can stop during the winter time, some installers will use RapidTac II Application Fluid to apply vinyl to glass in cold weather, but even then wet applications should only be attempted when temperatures are at least 64 degrees Fahrenheit.
If you have an indoor garage area that you can use for installation in extreme cold, then you may use portable heaters to warm the temperature. When installing vinyl on vehicles, it is important to remove any accumulated snow on the top of the trailer roof before pulling it into the shop. This will eliminate water dripping off the roof edge onto the vehicle.
Heat can soften the vinyl and ultimately lead to vinyl failure, according to Molly Waters, spokesperson for Avery’s technical marketing department. “When you get into the warmer climates, as you are applying that material may begin to stretch,” she says. “The pre-mask will help limit the vinyl from stretching.”
Humidity, Dew, Condensation and Rain
Of course, it’s not to difficult to discern the problems associated with applying in the rain, even a slight drizzle. Be sure to thoroughly clean the surface before applying. Simply drying the rain off the substrate is not sufficient since there are properties in rain water that could act as contaminates. (For more information on how to ensure contaminant-free substrates, read our article entitled “Preparing Surfaces for Vinyl Installation.”)
There are also challenges associated with applying to vehicles in humid environments or where dew or condensation has set in. Ideal environmental conditions are a relative humidity level between 50 percent and 60 percent.
“Humidity is a big factor in applications. Even indoors, if you are not in a controlled environment and it’s hot and humid in the summertime then you are going to have some problems,” says Stadelman. “Humidity affects the liner that the vinyl is on. It also leaves a little moisture on surfaces and makes them a little more difficult to work with. Just because you don’t see the humidity doesn’t mean it’s not there.”
Experienced installers will also tell you to avoid the morning dew. As the temperature warms up in the morning, the heat of the air in the ground creates condensation. If you have condensation on your adhesive, then it’s not going to stick very well. In fleet applications, the condensation will stay under the rivets much longer than in flat areas. So if you lay vinyl down in the morning dew you will trap moisture under the graphics.
“Most guys will not install early in the morning because of the dew and condensation,” says Chuck Bules, tech service manager for Arlon, a vinyl film manufacturer in Santa Ana, Calif. “Certainly in some places along the coast where they get a lot of marine layer, you won’t see installers working until 10 a.m.”
Post Application and Removal
The environmental considerations do not end after the vinyl is applied. There are also precautions in the immediate period post-application and when you remove vinyl.
“Avoid any significant drop in temperature during the first 24 hours after application,” says Burgos. “Should this occur anyway, we recommend treating the film with hot air from a heat gun or other heat source.”
If you are removing a film, the temp should be at least 68 degrees Fahrenheit. You should start at the left from the corner at a 180 degree angle. Using a heat gun is standard practice.
While these are general rules, be sure to check out the technical bulletins that accompany each film. Different manufacturers and even different films from the same manufacturer could have slightly different specifications.
As seen on signindustry.com.
All cut, weed, mask and release operations are subject to the conditions of the environment. If the temperature is too hot or too cold, if the humidity is too high or too low, then the results of your application could vary greatly.
“The temperature of the adhesion, the vinyl and the substrate make a huge difference,” says Jeff Stadelman, technical marketing manager for MACtac, a manufacturer of pressure sensitive adhesive products. “Since these things are affected by external temperatures, you need to be wise about how you store vinyl and when you apply it.”
Starting with Storage
Even before you begin to apply vinyl there are environmental conditions that could hinder your success. Just as vinyl films are temperature sensitive during the application process, they are also temperature sensitive while in storage. If you have not stored your materials in the appropriate environment, then you may have damaged the film.
Vinyl is delivered in rolls and these rolls should always be stored in a cool, dry place that is protected from sunlight. The storage temperature should not exceed 86 degrees Fahrenheit and the rolls should be either suspended or stood on-end on the roll blocks provided. The length of storage time is also a consideration. Most manufacturers don’t recommend storing the film for more than two years.
“Before processing, the self-adhesive films should be accommodated to the humidity and temperature prevailing in the processing area,” says Julio Burgos, product specialist for Oracal, a vinyl manufacturer in Jacksonville, Fla. “Extreme variations between storage and processing conditions could cause the protective paper to shrink or expand, leading to insufficient flatness of the self-adhesive material and dimensional changes in the cuts.”
Application Ranges
Most adhesives have an application range capability that falls somewhere between 50 degrees Fahrenheit minimum and 90 degrees Fahrenheit maximum.
If the temperature is too cold, then the adhesive will not stick. By contrast, if it is too hot, then the adhesive becomes overly aggressive. The same holds true for the vinyl itself. If it is too cold, then the vinyl becomes stiff and less flexible. If it is too hot, then the vinyl softens up and becomes difficult to handle.
Finally, the temperature of the substrate is a factor. If the surface is hot to the touch, then it is probably over 90 degrees Fahrenheit. Putting vinyl on substrates that are too hot or too cold will result in the adhesive getting either gummy or brittle. Any which way you cut it, applying outside the recommended temperature ranges reduces the vinyl’s ability to perform.
“If you are in Canada in the wintertime, then you are not going to be able to go outside and apply some graphics because it’s just too cold,” says Stadelman. “By the same token, if you are in California or southern Florida in the summertime, then you are not going to be able to go outside and apply graphics very easily.”
Temperature Tips
Since not all installation work can stop during the winter time, some installers will use RapidTac II Application Fluid to apply vinyl to glass in cold weather, but even then wet applications should only be attempted when temperatures are at least 64 degrees Fahrenheit.
If you have an indoor garage area that you can use for installation in extreme cold, then you may use portable heaters to warm the temperature. When installing vinyl on vehicles, it is important to remove any accumulated snow on the top of the trailer roof before pulling it into the shop. This will eliminate water dripping off the roof edge onto the vehicle.
Heat can soften the vinyl and ultimately lead to vinyl failure, according to Molly Waters, spokesperson for Avery’s technical marketing department. “When you get into the warmer climates, as you are applying that material may begin to stretch,” she says. “The pre-mask will help limit the vinyl from stretching.”
Humidity, Dew, Condensation and Rain
Of course, it’s not to difficult to discern the problems associated with applying in the rain, even a slight drizzle. Be sure to thoroughly clean the surface before applying. Simply drying the rain off the substrate is not sufficient since there are properties in rain water that could act as contaminates. (For more information on how to ensure contaminant-free substrates, read our article entitled “Preparing Surfaces for Vinyl Installation.”)
There are also challenges associated with applying to vehicles in humid environments or where dew or condensation has set in. Ideal environmental conditions are a relative humidity level between 50 percent and 60 percent.
“Humidity is a big factor in applications. Even indoors, if you are not in a controlled environment and it’s hot and humid in the summertime then you are going to have some problems,” says Stadelman. “Humidity affects the liner that the vinyl is on. It also leaves a little moisture on surfaces and makes them a little more difficult to work with. Just because you don’t see the humidity doesn’t mean it’s not there.”
Experienced installers will also tell you to avoid the morning dew. As the temperature warms up in the morning, the heat of the air in the ground creates condensation. If you have condensation on your adhesive, then it’s not going to stick very well. In fleet applications, the condensation will stay under the rivets much longer than in flat areas. So if you lay vinyl down in the morning dew you will trap moisture under the graphics.
“Most guys will not install early in the morning because of the dew and condensation,” says Chuck Bules, tech service manager for Arlon, a vinyl film manufacturer in Santa Ana, Calif. “Certainly in some places along the coast where they get a lot of marine layer, you won’t see installers working until 10 a.m.”
Post Application and Removal
The environmental considerations do not end after the vinyl is applied. There are also precautions in the immediate period post-application and when you remove vinyl.
“Avoid any significant drop in temperature during the first 24 hours after application,” says Burgos. “Should this occur anyway, we recommend treating the film with hot air from a heat gun or other heat source.”
If you are removing a film, the temp should be at least 68 degrees Fahrenheit. You should start at the left from the corner at a 180 degree angle. Using a heat gun is standard practice.
While these are general rules, be sure to check out the technical bulletins that accompany each film. Different manufacturers and even different films from the same manufacturer could have slightly different specifications.
As seen on signindustry.com.
Tuesday, June 18, 2013
Vinyl Hints: Don’t Damage the Vinyl During the Installation!
You’ve invested in top-notch vinyl. You’ve spent hours designing and printing your graphics. You’ve gathered your tools and prepared the substrate.
Now your customer is anxiously awaiting delivery. There’s no time for mistakes. You can’t risk damaging the vinyl or the substrate and you want to make sure the client doesn’t do damage over the long-term. But despite your best efforts, you cut a slit in the film that is sure to cause vinyl failure. It’s every busy installer’s nightmare.
If you’ve ever damaged your vinyl or the substrate, then you know how devastating that can be especially when you are working for a big client on a tight deadline. But taking certain precautions and taking your time can ensure that you don’t do damage to your materials or your client relationships.
Start with a plan
The first step to victorious vinyl applications is to determine the best way to approach the job. A haphazard approach to vinyl installation typically produces less than excellent results. If you are working on a large job, then be sure to gather a team of assistants before you begin.
“Put together a plan before you lay down the first piece of vinyl,” says Jeff Stadelman, technical marketing manager for the graphics product group at MACtac, a manufacturer of pressure sensitive adhesive. “You need to know in advance where the first piece of vinyl will go, where the second piece will go, and so on. I cannot underestimate the value of having a plan.”
So if you are installing fleet graphics, for instance, then you will logically choose to start on the back of the truck and work forward, overlapping an eighth to a quarter of an inch. In this example, a little forethought prevents potential damage caused by wind.
Without a plan, the strong winds that the truck encounters while traveling down the highway at 65 miles per hour would likely have gotten underneath the edge of the vinyl and pulled it away from the substrate.
Talking technique
Besides a plan, one of the best safeguards against doing damage to the vinyl or to the substrate is experience. Perfecting your technique will help you avoid those careless slipups that cost you time and money. (If you want to learn some tips and vinyl installation techniques, visit our “Vinyl” section for targeted articles that will demonstrate various dos and don’ts.)
“Many times vinyl damage occurs when the installer is cutting and handling the film,” says Stadelman. “There is a lot of technique involved in vinyl application. Installers need to learn how and when to use horizontal and vertical hinges.”
Nathan Franzblau, founder of the Professional Decal Application Association, an association of independent certified installation companies, is matter of fact about preventing vinyl damage. “Vinyl damage is a result of installers who are not properly trained,” he says. “They mess up a decal because they don’t know what they are supposed to do with it in the first place, because they didn’t prepare correctly, or because they had the wrong decal.”
Temperature considerations
Experts say attempting to apply vinyl in less than ideal weather conditions is just asking for trouble. Molly Waters, spokesperson for Avery’s technical marketing department, notes the dangers of applying film that has been subjected to high temperatures.
“If the film gets too hot, then it will stretch more,” she says. “So if you have to reposition the vinyl or if you are applying to a substrate that’s too hot, then it’s not going to line up and that can cause damage.”
Using the wrong tools
Using the wrong tools can also cause damage to the vinyl and to the substrate, say experts. If you use a plain rubber squeegee without pre-mask then you will probably end up with scratched vinyl. Using a knife instead of an air release, or pin tool is also a dangerous operation.
“You can prevent vinyl damage by wrapping a squeegee sleeve or soft clean rag around the squeegee,” says Waters. “If you are going around a rivet, then use an air release tool because if you use a knife then it will actually put a slit in the film. Over time the film may shrink a little bit and you’ll see all of these little slits. A prick with a pin tool makes a circular hole that is somewhat self-healing so it doesn’t shrink back later.”
Lindsay Howard, product specialist with vinyl manufacturer Oracal in Jacksonville, Fla., suggests a felt squeegee as an alternative, especially when applying around rivets after the application tape is removed.
