Outgassing Paint and Vinyl Graphics

Bubble Trouble Have you ever seen the effects of outgassing paint on applied vinyl graphics?  It’s not pretty.  When the problem starts, it looks as if the surface of the film has had a breakout of severe acne. Tiny bubbles underneath the film grow until they merge together forming larger, more ominous bubbles. This is a horror...

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The Super Bowl of Signs

Next generation scoreboards are offering new opportunities for sign makers who can design and install monstrous LED signs.  Find out what it takes to design, build and erect stadium signage and decide if you have what it takes to cash in on the opportunity for high-tech LEDs. LED technology ushered in a new era of...

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How to Select the Right Overlaminate

Selecting the right overlaminate for a particular graphics application requires just as must consideration as selecting the right digital print media. And for many, it can be just as confusing, if not more so. For starters, just page through any distributor catalog, and you will find a wide array of options, nearly as extensive as...

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Product information and news for the sign, screen and graphic arts trade

Check out our OnlyWire Space for product information and news for the sign, screen and graphic arts trade.

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How to Fix Edge Peeling Vinyl Graphics

Once a graphic starts peeling, forget about trying to reapply any edges, which have already lifted. The adhesive on these peeled edges have most likely been contaminated with dirt. Edge lifting isn’t the end of world, though. In many cases, you don’t need to go through the time and expense of removing the entire applied...

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Step-By-Step Wet Application Instruction

Using an application fluid can aid the application of a vinyl films that have an aggressive adhesive system. The application fluid helps float the graphic onto the surface to prevent pre-adhesion (the vinyl sticking before you want it to). Nevertheless, for most vinyl installations, you should not apply the graphics wet, especially if you can do...

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About White Ink In Black and White

Could white ink allow you to expand into new markets? Imagine the possibilities of expanding your services to include printing on leather, cardboard, wood, stone or some other non-traditional material. Most ink jet printers don’t make room for white ink today, but that is bound to change in the future as printers and ink manufacturers...

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So You Want To Be a Vinyl Pro

Before you can claim professional installer status, you have to learn the basics to avoid common mistakes. Discover some fundamentals tips that will serve you well for many years. If you are just getting started with vinyl applications then you’ve got a lot to learn. But if you are diligent to take one step at...

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Benefits of Vehicle Wrapping

Need some help selling vehicle wraps? Trade groups, sign shops and market researchers have ammunition to help you seal the deal. Selling vehicle wrapping services is easy when you can offer potential customers a laundry list of proven benefits of this trendy advertising medium. You’ve invested in top of the line printing equipment and materials....

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Why Use a Heavyweight Paper Application Tape

When I started in the vinyl graphics industry more than thirty years ago, there was no such thing as lighter standard weight application tape that is generally used in the sign industry. The only tapes that were used were the heavyweight premium grade premasks. Today many sign makers have never even used these premium grade...

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Gorilla Glue Gilding

Many in the sign industry, refer to my friend, Sal Cabrera, as the “Gorilla Glue Guy.” Over the years, Sal has perfected his procedures for applying metal leaf directly to tacky and bubbly Gorilla Glue as his adherent, instead of using traditional gold size. His gilding technique is unique and time-saving. In this story, I...

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Using application fluid the right way when applying vinyl graphics

Using an application fluid can aid the application of a vinyl films that have an aggressive adhesive system. The application fluid helps float the graphic onto the surface to prevent pre-adhesion (the vinyl sticking before you want it to). Nevertheless, for most vinyl installations, you should not apply the graphics wet, especially if you can...

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Plotter Cutting Heat Transfer Films

If you are a sign maker and have a plotter or printer, garment decorating with heat transfer films is one of those prize opportunities that requires a very short learning curve and an investment in a heat press. The cost for a good clamshell press runs about $1000 to $1200, but you can buy one...

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Is Your Business Flex-ible?

If you haven’t explored flexible face signage, then you could be missing out on yet another way to build your business. 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...

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Evaluating Heat Transfer Films

How do you determine if one brand of heat transfer film is better than another? Today, most flex films are polyurethane. But not all polyurethane films are the same. In fact, the difference from one brand to another is staggering. Here’s what to look for in comparative shopping: FLEXIBILITY. All polyurethane stretches more than vinyl. This...