“Application tape is usually enough to prevent scratching the face of the vinyl,” she says. “But if the installer needs to go back and squeegee over the rivet again, then putting some material in between the squeegee and the vinyl can also prevent scratching.”
Saving the substrate
So far we’ve focused mainly on preventing damage to the graphics before and during the installation. But at least damaged graphics can be quickly, if no cheaply, replaced. Damaging the client’s substrate, on the other hand, could spell disaster. Experts say when substrates are damaged they are typically damaged during the cutting process.
“If you cut too deep when you are trimming the vinyl on a vehicle installation, for example, then you could actually damage the clear coat on the car,” says Waters. “That cut creates a point of failure. So when you go to remove the graphic down the road, it can actually pull the clear coat up with it.”
The same goes for a wall installation, she says. If you are installing a wall mural that needs trimming and you cut through the film into the wall paint, then that could also cause a point of failure. Additionally, attempting to perform a wet application on dry wall or gypsum wall could cause damage to the wall. (For more information on wet and dry vinyl application techniques, visit our “Vinyl” section.)
Franzblau cuts to the chase. “Substrate damage is a world of its own,” he says. “It happens because people don’t know how to properly cut, because surfaces are not properly painted or prepared. Substrate damage usually boils down to bad observation or bad technique.”
Maintaining the vinyl
Once you’ve successfully installed the vinyl, take a few minutes to educate your customer about how to maintain its integrity. They’ll thank you for it.
For clients in colder climates, for example, you should always explain that decals applied to windows could be easily damaged by scraping frost or ice off the windows.
There are many cleaning considerations that can also make a world of difference. Only mild window cleaning solutions should be used on windows to prevent decal damage, for example, and vehicles require special care.
If the client waxes their vehicle, that wax could build up around the edges of the vinyl. Vehicle wax must be carefully removed using a soft cloth because using a brush to force the wax from beneath the edges of the vinyl could cause those edges to peal up. Typically, vinyl will maintain its integrity when washed with auto cleaners and water, but automatic car washes tend to reduce the life of the vinyl.
Remember that preventing vinyl damage begins with the preliminary handling of the film and ends with customer education. Vinyl will not last forever, but your reputation in the industry for high-quality products depends on the care you take with your materials and your clients.
As seen on signindustry.com.
Now your customer is anxiously awaiting delivery. There’s no time for mistakes. You can’t risk damaging the vinyl or the substrate and you want to make sure the client doesn’t do damage over the long-term. But despite your best efforts, you cut a slit in the film that is sure to cause vinyl failure. It’s every busy installer’s nightmare.
If you’ve ever damaged your vinyl or the substrate, then you know how devastating that can be especially when you are working for a big client on a tight deadline. But taking certain precautions and taking your time can ensure that you don’t do damage to your materials or your client relationships.
Start with a plan
The first step to victorious vinyl applications is to determine the best way to approach the job. A haphazard approach to vinyl installation typically produces less than excellent results. If you are working on a large job, then be sure to gather a team of assistants before you begin.
“Put together a plan before you lay down the first piece of vinyl,” says Jeff Stadelman, technical marketing manager for the graphics product group at MACtac, a manufacturer of pressure sensitive adhesive. “You need to know in advance where the first piece of vinyl will go, where the second piece will go, and so on. I cannot underestimate the value of having a plan.”
So if you are installing fleet graphics, for instance, then you will logically choose to start on the back of the truck and work forward, overlapping an eighth to a quarter of an inch. In this example, a little forethought prevents potential damage caused by wind.
Without a plan, the strong winds that the truck encounters while traveling down the highway at 65 miles per hour would likely have gotten underneath the edge of the vinyl and pulled it away from the substrate.
Talking technique
Besides a plan, one of the best safeguards against doing damage to the vinyl or to the substrate is experience. Perfecting your technique will help you avoid those careless slipups that cost you time and money. (If you want to learn some tips and vinyl installation techniques, visit our “Vinyl” section for targeted articles that will demonstrate various dos and don’ts.)
“Many times vinyl damage occurs when the installer is cutting and handling the film,” says Stadelman. “There is a lot of technique involved in vinyl application. Installers need to learn how and when to use horizontal and vertical hinges.”
Nathan Franzblau, founder of the Professional Decal Application Association, an association of independent certified installation companies, is matter of fact about preventing vinyl damage. “Vinyl damage is a result of installers who are not properly trained,” he says. “They mess up a decal because they don’t know what they are supposed to do with it in the first place, because they didn’t prepare correctly, or because they had the wrong decal.”
Temperature considerations
Experts say attempting to apply vinyl in less than ideal weather conditions is just asking for trouble. Molly Waters, spokesperson for Avery’s technical marketing department, notes the dangers of applying film that has been subjected to high temperatures.
“If the film gets too hot, then it will stretch more,” she says. “So if you have to reposition the vinyl or if you are applying to a substrate that’s too hot, then it’s not going to line up and that can cause damage.”
Using the wrong tools
Using the wrong tools can also cause damage to the vinyl and to the substrate, say experts. If you use a plain rubber squeegee without pre-mask then you will probably end up with scratched vinyl. Using a knife instead of an air release, or pin tool is also a dangerous operation.
“You can prevent vinyl damage by wrapping a squeegee sleeve or soft clean rag around the squeegee,” says Waters. “If you are going around a rivet, then use an air release tool because if you use a knife then it will actually put a slit in the film. Over time the film may shrink a little bit and you’ll see all of these little slits. A prick with a pin tool makes a circular hole that is somewhat self-healing so it doesn’t shrink back later.”
Lindsay Howard, product specialist with vinyl manufacturer Oracal in Jacksonville, Fla., suggests a felt squeegee as an alternative, especially when applying around rivets after the application tape is removed.
“Application tape is usually enough to prevent scratching the face of the vinyl,” she says. “But if the installer needs to go back and squeegee over the rivet again, then putting some material in between the squeegee and the vinyl can also prevent scratching.”
Saving the substrate
So far we’ve focused mainly on preventing damage to the graphics before and during the installation. But at least damaged graphics can be quickly, if no cheaply, replaced. Damaging the client’s substrate, on the other hand, could spell disaster. Experts say when substrates are damaged they are typically damaged during the cutting process.
“If you cut too deep when you are trimming the vinyl on a vehicle installation, for example, then you could actually damage the clear coat on the car,” says Waters. “That cut creates a point of failure. So when you go to remove the graphic down the road, it can actually pull the clear coat up with it.”
The same goes for a wall installation, she says. If you are installing a wall mural that needs trimming and you cut through the film into the wall paint, then that could also cause a point of failure. Additionally, attempting to perform a wet application on dry wall or gypsum wall could cause damage to the wall. (For more information on wet and dry vinyl application techniques, visit our “Vinyl” section.)
Franzblau cuts to the chase. “Substrate damage is a world of its own,” he says. “It happens because people don’t know how to properly cut, because surfaces are not properly painted or prepared. Substrate damage usually boils down to bad observation or bad technique.”
Maintaining the vinyl
Once you’ve successfully installed the vinyl, take a few minutes to educate your customer about how to maintain its integrity. They’ll thank you for it.
For clients in colder climates, for example, you should always explain that decals applied to windows could be easily damaged by scraping frost or ice off the windows.
There are many cleaning considerations that can also make a world of difference. Only mild window cleaning solutions should be used on windows to prevent decal damage, for example, and vehicles require special care.
If the client waxes their vehicle, that wax could build up around the edges of the vinyl. Vehicle wax must be carefully removed using a soft cloth because using a brush to force the wax from beneath the edges of the vinyl could cause those edges to peal up. Typically, vinyl will maintain its integrity when washed with auto cleaners and water, but automatic car washes tend to reduce the life of the vinyl.
Remember that preventing vinyl damage begins with the preliminary handling of the film and ends with customer education. Vinyl will not last forever, but your reputation in the industry for high-quality products depends on the care you take with your materials and your clients.
As seen on signindustry.com.
Discover the benefits of flexible-face signage and add another service to your growing sign shop
Flexible-face is not exactly the new kid in town. Sign makers have been using flexible-faces for everything from banners to billboards for the past three decades.
Flexible-face, or flexible plastic in layman’s terms, was developed as an alternative to rigid-faced substrates like acrylic, plastic and polycarbonates and is getting more and more popular in the marketplace. Most of the signs you see in stadiums and sports arenas are flexible, as are most high-rise freeway signs.
Flexible-face materials generally have polyvinylchloride (PVC) surfaces that attach to a scrim of woven polyester or nylon and can be created either by casting or by extruding the fabric using a heat process that binds the vinyl and the scrim.
Like adhesive-backed film, flexible-face materials come in variety of thicknesses, tear-strengths and UV-resistant options and can be created to work with different decorative processes, like digital imaging, silk screen inks and painting. And they come in an array of colors, both pigmented and eradicable.
Indeed, flexible-faces are an especially flexible option for customers and sign makers alike. Still, some smaller shops are shying away from flex, assuming only major players can profit by selling fabric. But industry experts say the little guy can make big bucks if he understands when it is an appropriate solution and how to talk up its benefits to customers.
Knowing When to Use Flexible Faces
Besides the fact that flexible-faces are often less expensive than rigid plastics, one of the primary benefits is that it is not breakable like rigid signs, says Paul O’Rourke, national sales manager in charge of distribution for Cooley Sign and Digital Products. Flexible-face signs are designed to withstand 110 to 140 mile per hour wind loads and are ideal for pile-on highway signs that sit 100 feet in the air.
“Flexible-face signage is a much safer alternative to rigid faces, especially in regions with high winds and storms like South Florida,” he says. “If there’s a sign blow out, rigid materials can shatter and become flying projectiles. No one is going to get hurt with flexible materials. Using flexible faces can even lower insurance rates.”
Flex is also appropriate for signs with faces larger than 10 feet by 10 feet because making these signs with rigid faces would require sign builders to allow a seam in the polycarbonate that many customers find unattractive. But that same attribute makes flexible-faces less ideal for signs that are low to the ground, like monument signs.
“People can just walk right up with a knife and cut open a flexible face sign that sits low to the ground,” says Chris Reber, sales manager for Illuminated Image, an Angola, Ind.-based wholesaler of custom designed sign and awning materials and systems. “Small signs are generally better suited to polycarbonate because you can use a thinner piece of plastic and the cost is comparable to flexible face material and may be easier to install in a small cabinet.”
Reber says flexible faces also retain their shape better than polycarbonates. “When polycarbonates are not installed with a hanging bar they may not retain their shape,” he says. “If polycarbonates are installed with all the weight on the bottom, then the plastic will tend to bow a little bit. With flexible-face, if the sign is not tight enough then you just torque down on the clips. You can actually stretch the material tighter and tighter.”
Material Advantages
Another advantage to flexible-face fabric is its brightness. Experts say you can get brighter whites with fabric than with rigid plastics if you use premium materials. The industry has come a long way in the development of flexible media over the past three decades. 3M’s Panaflex and Cooley’s Cooley-Brite are among the most popular brands. Signoflex, Awnoflex, Ultralon IV from Ultraflex Systems and Arlon-Signtech Ltd.’s Flexface are also good quality brands.
3M’s Panaflex Enhanced Image Sign Facing Series 945GPS is a flexible material with built-in dirt resistance on its smooth, semi-gloss surface. The polyester scrim embedded between white-pigmented vinyl creates a durable substrate for creating attractive signs and awnings. 3M’s 946GPS Series is available in a variety of colors with a smooth, gloss appearance that eliminates processing steps and reduces production costs. This scrimless material is well-suited for large areas of solid colors. Both substrates can be attached to a variety of frameworks and decorated with 3M films. The built in graphic protection system (GPS) makes cleaning and maintenance easy.