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Wrapping a Mini Car is No Mini Job

Wrapping a miniature car may not be as hard a wrapping a semi, but it has its own unique challenges. Find out how SkinzWraps approaches Mini Coopers. SkinzWraps electrifies vehicle wrapping industry with Mini Cooper job. Mini Coopers already demand attention on a roadway dominated by SUVs. But when you wrap one of these miniature...

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The Trouble with Shrinking Shirts

Tips for Working with Heat Transfer Films Should it be a surprise that cotton tee-shirts shrink?  Even us guys know that! Cotton garments shrink. 100% cotton can shrink as much as 10% to 12%. Especially if you simmer the clothes in hot water in your washer, and then bake it on high in the dryer until...

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See Supply55 Products at SGIA Orlando October 23rd, 24th and 25th, 2013

See Supply55 Products at SGIA Orlando October 23rd, 24th and 25th, 2013 - BannerPRO - ReelPRO - Guardian Laminators - Guardian Dye Sublimation Calenders - Direct-To-Fabric Printers and more . . . Get a Free Expo Pass to the 2013 SGIA Expo Orlando, October 23-25, 2013 from Supply55 Use Code: 109963E Orange County Convention Center, South...

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Applying Floor Graphics: Beyond Pick ‘Em and Stick ‘Em

Different types of floors often demand different approaches to applying the floor graphic ­ if you want it to stick. Get the inside scoop. Applying floor graphics can be easy ­ but it can also give you a headache. Get some tips that will help you avoid the Tylenol bottle. Applying floor graphics may seem...

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Boat Wrapping Secrets You Need to Know

In case you haven t noticed, boats are curvier than most cars. That can spell trouble if you don t approach a boat wrap the right way. Discover the boat wrapping secrets you need to know. Ready for some step-by-step instructions on how to wrap a boat? Get the insider s techniques that will help you find success...

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Caring for Garments with Heat Transfers

I am frequently asked how many times you can wash a garment with a  heat transfer applique before it deteriorates.  Durability of this material all depends on the type of material that you are using and  garment care.  If you wash and dry the garment properly, a high quality polyurethane applique should last just as long as the garment itself. Nothing shortens the...

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Cutting and Weeding Tips for Heat Transfer Films

Not all  polyurethane heat transfer films are the same. That s because many of these films aren t 100% polyurethane. Instead, the polyurethane based films are blends of polyurethane and vinyl. These blends are stiffer. 100% polyurethane heat transfer films, on the other hand,  are more stretchy than others. That’s a big advantage after the graphic is applied to...

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Applying Heat Transfer Films for Garment Decoration

Successful application of heat transfer materials depends on three primary variables: time, temperature and pressure. Not all heat transfers heat press at the same setting. Hotter is not always better. In fact, higher temperatures can make matters worse. Before heat pressing, refer to the manufacturer’s literature for the recommended time and temperature settings.  Pressure is...

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Designing Vehicle Graphics

Many of the basic rules for designing outdoor advertising and transit advertising are also relevant when you design vehicle graphics. The cardinal design rule is: Keep It Simple. Customers understandably want to get their money’s worth. So they tend to want to cover every inch of the vehicle with numerous different advertising messages. The result...

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Sign Makers Restore Historical Flying Red Horse

In 1934, the Magnolia Petroleum Company, predecessor to Mobil Oil, erected a large oil derrick on the roof of the city s first skyscraper, which was billed the tallest building south of Washington D.C. and west of the Mississippi. The derrick supported two 35-by-50-foot red neon signs that formed the image of a Pegasus, a mythological...

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Wensco Open Houses – Detroit, Grand Rapids, Chicago, Davenport

See Supply55 Products at the Wensco Open Houses in Detroit, Grand Rapids, Chicago and Davenport Detroit, Michigan Open House: Location: 31000 Industrial Road, Livonia, Michigan 48150 When: Thursday, September 12, 2013, 9am to 3pm Grand Rapids, Michigan Open Houses Detroit, Grand Rapids, Chicago, Davenport: Location: 5760 Safety Drive, Belmont, Michigan 49306 When: Friday, September 13, 2013,...

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Boat Wraps – Opportunity for Vinyl Installers

Vehicle wraps are so 2009. With many boats sitting on the sidelines during the winter months, it s the perfect time to hone up on your skills in the next big wrap wave boats. The opportunity is vast. U.S. recreational boating demand will grow 5.3 percent annually through 2011, according to market research firm Freedonia...

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Sign Outlet Open House

See Supply55 products at the Sign Outlet Open House When:  Saturday, September 21, 2013, 9am to 4pm Where: Sign Outlet Store, 2200 Ogden Avenue, Lisle, IL 60532, 630-737-1948 Special Offers: - Free lunch - $1,000 cash raffle - Graphtec 24 vinyl cutter raffle - 10am $100 early bird raffle - Vehicle wrap demonstrations - Product...

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Learn The Ins and Outs of Using Premask In Your Vinyl Applications

Premask is the pressure-sensitive tape used to transfer a cut graphic from its release liner to the substrate or to protect a given surface. The release liner, also called the carrier, backing or backing paper, is the portion of the pressure-sensitive construction that protects the film’s adhesive before it is applied. Premask is applied to...

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What substrates can I apply vinyl graphics to?

While becoming an expert installer means cash money in today’s sign market, there are some substrates that the most elite vinyl pros even stay away from — and for good reason. Despite the temptation of extra income, attempting to apply to substrates that are not clean, smooth or non-porous is an ultimate waste of time...

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Aircraft vinyl graphics could be your next big opportunity

Have you ever seen those massive logos on the tails of airplanes, or the lettering along the side, or how about the other décor on smaller jets? Yes, sometimes it’s painted on. But oftentimes it’s vinyl. Perhaps surprisingly, you don’t need special vinyl to install graphics or lettering on small airplanes. However, you cannot use...

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Wrapping Tropicana Field

Tropicana Field s 1.1 million square feet include unique design features and fan amenities found nowhere else in the Major Leagues. It makes an exciting home for the Tamp Bay Rays baseball franchise, and a strong example of how vinyl wraps are playing a key role in aesthetics, communications and advertising in stadiums across the country....

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A Titan-Sized Wrap – Wrapping the home of the Tennessee Titans

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,...

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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...

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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...

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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...

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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...

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Vinyl Techniques: Considering Environmental Conditions

Written on June 12, 2013 by Jennifer LeClaire in Sign Making, Vehcile Wraps

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.

Vinyl Hints: Don’t Damage the Vinyl During the Installation!

Written on June 14, 2013 by Jennifer LeClaire in Sign Making, Signs

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.

Discover the benefits of flexible-face signage and add another service to your growing sign shop

Written on June 14, 2013 by Jennifer LeClaire in Banner Fabrication, Flexible Face Signage, Sign Making, Signs

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.

Tri-Message on a Truck

Written on June 13, 2013 by Jennifer LeClaire in Mobile Signage, Signs

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.

Vinyl Techniques: Considering Environmental Conditions

Written on June 12, 2013 by Jennifer LeClaire in Sign Making, Vehcile Wraps

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.

Boosting Adhesion in Dry Applications

Written on June 10, 2013 by Jennifer LeClaire in Sign Making, Vehcile Wraps

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.

Benefits of Advertising in Any Economy

Written on June 7, 2013 by Jennifer LeClaire in Business Interest

Businesses that continue to advertise regardless of economic times have a competitive advantage over businesses that trim their ad budgets.
So says a business-to-business (b-to-b) media study conducted by Yankelovich Partners and Harris Interactive. The study showed more than 85 percent of business executives believe advertising during a down economy is extremely important.
B-to-b media is an undisputed ally for advertisers seeking to reach executives about products and services for their businesses. The study, prepared for American Business Media, showed that despite slow economic times, executives rely on b-to-b media for information more than any other media source for the influence or support of purchase decisions.