Cooley Sign has several brands of flexible-face media. Its most recent product is the Cooley-Brite Back-In-Black selective light-blocking flexible sign substrate. The substrate is manufactured with a white face and black back, and is designed to be eradicated from the backside. Pressure sensitive vinyl, matching the design of the eradication, can then be applied to the face. During the day, the completed sign will show the pressure sensitive vinyl against the white face. At night, when the sign is backlit, the black back prevents the light source from lighting the full white face and lights only the area where the eradication has taken place. The Coolthane Enhanced Protection System, a clear, protective layer, makes the material more flexible and durable than many other options.
Ultralon IV is unique in that it is the only back-lit substrate made in seamless widths from 3’6” to 16’4”. It is also the only product that can be decorated with self-adhesive translucent films, spray, paints, silk screen inks, heat transfer paint or solvent-based inkjet inks. The product has a seven-year warranty.
One of flexible-face’s most well-known advantages is its ability to stand up against vandalism. Signoflex’s flexible signage system, for example, is designed and tested for perfect rebound after vehicle impact up to 90 kilometers per hour.
Arlon’s Flexface FX is made of premium cast vinyl for internally illuminated signs, awnings and canopies. It is specially formulated for a bright-white surface, superior dimensional stability and excellent strength. The material even includes a proprietary coating designed for extended durability and easy vinyl decoration.
A Designer’s Dream
O’Rourke notes another clear-cut advantage for your shop flexibility in applying graphics. He says whether the sign is screen printed, inkjet printed or painted, flexible faces gives designers more room for creativity than rigid material. This benefit also translates to customers who are guaranteed consistent colors.
“Flexibility is key. Image is the number one issue in our industry,” O’Rourke says. “You can portray and project that image far easier with flexible than you can with rigid materials. Computerization allows you to provide consistent graphics for large end users regionally and nationally because the computer can dictate the graphics from any location.”
Marketing Flex
What are the obstacles to marketing flex? Reber says the best way to market flex-face is to just tell the truth about the product. So the next time a customer comes in looking for a sign cabinet, take the time to listen to him and then explain the advantages and disadvantages of both systems.
“Flexible-face and rigid each have their own merits, so you don’t necessarily have to sell one against the other,” Reber says. “You would be foolish to sell a really large polycarbonate face that’s sitting 100 feet in the air because you are not doing your customer any good. You are charging them more money for a product that might blow out. Once you know what each merit is, it sells itself.”
As seen on signindustry.com.
Flexible-face, or flexible plastic in layman’s terms, was developed as an alternative to rigid-faced substrates like acrylic, plastic and polycarbonates and is getting more and more popular in the marketplace. Most of the signs you see in stadiums and sports arenas are flexible, as are most high-rise freeway signs.
Flexible-face materials generally have polyvinylchloride (PVC) surfaces that attach to a scrim of woven polyester or nylon and can be created either by casting or by extruding the fabric using a heat process that binds the vinyl and the scrim.
Like adhesive-backed film, flexible-face materials come in variety of thicknesses, tear-strengths and UV-resistant options and can be created to work with different decorative processes, like digital imaging, silk screen inks and painting. And they come in an array of colors, both pigmented and eradicable.
Indeed, flexible-faces are an especially flexible option for customers and sign makers alike. Still, some smaller shops are shying away from flex, assuming only major players can profit by selling fabric. But industry experts say the little guy can make big bucks if he understands when it is an appropriate solution and how to talk up its benefits to customers.
Knowing When to Use Flexible Faces
Besides the fact that flexible-faces are often less expensive than rigid plastics, one of the primary benefits is that it is not breakable like rigid signs, says Paul O’Rourke, national sales manager in charge of distribution for Cooley Sign and Digital Products. Flexible-face signs are designed to withstand 110 to 140 mile per hour wind loads and are ideal for pile-on highway signs that sit 100 feet in the air.
“Flexible-face signage is a much safer alternative to rigid faces, especially in regions with high winds and storms like South Florida,” he says. “If there’s a sign blow out, rigid materials can shatter and become flying projectiles. No one is going to get hurt with flexible materials. Using flexible faces can even lower insurance rates.”
Flex is also appropriate for signs with faces larger than 10 feet by 10 feet because making these signs with rigid faces would require sign builders to allow a seam in the polycarbonate that many customers find unattractive. But that same attribute makes flexible-faces less ideal for signs that are low to the ground, like monument signs.
“People can just walk right up with a knife and cut open a flexible face sign that sits low to the ground,” says Chris Reber, sales manager for Illuminated Image, an Angola, Ind.-based wholesaler of custom designed sign and awning materials and systems. “Small signs are generally better suited to polycarbonate because you can use a thinner piece of plastic and the cost is comparable to flexible face material and may be easier to install in a small cabinet.”
Reber says flexible faces also retain their shape better than polycarbonates. “When polycarbonates are not installed with a hanging bar they may not retain their shape,” he says. “If polycarbonates are installed with all the weight on the bottom, then the plastic will tend to bow a little bit. With flexible-face, if the sign is not tight enough then you just torque down on the clips. You can actually stretch the material tighter and tighter.”
Material Advantages
Another advantage to flexible-face fabric is its brightness. Experts say you can get brighter whites with fabric than with rigid plastics if you use premium materials. The industry has come a long way in the development of flexible media over the past three decades. 3M’s Panaflex and Cooley’s Cooley-Brite are among the most popular brands. Signoflex, Awnoflex, Ultralon IV from Ultraflex Systems and Arlon-Signtech Ltd.’s Flexface are also good quality brands.
3M’s Panaflex Enhanced Image Sign Facing Series 945GPS is a flexible material with built-in dirt resistance on its smooth, semi-gloss surface. The polyester scrim embedded between white-pigmented vinyl creates a durable substrate for creating attractive signs and awnings. 3M’s 946GPS Series is available in a variety of colors with a smooth, gloss appearance that eliminates processing steps and reduces production costs. This scrimless material is well-suited for large areas of solid colors. Both substrates can be attached to a variety of frameworks and decorated with 3M films. The built in graphic protection system (GPS) makes cleaning and maintenance easy.
Cooley Sign has several brands of flexible-face media. Its most recent product is the Cooley-Brite Back-In-Black selective light-blocking flexible sign substrate. The substrate is manufactured with a white face and black back, and is designed to be eradicated from the backside. Pressure sensitive vinyl, matching the design of the eradication, can then be applied to the face. During the day, the completed sign will show the pressure sensitive vinyl against the white face. At night, when the sign is backlit, the black back prevents the light source from lighting the full white face and lights only the area where the eradication has taken place. The Coolthane Enhanced Protection System, a clear, protective layer, makes the material more flexible and durable than many other options.
Ultralon IV is unique in that it is the only back-lit substrate made in seamless widths from 3’6” to 16’4”. It is also the only product that can be decorated with self-adhesive translucent films, spray, paints, silk screen inks, heat transfer paint or solvent-based inkjet inks. The product has a seven-year warranty.
One of flexible-face’s most well-known advantages is its ability to stand up against vandalism. Signoflex’s flexible signage system, for example, is designed and tested for perfect rebound after vehicle impact up to 90 kilometers per hour.
Arlon’s Flexface FX is made of premium cast vinyl for internally illuminated signs, awnings and canopies. It is specially formulated for a bright-white surface, superior dimensional stability and excellent strength. The material even includes a proprietary coating designed for extended durability and easy vinyl decoration.
A Designer’s Dream
O’Rourke notes another clear-cut advantage for your shop flexibility in applying graphics. He says whether the sign is screen printed, inkjet printed or painted, flexible faces gives designers more room for creativity than rigid material. This benefit also translates to customers who are guaranteed consistent colors.
“Flexibility is key. Image is the number one issue in our industry,” O’Rourke says. “You can portray and project that image far easier with flexible than you can with rigid materials. Computerization allows you to provide consistent graphics for large end users regionally and nationally because the computer can dictate the graphics from any location.”
Marketing Flex
What are the obstacles to marketing flex? Reber says the best way to market flex-face is to just tell the truth about the product. So the next time a customer comes in looking for a sign cabinet, take the time to listen to him and then explain the advantages and disadvantages of both systems.
“Flexible-face and rigid each have their own merits, so you don’t necessarily have to sell one against the other,” Reber says. “You would be foolish to sell a really large polycarbonate face that’s sitting 100 feet in the air because you are not doing your customer any good. You are charging them more money for a product that might blow out. Once you know what each merit is, it sells itself.”
As seen on signindustry.com.
Tri-Message on a Truck
Mobile Tri-Message signage is changing the face of the billboard industry. Mobile billboard trucks are adding yet another dimension to the advertising mix.
So what do you get when you cross three-message displays with mobile billboard trucks? You get a whole new realm of possibilities for advertisers.
Implementing tri-message signs on trucks is a booming trend in the sign business as forward-thinking advertisers embrace new strategies for communicating their brands in a crowded media market. Companies like Mobile Master Trucks, Gotcha Mobile Media, Ads On a Roll and AdMobile are driving the trend with custom-built trucks and business models designed to escalate the adoption of three-message display trucks.
“Mobile trucks displaying Tri-Action signs are starting to boom,” says Jaye Playter, former outdoor division manager for Jonesboro, Arkansas-based motion graphics manufacturer Action Graphix. “We are going to see more and more of these trucks.”
Multiple Benefits Drive the Trend
Several studies have been done to demonstrate the advertising benefits of both mobile outdoor media and motional displays. The Association of Mobile Advertising funded a study to gauge the efficacy of a campaign that advertised a fictitious brand of dog food in which three mobile trucks carried double-sided posters touting the Boomerang brand. Awareness increased by up to 32 percent among those surveyed and more than 70 percent associated the brand with mobile advertising.
Likewise, Product Acceptance and Research, Inc. (PAR) conducted a study of motional ads for the beer industry. PAR examined sales without any point-of-purchase display, with a static display and with a motion display. The results showed that implementing the motion display increased sales by more than 100 percent.
But proponents of mobile tri-message display trucks say the benefits of this new platform are multiplied exponentially because it combines the proven success of both concepts to take advertising to a new level, and often at lower prices.
Building Momentum
These benefits are garnering growing interest for the tri-message display trucks across the country.
Rick Johnson, president of Nashville-based Mobile Master Trucks, originally launched the concept several years ago after realizing that tri-message displays came in all shapes and sizes. After perfecting the vehicles and running a successful local operation, Johnson started franchising the concept under the name Gotcha Mobile Media in 2002. In 2004, Johnson sold the Gotcha franchising division to a California-based company, which has continued to grow the franchise organization nationally. Johnson continues to manufacture and sell tri-image billboard trucks to Gotcha Mobile Media as well as to independent entrepreneurs.
“In the beginning, the challenge was educating businesses about the effectiveness of this form of advertising,” says Johnson, whose company has been in the vehicle fabrication and advertising business for over 25 years. “Having your ad out on the road during rush hour traffic beats having your ad on a roadside billboard where 70 percent of those passing your ad are the same people every day. Now that the concept is more widely known, it’s an easier sell to advertisers.”
The Concept Catches On
Soon after Johnson started franchising his new concept, other companies started to spring up. Dave Buring started Memphis-based Ads On A Roll, LLC in 2002 with a different business model: direct sales to entrepreneurs. Buring once owned a traditional billboard company and built more than 100 tri-faced stationary billboards before he sold out to a nationwide firm and began exploring new avenues in the sign industry. While the notion of mobile advertising was appealing, Buris says he knew there had to be a better way to generate steady revenue from mobile advertising.
“I couldn’t see how we could consistently make money at a rate that was affordable to the customer – on a truck that had just two or three ads,” says Buring. “But tri-action signs allow you more opportunity on the same truck.”