Competitive advantage 
Advertising during a sluggish economy clearly creates a competitive advantage, according to the study, with a majority of executives agreeing that seeing a company advertise during slower times makes them feel more positive about the company’s commitment to its products and services. But perhaps most important is staying at the top of buyers’ minds when purchase decisions are made.
“For advertisers interested in maximum profit from their investment in b-to-b media, these research results indicate that advertising frequently ­ and capitalizing on the synergistic effect of print, Web sites and trade shows ­ is a sure path to increasing awareness, interest and purchase,” said the study authors.
Add to that the fact that there has been dramatic increases in the time executives spend visiting b-to-b Web sites over the past three years and online advertising is a winning strategy. Moreover, the study findings are consistent across industry sectors, making results relevant regardless of business category.
Long-term investing
While the Yankelovich/Harris study offers compelling data to support the benefit of advertising especially in slower times, other business gurus also support the theory.
“Advertising in a down economy is even more important than advertising during the good times,” says Joyce Gioia, president of the Herman Group, a firm of strategic business futurists in Greensboro, N.C. “That’s when you can build market share. That’s when you have less competition for share of mind. While others are in a cocoon, hibernating until things blow over, it’s a great time to invest in your business.”
Gioia says sign industry suppliers need to establish themselves as the brand of choice and halting advertising during tough times is counteractive to that goal.
The bottom line is clear: If a company is not communicating with customers when they enter the market, then that company will not be considered in the buying decision. That fundamental truth does not change, regardless of the economy.
While many companies readily understand the value of short-term advertising ­ generating new sales, generating repeat business from existing customers and generating new leads that turn into future sales ­ it can be more difficult to comprehend the long-term value. Think of a snowball rolling down a mountain ­ consistent advertising has a cumulative effect. The more familiar buyers are with your brand, the more likely they are to purchase the brand.
Cross media approach
A cross media approach is the best approach, according to experts, because it allows your company to stay in front of customers consistently.
The Yankelovich/Harris study shows executives value magazines, Web sites and trade shows for different reasons. B-to-b magazines are favorably evaluated with respect to being “highly credible sources” and “providing information you can trust.” B-to-b Web sites rate high for being “primary sources of research” and providing “access to the latest information.” And b-to-b trade shows are highly regarded for enabling “interaction with industry peers.”
“To stay on top of developments in your field, it’s important to seek information from multiple media sources, like business-to-business magazines, Web sites and trade shows,” said the study authors.
Focusing on the Web
DoubleClick, leading provider of marketing tools for advertisers, direct marketers and Web publishers, recently conducted a cross media study that compared the relative audience reach of Internet sites, network TV programs and consumer magazines.
“Earlier this year we talked to over 200 marketers who told us their top reason for not spending more online was that their customer was not online,” says Susan Sachatello, chief marketing officer, DoubleClick. “In comparing these mediums side-by-side using industry standard metrics, this study demonstrates that both in aggregate and in key target groups, the Internet is in fact a mainstream mass-market medium and that marketers should be going online to reach their customers.”
So what works best on the Web? Experts say banner ads are the most effective tool because they build the brand and generate leads. And since online advertising is less expensive than traditional print media, TV and direct mail, the online channel makes more sense in a down economy.
Rich media rules
DoubleClick’s Ad Serving Trend Report gives deeper insights about what works on the Web. DoubleClick’s ad serving data reveals a major variance in the click-through rates of rich media ads (2.4 percent), which is six times higher than non-rich media ads (0.4 percent).
Rich media uses a combination of voice, interactive video, streaming video and data sharing. The ads, then, are more interactive than static banners.
DoubleClick also found that Flash increased branding metrics by 71 percent for three different-sized ads measured, demonstrating the branding power of richer media.
“While click-through rate is only one method of assessing online advertising effectiveness, its stability over the past several months reflects the mainstream adoption of online advertising at levels consistent with traditional direct response rates,” says Doug Knopper, vice president and general manager of advertiser solutions at DoubleClick. “We are very encouraged by the growth of rich media usage and the significantly higher click-through rates that these formats have been generating, which together reflect the increasing sophistication and performance of the online advertising medium.”
When is the best time to advertise?
Regardless of the medium, the Yankelovich/Harris concludes that advertising during all economic times is critical to the future success of companies.
Ninety-nine percent of those surveyed said it is important to keep abreast of new products and services during tough times and 97 percent said it is important to continue to invest in these products and services to remain competitive in the future.
The study stresses that executives are not going to let their guards down even during slower economic times ­ they must stay current on what is new in the industry and must position their organizations for the future. Advertisers, then, must not let their guards down, either, say experts.
As seen on signindustry.com.

Venturing into Vehicle Wrapping, Part III: Installation

Written on June 7, 2013 by Jennifer LeClaire in Vehcile Wraps

In parts one and two of this series, we discussed how to get into vehicle wrapping, how to design for wraps and how to prepare the vehicle for installation. In part three we take an in-depth look at the installation process from start to finish. Read on to learn some well-kept secret tricks of the trade that could help you avoid some potentially costly mistakes.
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

Written on June 7, 2013 by Jennifer LeClaire in Vehcile Wraps

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.