His challenge was similar to Johnson’s: convincing people that the product will be effective. This concept is building momentum. Ads On A Roll has sold to entrepreneurs in Philadelphia, Los Angeles, Atlanta, Orlando, San Diego, and others. The entrepreneurs are responsible for selling their own ads.
Bob Tarabella also started a mobile billboard company in Fairhope, Alabama, in 2002 “with the goal of establishing affiliates in markets across the nation and eventually provide advertising packages to regional and national advertisers.” His company, AdMobile, sells specialty trucks directly to entrepreneurs, who are then assigned exclusive territories.
“The economics of mobile billboard trucks from a business standpoint didn’t appeal to us because they can only handle one advertiser at a time, so you are at the whim of a few advertisers,” says Tarabella. “When your contract is up with those advertisers, then you have to park the vehicle until you get a new contract. We combine the effectiveness of Tri-Message with the effectiveness of mobility. Put the two of them together and you get a platform that’s new enough to get attention but not so far-fetched that it’s seen as just a novelty.”
Moving On Up
While the ads are undeniably eye-catching, proponents say safety issues are not any greater of a factor than with traditional tri-face signs or mobile advertising. The long-term outlook for this trendy advertising medium is bright, especially with stricter zoning ordinances for stationary billboards.
“The growth potential for this concept is huge,” says Buring. With more and more cities cutting down on billboards or creating stricter billboard ordinances, this type of product becomes more in demand. If presented properly, then this can be an incredible compliment to someone’s marketing campaign.”
Johnson says “Our sales at Mobile Master Trucks show that the mobile trend is also being embraced by the traditional billboard companies as a complimentary marketing strategy, but our sales to independent entrepreneurs who have no affiliations as well as to the Gotcha franchises far outnumber our sales to billboard companies.”
As seen on signindustry.com.
So what do you get when you cross three-message displays with mobile billboard trucks? You get a whole new realm of possibilities for advertisers.
Implementing tri-message signs on trucks is a booming trend in the sign business as forward-thinking advertisers embrace new strategies for communicating their brands in a crowded media market. Companies like Mobile Master Trucks, Gotcha Mobile Media, Ads On a Roll and AdMobile are driving the trend with custom-built trucks and business models designed to escalate the adoption of three-message display trucks.
“Mobile trucks displaying Tri-Action signs are starting to boom,” says Jaye Playter, former outdoor division manager for Jonesboro, Arkansas-based motion graphics manufacturer Action Graphix. “We are going to see more and more of these trucks.”
Multiple Benefits Drive the Trend
Several studies have been done to demonstrate the advertising benefits of both mobile outdoor media and motional displays. The Association of Mobile Advertising funded a study to gauge the efficacy of a campaign that advertised a fictitious brand of dog food in which three mobile trucks carried double-sided posters touting the Boomerang brand. Awareness increased by up to 32 percent among those surveyed and more than 70 percent associated the brand with mobile advertising.
Likewise, Product Acceptance and Research, Inc. (PAR) conducted a study of motional ads for the beer industry. PAR examined sales without any point-of-purchase display, with a static display and with a motion display. The results showed that implementing the motion display increased sales by more than 100 percent.
But proponents of mobile tri-message display trucks say the benefits of this new platform are multiplied exponentially because it combines the proven success of both concepts to take advertising to a new level, and often at lower prices.
Building Momentum
These benefits are garnering growing interest for the tri-message display trucks across the country.
Rick Johnson, president of Nashville-based Mobile Master Trucks, originally launched the concept several years ago after realizing that tri-message displays came in all shapes and sizes. After perfecting the vehicles and running a successful local operation, Johnson started franchising the concept under the name Gotcha Mobile Media in 2002. In 2004, Johnson sold the Gotcha franchising division to a California-based company, which has continued to grow the franchise organization nationally. Johnson continues to manufacture and sell tri-image billboard trucks to Gotcha Mobile Media as well as to independent entrepreneurs.
“In the beginning, the challenge was educating businesses about the effectiveness of this form of advertising,” says Johnson, whose company has been in the vehicle fabrication and advertising business for over 25 years. “Having your ad out on the road during rush hour traffic beats having your ad on a roadside billboard where 70 percent of those passing your ad are the same people every day. Now that the concept is more widely known, it’s an easier sell to advertisers.”
The Concept Catches On
Soon after Johnson started franchising his new concept, other companies started to spring up. Dave Buring started Memphis-based Ads On A Roll, LLC in 2002 with a different business model: direct sales to entrepreneurs. Buring once owned a traditional billboard company and built more than 100 tri-faced stationary billboards before he sold out to a nationwide firm and began exploring new avenues in the sign industry. While the notion of mobile advertising was appealing, Buris says he knew there had to be a better way to generate steady revenue from mobile advertising.
“I couldn’t see how we could consistently make money at a rate that was affordable to the customer – on a truck that had just two or three ads,” says Buring. “But tri-action signs allow you more opportunity on the same truck.”
His challenge was similar to Johnson’s: convincing people that the product will be effective. This concept is building momentum. Ads On A Roll has sold to entrepreneurs in Philadelphia, Los Angeles, Atlanta, Orlando, San Diego, and others. The entrepreneurs are responsible for selling their own ads.
Bob Tarabella also started a mobile billboard company in Fairhope, Alabama, in 2002 “with the goal of establishing affiliates in markets across the nation and eventually provide advertising packages to regional and national advertisers.” His company, AdMobile, sells specialty trucks directly to entrepreneurs, who are then assigned exclusive territories.
“The economics of mobile billboard trucks from a business standpoint didn’t appeal to us because they can only handle one advertiser at a time, so you are at the whim of a few advertisers,” says Tarabella. “When your contract is up with those advertisers, then you have to park the vehicle until you get a new contract. We combine the effectiveness of Tri-Message with the effectiveness of mobility. Put the two of them together and you get a platform that’s new enough to get attention but not so far-fetched that it’s seen as just a novelty.”
Moving On Up
While the ads are undeniably eye-catching, proponents say safety issues are not any greater of a factor than with traditional tri-face signs or mobile advertising. The long-term outlook for this trendy advertising medium is bright, especially with stricter zoning ordinances for stationary billboards.
“The growth potential for this concept is huge,” says Buring. With more and more cities cutting down on billboards or creating stricter billboard ordinances, this type of product becomes more in demand. If presented properly, then this can be an incredible compliment to someone’s marketing campaign.”
Johnson says “Our sales at Mobile Master Trucks show that the mobile trend is also being embraced by the traditional billboard companies as a complimentary marketing strategy, but our sales to independent entrepreneurs who have no affiliations as well as to the Gotcha franchises far outnumber our sales to billboard companies.”
As seen on signindustry.com.
Vinyl Techniques: Considering Environmental Conditions
While an indoor facility with controlled temperatures is an ideal atmosphere for vinyl application, that is not always an option. Many smaller shops do not have garages large enough to hold vehicles and storefront windows are subject to external temperatures.
All cut, weed, mask and release operations are subject to the conditions of the environment. If the temperature is too hot or too cold, if the humidity is too high or too low, then the results of your application could vary greatly.
“The temperature of the adhesion, the vinyl and the substrate make a huge difference,” says Jeff Stadelman, technical marketing manager for MACtac, a manufacturer of pressure sensitive adhesive products. “Since these things are affected by external temperatures, you need to be wise about how you store vinyl and when you apply it.”
Starting with Storage
Even before you begin to apply vinyl there are environmental conditions that could hinder your success. Just as vinyl films are temperature sensitive during the application process, they are also temperature sensitive while in storage. If you have not stored your materials in the appropriate environment, then you may have damaged the film.
Vinyl is delivered in rolls and these rolls should always be stored in a cool, dry place that is protected from sunlight. The storage temperature should not exceed 86 degrees Fahrenheit and the rolls should be either suspended or stood on-end on the roll blocks provided. The length of storage time is also a consideration. Most manufacturers don’t recommend storing the film for more than two years.
“Before processing, the self-adhesive films should be accommodated to the humidity and temperature prevailing in the processing area,” says Julio Burgos, product specialist for Oracal, a vinyl manufacturer in Jacksonville, Fla. “Extreme variations between storage and processing conditions could cause the protective paper to shrink or expand, leading to insufficient flatness of the self-adhesive material and dimensional changes in the cuts.”
Application Ranges
Most adhesives have an application range capability that falls somewhere between 50 degrees Fahrenheit minimum and 90 degrees Fahrenheit maximum.
If the temperature is too cold, then the adhesive will not stick. By contrast, if it is too hot, then the adhesive becomes overly aggressive. The same holds true for the vinyl itself. If it is too cold, then the vinyl becomes stiff and less flexible. If it is too hot, then the vinyl softens up and becomes difficult to handle.
Finally, the temperature of the substrate is a factor. If the surface is hot to the touch, then it is probably over 90 degrees Fahrenheit. Putting vinyl on substrates that are too hot or too cold will result in the adhesive getting either gummy or brittle. Any which way you cut it, applying outside the recommended temperature ranges reduces the vinyl’s ability to perform.
“If you are in Canada in the wintertime, then you are not going to be able to go outside and apply some graphics because it’s just too cold,” says Stadelman. “By the same token, if you are in California or southern Florida in the summertime, then you are not going to be able to go outside and apply graphics very easily.”
Temperature Tips
Since not all installation work can stop during the winter time, some installers will use RapidTac II Application Fluid to apply vinyl to glass in cold weather, but even then wet applications should only be attempted when temperatures are at least 64 degrees Fahrenheit.
If you have an indoor garage area that you can use for installation in extreme cold, then you may use portable heaters to warm the temperature. When installing vinyl on vehicles, it is important to remove any accumulated snow on the top of the trailer roof before pulling it into the shop. This will eliminate water dripping off the roof edge onto the vehicle.
Heat can soften the vinyl and ultimately lead to vinyl failure, according to Molly Waters, spokesperson for Avery’s technical marketing department. “When you get into the warmer climates, as you are applying that material may begin to stretch,” she says. “The pre-mask will help limit the vinyl from stretching.”
Humidity, Dew, Condensation and Rain
Of course, it’s not to difficult to discern the problems associated with applying in the rain, even a slight drizzle. Be sure to thoroughly clean the surface before applying. Simply drying the rain off the substrate is not sufficient since there are properties in rain water that could act as contaminates. (For more information on how to ensure contaminant-free substrates, read our article entitled “Preparing Surfaces for Vinyl Installation.”)
There are also challenges associated with applying to vehicles in humid environments or where dew or condensation has set in. Ideal environmental conditions are a relative humidity level between 50 percent and 60 percent.
“Humidity is a big factor in applications. Even indoors, if you are not in a controlled environment and it’s hot and humid in the summertime then you are going to have some problems,” says Stadelman. “Humidity affects the liner that the vinyl is on. It also leaves a little moisture on surfaces and makes them a little more difficult to work with. Just because you don’t see the humidity doesn’t mean it’s not there.”
Experienced installers will also tell you to avoid the morning dew. As the temperature warms up in the morning, the heat of the air in the ground creates condensation. If you have condensation on your adhesive, then it’s not going to stick very well. In fleet applications, the condensation will stay under the rivets much longer than in flat areas. So if you lay vinyl down in the morning dew you will trap moisture under the graphics.
“Most guys will not install early in the morning because of the dew and condensation,” says Chuck Bules, tech service manager for Arlon, a vinyl film manufacturer in Santa Ana, Calif. “Certainly in some places along the coast where they get a lot of marine layer, you won’t see installers working until 10 a.m.”
Post Application and Removal
The environmental considerations do not end after the vinyl is applied. There are also precautions in the immediate period post-application and when you remove vinyl.
“Avoid any significant drop in temperature during the first 24 hours after application,” says Burgos. “Should this occur anyway, we recommend treating the film with hot air from a heat gun or other heat source.”
If you are removing a film, the temp should be at least 68 degrees Fahrenheit. You should start at the left from the corner at a 180 degree angle. Using a heat gun is standard practice.
While these are general rules, be sure to check out the technical bulletins that accompany each film. Different manufacturers and even different films from the same manufacturer could have slightly different specifications.
As seen on signindustry.com.
All cut, weed, mask and release operations are subject to the conditions of the environment. If the temperature is too hot or too cold, if the humidity is too high or too low, then the results of your application could vary greatly.
“The temperature of the adhesion, the vinyl and the substrate make a huge difference,” says Jeff Stadelman, technical marketing manager for MACtac, a manufacturer of pressure sensitive adhesive products. “Since these things are affected by external temperatures, you need to be wise about how you store vinyl and when you apply it.”
Starting with Storage
Even before you begin to apply vinyl there are environmental conditions that could hinder your success. Just as vinyl films are temperature sensitive during the application process, they are also temperature sensitive while in storage. If you have not stored your materials in the appropriate environment, then you may have damaged the film.
Vinyl is delivered in rolls and these rolls should always be stored in a cool, dry place that is protected from sunlight. The storage temperature should not exceed 86 degrees Fahrenheit and the rolls should be either suspended or stood on-end on the roll blocks provided. The length of storage time is also a consideration. Most manufacturers don’t recommend storing the film for more than two years.
“Before processing, the self-adhesive films should be accommodated to the humidity and temperature prevailing in the processing area,” says Julio Burgos, product specialist for Oracal, a vinyl manufacturer in Jacksonville, Fla. “Extreme variations between storage and processing conditions could cause the protective paper to shrink or expand, leading to insufficient flatness of the self-adhesive material and dimensional changes in the cuts.”
Application Ranges
Most adhesives have an application range capability that falls somewhere between 50 degrees Fahrenheit minimum and 90 degrees Fahrenheit maximum.
If the temperature is too cold, then the adhesive will not stick. By contrast, if it is too hot, then the adhesive becomes overly aggressive. The same holds true for the vinyl itself. If it is too cold, then the vinyl becomes stiff and less flexible. If it is too hot, then the vinyl softens up and becomes difficult to handle.
Finally, the temperature of the substrate is a factor. If the surface is hot to the touch, then it is probably over 90 degrees Fahrenheit. Putting vinyl on substrates that are too hot or too cold will result in the adhesive getting either gummy or brittle. Any which way you cut it, applying outside the recommended temperature ranges reduces the vinyl’s ability to perform.
“If you are in Canada in the wintertime, then you are not going to be able to go outside and apply some graphics because it’s just too cold,” says Stadelman. “By the same token, if you are in California or southern Florida in the summertime, then you are not going to be able to go outside and apply graphics very easily.”
Temperature Tips
Since not all installation work can stop during the winter time, some installers will use RapidTac II Application Fluid to apply vinyl to glass in cold weather, but even then wet applications should only be attempted when temperatures are at least 64 degrees Fahrenheit.
If you have an indoor garage area that you can use for installation in extreme cold, then you may use portable heaters to warm the temperature. When installing vinyl on vehicles, it is important to remove any accumulated snow on the top of the trailer roof before pulling it into the shop. This will eliminate water dripping off the roof edge onto the vehicle.
Heat can soften the vinyl and ultimately lead to vinyl failure, according to Molly Waters, spokesperson for Avery’s technical marketing department. “When you get into the warmer climates, as you are applying that material may begin to stretch,” she says. “The pre-mask will help limit the vinyl from stretching.”
Humidity, Dew, Condensation and Rain
Of course, it’s not to difficult to discern the problems associated with applying in the rain, even a slight drizzle. Be sure to thoroughly clean the surface before applying. Simply drying the rain off the substrate is not sufficient since there are properties in rain water that could act as contaminates. (For more information on how to ensure contaminant-free substrates, read our article entitled “Preparing Surfaces for Vinyl Installation.”)
There are also challenges associated with applying to vehicles in humid environments or where dew or condensation has set in. Ideal environmental conditions are a relative humidity level between 50 percent and 60 percent.
“Humidity is a big factor in applications. Even indoors, if you are not in a controlled environment and it’s hot and humid in the summertime then you are going to have some problems,” says Stadelman. “Humidity affects the liner that the vinyl is on. It also leaves a little moisture on surfaces and makes them a little more difficult to work with. Just because you don’t see the humidity doesn’t mean it’s not there.”
Experienced installers will also tell you to avoid the morning dew. As the temperature warms up in the morning, the heat of the air in the ground creates condensation. If you have condensation on your adhesive, then it’s not going to stick very well. In fleet applications, the condensation will stay under the rivets much longer than in flat areas. So if you lay vinyl down in the morning dew you will trap moisture under the graphics.
“Most guys will not install early in the morning because of the dew and condensation,” says Chuck Bules, tech service manager for Arlon, a vinyl film manufacturer in Santa Ana, Calif. “Certainly in some places along the coast where they get a lot of marine layer, you won’t see installers working until 10 a.m.”
Post Application and Removal
The environmental considerations do not end after the vinyl is applied. There are also precautions in the immediate period post-application and when you remove vinyl.
“Avoid any significant drop in temperature during the first 24 hours after application,” says Burgos. “Should this occur anyway, we recommend treating the film with hot air from a heat gun or other heat source.”
If you are removing a film, the temp should be at least 68 degrees Fahrenheit. You should start at the left from the corner at a 180 degree angle. Using a heat gun is standard practice.
While these are general rules, be sure to check out the technical bulletins that accompany each film. Different manufacturers and even different films from the same manufacturer could have slightly different specifications.
As seen on signindustry.com.
Boosting Adhesion in Dry Applications
The line is seemingly split right down the middle between accomplished, professional installers and less experienced applicators. The bottom line is your choice of wet or dry application will depend on the application situation and your skill level. While beginners often start off with wet applications, abandoning the solutions and installing dry offers many advantages.
Doing It Dry
There is no question that dry applications offer many advantages for professional installers and this is the preferred method most of the time. Fleet applications, for example, demand dry installations.
“A lot of sign shops are still putting vinyl on wet. Professional fleet vinyl installers never use application fluids,” says Rob Ivers, a professional vinyl installer and trainer in Raymore, Mo. “If you use the wet method of application, you are going to have problems no matter what.”
Ivers insists that installers need to learn about the characteristics of different vinyl media and how to apply the film dry, and for good reason. There is an admitted learning curve with dry applications and the old adage that practice makes perfect certainly applies. Dry applications, however, will increase you productivity and save you money spent on wetting solutions.
“Applying the vinyl dry will save the time of having to purchase the fluids, apply the fluid, wipe up and clean up the mess from the fluid,” says Ivers. “With wet application, you have to squeegee four to five times to try and drive out the fluid.”
Dry-Only Media
Professional installers use premium vinyl because they cut and install with more ease and last longer. While earlier generations of vinyl lent themselves to wet applications, the latest lines of premium media from major manufacturers are designed to boost adhesion without wetting solutions.
“Most installers that are using wetting solutions are using less premium vinyl,” says Nathan Franzblau, founder of the Professional Decal Application Association, an association of independent certified installation companies. “There are degrees of vinyl premium and economy. The economy vinyl can be somewhat aggressive and more difficult to install dry.”
New technologies have allowed manufacturers to design films with channels in the adhesive that allow air bubbles to be pushed down without leaving wrinkles in the vinyl. Avery’s EZ films and 3M’s Comply are two good examples. These new films are also more forgiving in terms of repositionability.
Most manufacturers do not recommend wetting solutions with next-generation films that feature these channels and pockets. In some cases, wetting solutions may even void the warranty on the film. Actually, wet adhesion is typically only recommended for PVC films. PVC is a thermoplastic that is strong and especially resistant to water, acids, and abrasion.
Preparing for Dry Application
Now that you have decided to apply dry, you’ll need to gather the appropriate tools. You’ll need a squeegee and an air-release tool to address any bubbles that many appear. Bubbles occur due to outgas, which is the vaporization of a solid or liquid. Outgassing can occur in some plastics and insufficiently dried paints, resulting in adhesive failure of films applied over them.
You’ll also need a low friction sleeve, a heat source, a razor knife, a rivet brush, masking tape and a marking pencil. A chalk-like marking pencil is not recommended.
If the vinyl graphic has been rolled up, be sure to flatten it out before attempting to install it. It is also important to understand the appropriate temperatures and other environmental conditions that produce the best adhesion. (You can learn more about these properties in an article entitled “Considering Environmental Conditions” in this same section.) It is also critical that the surface is thoroughly cleaned.
How to Apply Dry
Next, remove the vinyl from the backing paper by peeling it back from one corner. Baking paper is also known as a release liner or carrier and is the portion of the pressure-sensitive construction that protects the film’s adhesive before it is applied. The backing readily separates from the film immediately before it is placed on the substrate or target surface. Be sure to leave the pre-mask (application tape) on at this point. Pre-mask is the pressure-sensitive tape used to transfer a cut graphic from its liner to the substrate or to protect a given surface.
Next, locate where to position the graphics and mark the spot using small pieces of masking tape. If the graphic is large, tape it into position securely with masking tape. If the graphic is less than eight square feet, remove the entire liner. Position the graphic on the marked points using light tacking pressure.
Once you are satisfied with the position, begin at the corner and press it down using moderately firm, overlapping strokes, making sure the applicator is flat with the substrate along the entire length of the stroke. Hold the squeegee at a 50-70 degree angle to the surface. The flatter the squeegee the better. Overlap all strokes by about 50 percent.
Boosting Adhesion
Whatever the tools or technique, use enough pressure to make sure the graphic firmly adheres to the substrate. Pre-masked graphics require additional pressure, but it is important to use the application tape because it allows you to rub the graphic without damaging it or the ink. Different films have different levels of abrasion resistance.
Once the vinyl has been applied, you need to remove any air bubbles and tenting around rivets by using the air release tool. Heat may also be necessary to work out the bubbles, depending on the application.
Wait at least five to 10 minutes after the application to allow the adhesion to build to the functional bond level. The idea is to get ultimate adhesion; the characteristic of a pressure sensitive film that prevents it from being removed after it adheres to a substrate for a period of time. Although the time needed for ultimate adhesion typically occurs within about 24 hours after application, it can vary based on the types of adhesive and substrate used and the conditions under which the film was applied.
Until a functional bond is achieved, it is risky to remove pre-mask or allow a vehicle to be transported. Once you remove the pre-mask, re-squeegee all graphics edges, overlaps and seams using firm pressure. Use a squeegee with a low friction sleeve to prevent scratching or damage to the graphic. The re-squeegee is an absolute must on all edges of the decal to ensure its ultimate adhesion.
If the adhesion is not adequate and the graphic must be put into service right away, then carefully re-squeegee the graphic (again, using a squeegee with a friction sleeve). Re-squeegee the film using greater pressure, overlapping strokes. This will help improve the adhesion of the graphic.
If you are still not comfortable with the dry method, or need to learn with wet applications may be appropriate, check out our article entitled, “When to Use Wet.”
As seen on signindustry.com.
Doing It Dry
There is no question that dry applications offer many advantages for professional installers and this is the preferred method most of the time. Fleet applications, for example, demand dry installations.
“A lot of sign shops are still putting vinyl on wet. Professional fleet vinyl installers never use application fluids,” says Rob Ivers, a professional vinyl installer and trainer in Raymore, Mo. “If you use the wet method of application, you are going to have problems no matter what.”
Ivers insists that installers need to learn about the characteristics of different vinyl media and how to apply the film dry, and for good reason. There is an admitted learning curve with dry applications and the old adage that practice makes perfect certainly applies. Dry applications, however, will increase you productivity and save you money spent on wetting solutions.
“Applying the vinyl dry will save the time of having to purchase the fluids, apply the fluid, wipe up and clean up the mess from the fluid,” says Ivers. “With wet application, you have to squeegee four to five times to try and drive out the fluid.”
Dry-Only Media
Professional installers use premium vinyl because they cut and install with more ease and last longer. While earlier generations of vinyl lent themselves to wet applications, the latest lines of premium media from major manufacturers are designed to boost adhesion without wetting solutions.
“Most installers that are using wetting solutions are using less premium vinyl,” says Nathan Franzblau, founder of the Professional Decal Application Association, an association of independent certified installation companies. “There are degrees of vinyl premium and economy. The economy vinyl can be somewhat aggressive and more difficult to install dry.”
New technologies have allowed manufacturers to design films with channels in the adhesive that allow air bubbles to be pushed down without leaving wrinkles in the vinyl. Avery’s EZ films and 3M’s Comply are two good examples. These new films are also more forgiving in terms of repositionability.
Most manufacturers do not recommend wetting solutions with next-generation films that feature these channels and pockets. In some cases, wetting solutions may even void the warranty on the film. Actually, wet adhesion is typically only recommended for PVC films. PVC is a thermoplastic that is strong and especially resistant to water, acids, and abrasion.
Preparing for Dry Application
Now that you have decided to apply dry, you’ll need to gather the appropriate tools. You’ll need a squeegee and an air-release tool to address any bubbles that many appear. Bubbles occur due to outgas, which is the vaporization of a solid or liquid. Outgassing can occur in some plastics and insufficiently dried paints, resulting in adhesive failure of films applied over them.
You’ll also need a low friction sleeve, a heat source, a razor knife, a rivet brush, masking tape and a marking pencil. A chalk-like marking pencil is not recommended.
If the vinyl graphic has been rolled up, be sure to flatten it out before attempting to install it. It is also important to understand the appropriate temperatures and other environmental conditions that produce the best adhesion. (You can learn more about these properties in an article entitled “Considering Environmental Conditions” in this same section.) It is also critical that the surface is thoroughly cleaned.
How to Apply Dry
Next, remove the vinyl from the backing paper by peeling it back from one corner. Baking paper is also known as a release liner or carrier and is the portion of the pressure-sensitive construction that protects the film’s adhesive before it is applied. The backing readily separates from the film immediately before it is placed on the substrate or target surface. Be sure to leave the pre-mask (application tape) on at this point. Pre-mask is the pressure-sensitive tape used to transfer a cut graphic from its liner to the substrate or to protect a given surface.
Next, locate where to position the graphics and mark the spot using small pieces of masking tape. If the graphic is large, tape it into position securely with masking tape. If the graphic is less than eight square feet, remove the entire liner. Position the graphic on the marked points using light tacking pressure.
Once you are satisfied with the position, begin at the corner and press it down using moderately firm, overlapping strokes, making sure the applicator is flat with the substrate along the entire length of the stroke. Hold the squeegee at a 50-70 degree angle to the surface. The flatter the squeegee the better. Overlap all strokes by about 50 percent.
Boosting Adhesion
Whatever the tools or technique, use enough pressure to make sure the graphic firmly adheres to the substrate. Pre-masked graphics require additional pressure, but it is important to use the application tape because it allows you to rub the graphic without damaging it or the ink. Different films have different levels of abrasion resistance.
Once the vinyl has been applied, you need to remove any air bubbles and tenting around rivets by using the air release tool. Heat may also be necessary to work out the bubbles, depending on the application.
Wait at least five to 10 minutes after the application to allow the adhesion to build to the functional bond level. The idea is to get ultimate adhesion; the characteristic of a pressure sensitive film that prevents it from being removed after it adheres to a substrate for a period of time. Although the time needed for ultimate adhesion typically occurs within about 24 hours after application, it can vary based on the types of adhesive and substrate used and the conditions under which the film was applied.
Until a functional bond is achieved, it is risky to remove pre-mask or allow a vehicle to be transported. Once you remove the pre-mask, re-squeegee all graphics edges, overlaps and seams using firm pressure. Use a squeegee with a low friction sleeve to prevent scratching or damage to the graphic. The re-squeegee is an absolute must on all edges of the decal to ensure its ultimate adhesion.
If the adhesion is not adequate and the graphic must be put into service right away, then carefully re-squeegee the graphic (again, using a squeegee with a friction sleeve). Re-squeegee the film using greater pressure, overlapping strokes. This will help improve the adhesion of the graphic.
If you are still not comfortable with the dry method, or need to learn with wet applications may be appropriate, check out our article entitled, “When to Use Wet.”
As seen on signindustry.com.
Venturing into Vehicle Wrapping, Part III: Installation
Before you remove the backing…
Before you remove the backing of the film, experts suggest taping the design to the exterior to make sure that everything is positioned correctly and falling according to the template.
“If you tape up the design you can check what the printer did,” says Peter Bearth, director of Spectrum Media Group in Dallas, a division of J Perez Associates. “We want to make sure that the door handles are falling in the right place and that the door breaks are not running through pertinent copy. We do that first.”
The next step is to remove any elements, such as mirrors or wiper blades that would force you to make extra cuts or unnecessary marks in the vinyl.
Wet vs. dry application
Inexperienced wrappers tend to lean toward wet applications, but pros say this makes the job much more difficult.
“We don’t recommend any kind of wet application for our MPI product line,” says Molly Waters, spokesperson for Avery’s technical marketing department. “It will actually break down the adhesive. You may not have a failure right away, but it could fail before its recommended lifetime.”
It also takes much longer for the actual vinyl to adhere if you do a wet application because the fluid has to dry and conform to the vehicle. Likewise, removing the vinyl is easier if you install it dry. The exception is reflective materials.
“Reflective material is very aggressive at installation and it’s even more aggressive at removal,” says Bearth. “Eighty percent of the adhesive on the reflective material stays on the car at the time of removal. When people come to me with reflective graphics, I always factor in extra money for time and agents to remove that adhesive because it is a bear.”
Gathering the tools
As we mentioned in part one of this series, there are tools that will make the installation process run much more smoothly.
A squeegee is an absolute must, say experts, and some installers actually use two different squeegees; a standard hard squeegee for the general work and a felt squeegee for the detailed areas. Felt squeegees help you avoid scratching the vinyl in those hard to wrap areas.
“You need a good squeegee that uses a more pliable material because it’s not as likely to get a nick in it,” explains Cree. “If you get a nick in the squeegee and scrape it across a graphic, then it’s going to leave a trail or a bubble and makes it look like a scratch mark across the graphic.”
Experts also recommend an air release, or pin, tool. Inexperienced installers often use razor blades to pop bubble. But this is a dangerous practice because it creates a slit in the film that leads to a stress point and causes the vinyl to give away.
“If you use an air release tool or a pin, then it creates a perfect circumference and pops the bubble and you don’t lose the inherent strength or integrity of the film,” says Cree.
You’ll also need a heat gun to help stretch the film. And both Avery and 3M recommend overlaminates.
Applying the vinyl
The vinyl is usually printed on 48″ vertical sheets. Manuel Vicnansky, president of DeSignCo, compares it to wallpaper. But even though the sheets are large, the installation should be slow and methodical. Experts say one of the biggest mistakes inexperienced installers make is rushing through the process.
Typically, there will be two installers working on a vehicle from back to front, overlapping panels. The hood, rear and roof are done last. “Lay down your rear panel and then your other panel will go over that so your actual overlap is always facing the back,” says Cree. “If you were to start in the front and overlap it, then your seams would be facing to the front of the car.”
Bumpers and body side molding typically aren’t wrapped because the adhesive does not stick to the agents that are in the rubber and plastic.
Dos and Don’ts
A huge mistake is trying to stretch the vinyl too far, according to experts.
“Even though it’s a cast film and it is conformable and will stretch, the trick to vehicle wrapping is to stretch the film as little as possible,” says Waters. “If you stretch it too much, then you are actually stretching your design and things won’t line up properly and you are going to have too much film.”
Working on vehicles that have dents in the body or have been repainted is also tricky because when you remove the vinyl it usually takes some paint with it. That means if you want to pull up the vinyl to reposition it, then you’ll remove some paint, too, and you won’t be able to reapply the vinyl.
Wheel wells and deeper recesses also require special attention. Cree suggests making relief cuts in these areas because the film is going to shrink a bit and could pull up. If it pulls up, then it could be subject to moisture getting underneath it and causing a failure.
Installation challenges
Perhaps the biggest installation challenges are wrapping compound shapes. Vicnansky compares it to wrapping a balloon with a flat medium.
Ironically, VW Beatles, one of the most popular vehicles to wrap, is also one of the most difficult. Transit panel lined vans also present a challenge because there is an indentation, similar to corrugation, that sinks in about one-half inch deep.
“One of the biggest mistakes that people make is applying right over the top of that and then trying to stretch the film in,” says Waters. “That puts pressure on the film and it tends to want to pop back up. With just a little bit of extra work you can actually apply into that indentation and it stays down very nicely and looks like the material is painted on to the truck.”
The “little bit of extra work” is heating the film. But there is a right way and a wrong way to do this. The right way, according to Waters, is to heat the film and let it cool. This process relaxes the film and makes it easier to install.
Crow’s feet, or wrinkles, as you go around a corner are another typical pitfall. Inexperienced installers often try to heat the film and go around the curve right away, but this only stretches the film and causes more problems. Again, the solution is to heat the film, let it cool, and then go around the curve.
“You need to heat it,” agrees Cree. “But the problem is that the film, in many cases, has a tendency to tent, or lift, in those areas. Then the film doesn’t stick and if moisture gets down in there, then it will cause a failure. Primer 94 aids our film to be able to stick down better in some of these deep recesses.”
Wrapping windows
Windows can be another complication. This requires a perforated window film for one-way vision, so when the driver is inside it looks like a tinted window from the inside but the image shows on the outside.
“You have to continue the image from the solid painted metal up through the window,” says Art Wollenweber, president of Qube Visual, a Denver-based visual services company. “So then you have to know the size of the windows and print a cut out from the larger file on the perforated material. If somebody pays $1500 they are going to be very picky. Everything has to match.”
Cutting on vehicle or off?
There is some debate whether to cut the vinyl before it is applied or afterward.
Vicnansky installs the vinyl and then trims the leftover. “Sometimes you have to cut around the lights, doors, all the rubber gaskets,” he says. “You have to be real careful not to cut the paint.”
But Bearth takes the opposite approach and actually calls the practice a taboo: “I have seen people hack up vehicles like you can’t imagine because they think they can lightly take their razor to make the cuts and they have no idea how much damage they are doing.”
Avery’s Waters takes the middle of the road stance on the issue, explaining that the best method is carefully trimming the film. “Let the weight of the knife be your guide as far as how much pressure to use. It’s better to make two or three swipes across the material instead of one that cuts into the paint,” she says. “A cut could be a failure point when you go to pull the film back because you fracture the paint and it weakens it.”
Removing the vinyl
With today’s high-tech vinyl, removing is easier than ever before. Experts recommend using a heat gun or a propane torch and then simply pulling it off.
“We recommend heat guns as a safeguard,” says Cree. “Most good installers use propane torches and are experienced with how hot they need to get the film to remove it properly.”
Short-term vinyl typically takes about 20 minutes to remove and can actually be loosened by sunlight, while long-term vinyl does require a greater heat source and takes a little more time to remove cleanly.
Once again, the key is using high-end vinyl. If you use quality products, then the material should come off easily. If you use cheap vinyl, then expect to be cleaning adhesive off the paint.
As seen on signindustry.com.
Venturing into Vehicle Wrapping, Part II: Design and Preparation
Design work for vehicle wrapping is much different than design work for flat 
graphics or banners or any other vinyl application, according to experts, and preparing vehicles for installation is critical to the appearance and life of the wrap.
In part one of this series, we discussed the benefits of venturing into vehicle wrapping and the materials and tools you would need to jump aboard this skyrocketing trend. In this article we will look at the ins and outs of designing for wraps and how to best prepare the vehicle for installation.
Knowing the vehicle
Knowing the shape and size of the vehicle and all its nuances is a critical part of the design process; therefore, taking measurements before you do any design work is a must.
“You really have to have a good handle on templates,” says Peter Bearth, director of Spectrum Media Group in Dallas, a division of J Perez Associates. “Templates are so key because positioning is critical. If you have to do a lot of reprints, then that could break your business.”
Experts also recommend an auto library that contains vector images of cars, trucks and buses and a digital camera with which to take pictures. The goal is to know every inch of the vehicle. If you don’t take time to do this up front, then you could end up with text over a door handle. Even though you are wrapping a 2003 Dodge Caravan, for example, measurements are still important because there are slight differences that could cause major problems during installation.
Designing for wraps
“Designing for wraps is completely different than other types of design work,” says Manuel Vicnansky, president of DeSignCo in Miami. “It’s like any new media, you have to learn the media and you have to learn what is going to capture the attention of the people. It’s more than just putting graphics on a car.”
Vicnansky suggests avoiding using too much text or colors. He says many people are using rainbows on cars and that causes the intended viewer to miss the message. In fact, making a bold statement is one of the biggest challenges in designing for wraps.
“You have to keep it simple. You need a strong message. You only have a few seconds to get the message across as the car passes by,” says Vicnansky. “It’s a branding media; it’s not a message media. You just show the brand for recognition more than to run a brochure.”
Keeping it simple
Bearth says one of the biggest mistakes with wrap designs is going overboard with flashy graphics or trying to put a one-dimensional design on a three-dimensional vehicle.
“Normally where your hood and your front bumper transition to the side of the car is challenging,” says Bearth. “You are basically laying down a flat design on the hood and a flat design on the side of the vehicles and if you have a wacky design, then they don’t transition well on either side of the hood and on either side of the trunk on the back.”
Bearth recalls doing a big push for an Internet company’s new sports portal. The design consisted of hundreds of tennis balls to be installed on a Jeep CJ-7. But the one-dimensional design did not transition well on the three-dimensional vehicle.
“The designer kept looking at the wrap and saying ‘That’s not what I wanted’,” says Bearth. “So we told him he would have to make adjustments to the design. When clients try to get too fancy, the trick is getting them to give you a solid color so that there are not lots of lines or matching up to do.”
As seen on signindustry.com.
graphics or banners or any other vinyl application, according to experts, and preparing vehicles for installation is critical to the appearance and life of the wrap.In part one of this series, we discussed the benefits of venturing into vehicle wrapping and the materials and tools you would need to jump aboard this skyrocketing trend. In this article we will look at the ins and outs of designing for wraps and how to best prepare the vehicle for installation.
Knowing the vehicle
Knowing the shape and size of the vehicle and all its nuances is a critical part of the design process; therefore, taking measurements before you do any design work is a must.
“You really have to have a good handle on templates,” says Peter Bearth, director of Spectrum Media Group in Dallas, a division of J Perez Associates. “Templates are so key because positioning is critical. If you have to do a lot of reprints, then that could break your business.”
Experts also recommend an auto library that contains vector images of cars, trucks and buses and a digital camera with which to take pictures. The goal is to know every inch of the vehicle. If you don’t take time to do this up front, then you could end up with text over a door handle. Even though you are wrapping a 2003 Dodge Caravan, for example, measurements are still important because there are slight differences that could cause major problems during installation.
Designing for wraps
“Designing for wraps is completely different than other types of design work,” says Manuel Vicnansky, president of DeSignCo in Miami. “It’s like any new media, you have to learn the media and you have to learn what is going to capture the attention of the people. It’s more than just putting graphics on a car.”
Vicnansky suggests avoiding using too much text or colors. He says many people are using rainbows on cars and that causes the intended viewer to miss the message. In fact, making a bold statement is one of the biggest challenges in designing for wraps.
“You have to keep it simple. You need a strong message. You only have a few seconds to get the message across as the car passes by,” says Vicnansky. “It’s a branding media; it’s not a message media. You just show the brand for recognition more than to run a brochure.”
Keeping it simple
Bearth says one of the biggest mistakes with wrap designs is going overboard with flashy graphics or trying to put a one-dimensional design on a three-dimensional vehicle.
“Normally where your hood and your front bumper transition to the side of the car is challenging,” says Bearth. “You are basically laying down a flat design on the hood and a flat design on the side of the vehicles and if you have a wacky design, then they don’t transition well on either side of the hood and on either side of the trunk on the back.”
Bearth recalls doing a big push for an Internet company’s new sports portal. The design consisted of hundreds of tennis balls to be installed on a Jeep CJ-7. But the one-dimensional design did not transition well on the three-dimensional vehicle.
“The designer kept looking at the wrap and saying ‘That’s not what I wanted’,” says Bearth. “So we told him he would have to make adjustments to the design. When clients try to get too fancy, the trick is getting them to give you a solid color so that there are not lots of lines or matching up to do.”
As seen on signindustry.com.
Venturing into Vehicle Wrapping Part I
Some sign makers are exploring vehicle wrapping as a lucrative add-on to their current workload while others are launching entire businesses targeting this fast-growth medium. Small businesses, large corporations, media outlets and others that want to attract attention are turning to vehicle advertising as a means to that end.
But be warned: vehicle wrapping is not for the faint of heart. While some of the basic vehicle graphic application skills crossover to wrapping, the latter requires more sophisticated techniques.
So if you are considering venturing into the bustling world of vehicle wrapping, then read on to learn more about what it takes to get the started or if you even should.
To wrap or not to wrap?
There is no doubt that there is lots of money to be made in wrapping vehicles. Vehicle wrapping is fast becoming one of the hottest forms of outdoor advertising.
There is no doubt that there is lots of money to be made in wrapping vehicles. Vehicle wrapping is fast becoming one of the hottest forms of outdoor advertising.
“The new wave of vehicle graphics is total wrapping because people have realized that the most cost-effective advertising on the planet is vehicles,” says Art Wollenweber, president of Qube Visual, a Denver-based visual services company. “Signs shops are starting to realize that they can go from the $150 decal on the door to something that is a lot more profitable.”
If you don’t begin offering vehicle wrapping services, then there’s a good chance that your competitor will. Experts say a good way to assess the viability of expanding your business is to count the number of requests you get in during a month-long period. If you find that you are turning customers away, then it may be time to begin considering a foray into wrapping.
“If you do it right and the margins are good, then you can turn around and price it and make a good profit,” says Peter Bearth, director of Spectrum Media Group in Dallas, a division of J Perez Associates. “But if you just jump in and you don’t know what you are doing, then you’ll make lots of mistakes. Vinyl can’t be recycled. Once you print it, that’s it.”
Experts say the best bet for sign makers is to make wrapping one element of what the business already offers instead of spinning off a new business based solely on vehicle wrapping. The myth is that only large shops can make money wrapping.
“Many sign shops think they can’t get into vehicle wrapping unless they are a huge operation,” says Wollenweber. “But that’s not really true.”
Getting up and running
There are two options for sign makers to venture into vehicle wrapping. Large shops may already have or decide to shell out the major investment in solvent ink-jet printers; smaller shops may decide to outsource printing, as well as other functions.
There are two options for sign makers to venture into vehicle wrapping. Large shops may already have or decide to shell out the major investment in solvent ink-jet printers; smaller shops may decide to outsource printing, as well as other functions.
The best printing results come from high-end machines from Océ, VuTek, Mutoh and Mimaki. Lower-cost water-based printers are not suitable for doing vehicle wrapping projects because the media and inks used with these printers are not as durable, according to Tim Maher, sales manager for Avery Digital Graphics.
Mid-range solvent ink-jet printers are a good place for small shops to start. Roland’s SOLJET-500, Gerber’s Edge, Summa’s DC2 and Hewlett Packard’s HP-5000 are suitable for producing high-quality vehicle graphics up to about 12 feet wide and much more affordable than the coveted VuTek.
“The price points of those machines are coming down dramatically,” says Maher. “You can get into one for as low as $30,000, which is making true solvent printing much more attractive to the sign industry.”
Sign shops that cannot afford to invest in an industrial printer may choose to outsource to a larger company that has the equipment. Many large shops offer wholesale rates on printing.
Experts also recommend investing in an auto library that contains vector images of cars, trucks and buses, a digital camera and installation tools like squeegees, razor blade knives, air release tools and propane torches or heat guns. And, of course, you’ll need to have the computer equipment and software to design the graphics.
Managing materials
As vehicle wrapping becomes more and more popular, vendors are coming out of the woodworks with materials designed to make installation as easy as possible. Two-mil vinyl is the most effective for vehicle wrapping, according to experts.
As vehicle wrapping becomes more and more popular, vendors are coming out of the woodworks with materials designed to make installation as easy as possible. Two-mil vinyl is the most effective for vehicle wrapping, according to experts.
Avery pushes its MPI1005 EZ.
“The MPI 1005 EZ features the Easy Apply technology that cuts down on wrinkling and damage, bubbles and waste during installation,” says Avery spokesperson Tiffany Witham. “We also offer 100 percent clean remove ability on the adhesive if it’s a sound OEM paint surface. This technology cuts down your production time, which saves you money on the job, and helps the installer if they are not truly an expert at installation.”
3M touts its Controltac Plus graphic film with Comply Performance Series 180C.
“Comply is a mechanical feature that allows air to travel through the adhesive, so there are usually fewer air bubbles and the film can be applied with time-saving techniques such as large squeegees,” says 3M spokesperson Peter Cree. “The pressure-activated adhesive allows the film to be repositioned during installation until pressure is applied to the film surface.”
Other competitors are up and coming with vinyl films designed for vehicle wrapping, too. MACTac’s JT5529P is emerging as a popular choice. The product is coated on one side with a permanent, opaque, acrylic pressure sensitive adhesive and supplied with an 86# Kraft liner.
“The materials make all the difference in the world,” says Bearth. “Some of it is very aggressive and it makes it harder to lay down and pull back up to reposition.”
Regardless of the brand name, experts stress the use of cast over calendared vinyl for vehicle wrapping. While calendared vinyl starts out as a solid and is melted and formed into a sheet, cast vinyl starts out as liquid. The end result is that calendared vinyl has a memory of being something else and cast vinyl does not.
In application, if you use calendared vinyl over a rivet, then it will tent because calendared vinyl tends to shrink a bit. Cast vinyl doesn’t shrink so it allows installers to go over rivets, corrugation and complex curves that run both horizontally and vertically with greater ease and longer-lasting performance.
“You have to work with top of the line products. People try to cut corners using different brands and there are many but then installation becomes so difficult that you can mess it all up,” says Manuel Vicnansky, president of DeSignCo in Miami. “You pay a premium for the high end products, but it cuts 30 percent of the installation time.”
Pricing and selling vehicle wraps
The average going rate for sign shops wrapping vehicles varies depending on the size and type of vehicle. But a good rule of thumb in today’s market is between $10 and $15 per square foot installed plus design fees.
“Don’t quote prices without seeing the vehicle,” says Wollenweber. “Consult with the installer to find out how long it will take.”
It typically takes two installers one full working day to complete a wrap.
Most large companies that want to advertise on their vehicles don’t have to be sold on vehicle wraps. But the high cost compared to traditional vehicle graphics will cause some individual operators and small business owners to cringe.
“You have to be able to sell it because when customers look at the initial costs they think it’s a lot,” says Wollenweber. “They don’t think of it as their best marketing opportunity.”
Qube Visual often works with the vehicle financing company to work the price of a wrap into the lease. So a $1500 wrap job is spread out over a three-year period and costs the owner only a few dollars a month.
Like any business decision, deciding whether or not to expand into vehicle wrapping should be fully investigated. But one thing is certain: lots of sign shops are going to make plenty of money in this niche. You could be one of them.
As seen on signindustry.com.
The Ever-Changing World of Ink for Digital Printing
These ink breakthroughs are the fruit of ink manufacturers research and development (R&D) efforts and this is just the beginning. Ink and printer manufacturers are working together to discover solutions to pending problems such as the need for greater speed and methods to enhance reliability, among other initiatives.
“We are going to see a lot of research in the future. There is discussion about whether or not UV ink capability will replace solvent-based ink capability. The consensus is that it will happen. It’s just a matter of when,” says Xerox digital imaging spokesperson Sandra Mauceli. “The hardware for UV inks is expensive, but the cost will come down.”
Investing in Tomorrow’s Inks
Indeed, printer companies, materials manufacturers and ink producers alike have a vested interest in seeing new and improved inks flood the market with their new colors and better performance. These stakeholders are investing significant dollars to see that happen.
Maria Bragg, marketing development manager of 3M Commercial Graphics, says 3M makes substantial investments in ink development as it relates to understanding the interplay between the printer technology, the ink and the printable substrates.
“Ink manufacturers are continually developing new inks in response to the changing market needs, such as changes in printers, print heads, substrates, environmental needs and application requirements,” Bragg says. “Ink jet printer inks today are considerably different than those of five years ago.”
Raster CEO Rak Kumar says his company works with multibillion-dollar ink companies to develop inks for its printers. Raster plays the role of a systems developer to make sure the ink meets its criteria. This effort is 10 percent of the printer manufacturer’s R&D budget.
“As we learn from customer feedback and new chemistry or new print heads become available the inks improve. For example, the requirements for the ink chemistry to work with very fine drops for a high dpi printer are very different than the requirements for a low dpi low-resolution printer. As new print heads become available, inks have to change,” Kumar says.
Pat Ryan, general manager of Seiko-I Infotech Americas Business Unit, says his company makes an ongoing and substantial investment in ink development. “Our goal is to develop different types of ink, ones that surpass the current generation of ink for speed, color durability, environmental and health concerns, and various other issues,” he explains.
The Ever-Changing World of Ink
For all of the reasons our resident experts mentioned, ink is an ever-changing world. All of this R&D has led to noteworthy changes in inks over the years, including the introduction and industry acceptance of solvent-based inks.
Unlike water-based inks, these inks use highly volatile chemicals and are designed for printing on plastics and other non-porous substrates. After printing, the solvent dissipates and leaves only the dry ink film on the substrate. Solvent-based inks have changed the market in a couple of ways, Ryan explains.
“Solvent-based inks allow you to print directly on un-coated media. That alone lowers the cost per print because it allows digital prints to go places they could never go before thanks to the pigment in solvent inks. The radical change to uncoated media also allows greater outdoor durability. So digital imaging is replacing traditional processes, like screen printing, for vinyl signs and banners,” Ryan says.
A big shift is the move toward UV inks. Another significant change has seen a shift toward eco-solvents. Eco-solvents are practically odor-free and do not require special ventilation or environmental equipment. Currently, eco-solvents are available in six colors: cyan, magenta, yellow, black, light cyan and light magenta. These inks are far less aggressive than their full solvent counterparts, yet these inks are becoming more popular and major printer manufacturers are catering to the demand with new machines.
Braggs notes still other changes: “Light colors have been added to improve image quality. More pigments are available for use in ink jet inks, leading to some discussion of spot color systems. White inks have recently been introduced. Ink has always been critical in the production of high quality graphics, and will continue to be. The need for inks designed to meet specific needs may be increasing.”
Why Do We Need More Inks?
Ink has come a long way, baby. But now that we have every color we could hope for, including metallics; now that we have eco-solvents; now that we have UV inks, what more could the industry possible want? Faster inks for one, Ryan repeats, even greater durability is another. Then there’s compatibility with a wider range of media types and the quest for even more environmentally friendly inks.
“There is always a price issue. People want cheaper inks. There are a lot of ways to develop ink. You can develop an cheap ink or you can develop ink that performs better,” Ryan says. “There’s a lot of work left to be done in order to meet all those needs and sell ink for a dollar a gallon that looks great and lasts.”
As customers move into new applications, Kumar says inks need to be available in different colors, such as spot and white, with different adhesion characteristics, greater flexibility to resist cracking, environmentally safer, and improved jettability to enhance reliability. That means multiplied millions more dollars with go into researching and developing new and improved inks for the future.
In addition to the traditional CMYK, 3M’s Bragg says more inks are needed to improve the apparent resolution, increase the color gamut and boost productivity. These are common themes in ink R&D today.
“As marketplace needs evolve there is often a need to develop new inks to meet those needs,” she concludes. “Ink development will continue the parallel the evolution of large format printing technology and end-user application requirements.”
As seen on signindustry.com.
Vehicle Wrapping Guru Justin Pate Tells All
Over his 14-year career, Justin has wrapped over 2,500 vehicles, a majority of them by himself. A combination of the fast pace of New York City and being an all-around athlete helped him create a method for wrapping vehicles he calls UGIS: Universal Graphic Installation System. Using this system, Justin can comfortably wrap almost any vehicle by himself in under 4 hours and even some vehicles, like cargo vans, in two hours.
SignIndustry.com caught up with Pate to discuss his passion, his wrapping system, and his advice for installers looking to make a go of it in the wrapping business.
SignIndustry.com:
Why are you so passionate about training people on how to do wraps?
Pate:
There are several reasons why I’m so passionate about training people. First off, I’ve been wrapping cars for 15 years now and its never gotten old. Every install feels fresh and exciting and that carries over to instructing. I feel that its a great way to make a living-it pays well, you have a finished product at the end of the day, and each vehicle wrap presents new challenges. I feel that if I can help someone get up to speed and installing high quality wraps then it helps the whole industry. Every wrap out there is a reflection of all installers. The better everyone gets the bigger the industry becomes which is good for everyone.
SignIndustry.com:
Of the thousands of wraps that you’ve done, which one is your favorite and why?
Pate:
There are many favorites for different reasons but I think if I had to single one out it would be a fleet job I did for Costar a few years ago. I was hired by Carwraps to wrap 90 Prius’ for CoStar down in the D.C area. The kicker for the job was that they had to be done in 30 days. With a little preparation and foresight, all the vehicles were arranged under one roof and all the graphics printed ahead of time. This meant that Shad Interligi, from Real Hit Media, and I could just put our heads down and wrap.
What I found most interesting was that one-day we would just wrap hoods, the next day it would be passenger sides. It was very singular, focused and, at times, surreal. In many ways this job took me to another level because I really honed my Speedwrapping system, which is wrapping with the highest quality and durability at maximum efficiency. I’m proud to say that just the two of us finished all the vehicles in 22 days and, four years later, I haven’t had one complaint about failure.
SignIndustry.com:
Any disasters from your early days that might hold valuable lessons?
Pate:
The biggest disaster came early on in my career. I wrapped two buses in the dead of winter-one for 112 and the other for Luke from 2 Live Crew. My client gave me removable film for buses that were hitting the road for two- to three-month tours in the dead of winter. I brought up the possibility that the film might not stick but was told to put it on. The next day my client got a call from the bus drivers saying that literally half the graphics flew off during the night. My client then had to reprint with the right film and fly me to Augusta, Ga. and then to Daytona, Fla., where I fixed the buses. It was an invaluable lesson for me in that using the right film is key. Many people try to go cheap on the front end but it rarely pays off. After this, I educated my clients on what films to use for what circumstances, which over the years, made them money and my life a lot easier.
SignIndustry.com:
Talk a little about what UGIS is and what are the benefits.
Pate:
UGIS stands for Universal Graphics Installation System. I developed this over the years from compiling everything that I’ve learned from working both in the U.S. and in Europe. Essentially, it’s the common denominator for what a wrapper must do in order to install professional level graphics. It’s made up of three modules: The Basics (squeegeeing, cutting and heating), The Method (glass, triangles and hinges) and Five Good Habits.
There are many benefits of using UGIS. By having a system, each car becomes the same, thus significantly reducing mistakes and install times. When installers use the same system, they sp
eak a common language, which makes communication and problem solving much easier. Lastly, having an easy-to-learn system like UGIS makes learning the art of graphic installations instantly accessible. It allows me to show newcomers that wrapping can be fun and exciting which, for the learning process, is half the battle.SignIndustry.com:
Where do you stand on wet vs. dry installation debate and why?
Pate:
I never do wet installations on vehicles. Wet installs are to be done on films that do not have air-egress and repositionable technology. Water will stay inside the channels of the adhesive, which is a problem in terms of achieving proper adhesion. Also, wet installs only work on flat surfaces and, other than flat trucks with no rivets, all vehicles are curved. That said, if the film has no air egress then wet installs can be done on a moderately curved roof or hood.
SignIndustry.com:
Where are the biggest opportunities in the wrap business today?
Pate:
I think the opportunities for the wrap business get more and more varied as new films and technologies come on the market. With new super conformable films like Avery MPI 1005 Supercast and Supercast overlaminates, what can be wrapped, like helmets and extreme vehicles, becomes possible. Also, there are now films for almost any surface, like concrete, so once an installer gets professional level skills, they can work in any medium, which is great both in terms of money and demand.
SignIndustry.com:
How has the vinyl installation business changed over the years?
Pate:
The wrap business has changed a lot over the years mainly in terms of growth. The film has gotten better to work with, the printers have gotten better and more accessible in terms of price and there are more installers then ever before.
I do think the business is going through some growing pains, partially from the recession. What I mean is that there have been a lot of people really selling wraps both for printing and install essentially at cost. I understand that a lot of people new to the industry just want to get their foot in the door or people think short-term but by steeply undercutting the average price for a wrap in a regional market, it really hurts everyone both short and long term.
I think it’s very important that printers and installers see themselves as part of a big community. By staying within a certain price range then quality and reliability become the standard for our industry, which will make advertisers spend their money on wraps, which they should. It’s the most economical and effective way for people to advertise.
SignIndustry.com:
What’s the toughest part of the wrap business?
Pate:
I think it’s the learning curve. It takes a long time to achieve the proper skills to put the film on with a professional level quality. Yes, you can learn on your own but the film is expensive and the vehicles cannot be cut on, which happens a lot with beginners. Taking a workshop from a good training program-like Mutoh’s School of Wrap-or watching a DVD, like my own, can really take months off of the learning process. Also, I think it takes a certain personality to be an installer. It’s a demanding job-it’s physically as well as mentally challenging in terms of focus and problem solving. Being able to find the flow on a vehicle day in and day out is tough to achieve but if you can wrapping becomes a lot of fun.
SignIndustry.com:
Any advice for launching a wrapping business?
Pate:
I think the biggest key is to see that everything is connected. Creating good designs that please the clients and are not overly complicated to install is a key starting point. A good production team that labels the panels, cuts them properly and provides layouts to the installer saves tremendous amounts of film and time. Owners who buy quality film may spend more up front but will save money by lowering install times and having fewer failures. Skimp on film, make a bad design or use poor install technique creates exponential problems in the wrap business.
SignIndustry.com:
Andy other advice or tips that you can share?
Pate:
Some days are going to be good. Others are going to be long. It’s the nature of the business. The key is to do it right every time. I have made more money and have kept clients for the long haul because I show up on time, I problem solve with the client in mind, I work hard and I act like a professional. Being consistently good all the time is the recipe to security and profits.
You can visit Justin online at www.justinpate.net and www.learntowrapcars.com.
As seen on signindustry.com.
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