The Big Picture - January 2012 by ST Media Group

01.12

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Fabric’s Endless Possibilities Big Image Systems pursues the grand scale.

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in this issue

JANUARY 2012 Volume 17 Number 1

COLUMNS 4 InSight

I ntegrating dynamic signage.

12 Graphics on the Go

Blue-collar fleets.

14 Inside Output

lassic Graphics’ C continuous re-invention.

DEPARTMENTS 5 Wide Angle

FEATURES 16 Fabric’s Endless Possibilities By Mike Antoniak Big Image Systems’ prints have graced curtains and carpets, furniture and buildings, and walls and ceilings. But it’s the company’s output of gargantuan images on fabric – transforming stages, exhibit halls, and retail spaces – that has earned it the reputation as the go-to company for fabric printing on the grandest scale.

20 Finding Technology Solutions at SGIA Expo In New Orleans, more than 16,000 attendees stormed the 167,000-square-foot show floor of the 2011 SGIA Expo looking for some wide-format voodoo that would aid in casting a technological spell to further energize their companies. Here are some of the latest and greatest technologies that grabbed attendee attention.

26 Social Media: A Virtual Storefront To see how social media works for the wide-format marketplace, we talked to 10 print shops who have found a way to use online marketing as a sort of storefront on Main Street to showcase their tools and talents.

30 Mapping Out a Laminate Quest With many print jobs comes a decision: Should the work be laminated? If you opt for laminating, you have a dazzling array of options available to you. ON THE COVER: Big Image Systems’ (bigimagesystems.com) work for the Warner Bros. booth at the 2011 E3 Expo. Cover design by Laura Mohr.

THE BIG PICTURE january 2012

o melting in N Toronto, plus a shift in Holland.

8 Up Front

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40 Job Log

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insight by Gregory Sharpless

www.bigpicture.net Gregory Sharpless Editor/Associate Publisher gregory.sharpless@stmediagroup.com

Cutting-Room Floor: Dynamic Signage In our recent feature article, “Making the Leap into Electronic Digital Signage” (December 2011, page 24), we showcased four entrepreneurial print service providers who have experienced varying degrees of success in adding electronic digital signage and displays as an additional revenue stream to their traditional output work. As is true with most every feature article we run, we inevitably “lost” some of the copy in the editing process as we adjusted the text and images to fit the allotted space. Try as we might, we just couldn’t squeeze everything in. So, the next best thing here: I thought I’d provide just a few of the comments that we lost along the way: • Rob Kaun, Signs by Tomorrow, York, Pennsylvania (signsbytomorrow.com/york): “There are definitely going to be opportunities for those who offer digital signage, there’s still a lot of potential for growth there. But it could also be seen as a threat by those who are afraid to begin offering these services – because if they don’t, someone else will.” • Michael Albaugh, NuArt Sign and Graphics Systems (nuartsigns.com): “You need to add people who understand IT and the hardware, and content developers. I know it can be done, but the question is still there: How much of a commitment do you want to make?” • John Rodriguez, Big Idea (bigidea.net): “There really is a learning process to succeeding with digital signage, and we’re still learning.” • From the writer of the article, Mike Antoniak: “There’s no halfway here. You’re either going to specialize in dynamic signage services, or you should be partnering with someone who has, to retain your clients as their needs to communicate evolve and expand beyond the graphics services you already provide.” When I re-entered this marketplace eight years ago, after a two-year hiatus, one of the first things a fellow editor said to me was, “Wide-format printing will be extinct in a few years – electronic digital signage will take its place, like the car replaced the horse-and-carriage.” Of course, nearly a decade later, wide-format printing is still going strong. And although electronic digital signage has not turned into a revenue-producing panacea for all print providers, a shop would be negligent in not seeing how it might be integrated into its current offerings.

Britney Grimmelsman Associate Editor britney.grimmelsman@stmediagroup.com Laura Mohr Art Director laura.mohr@stmediagroup.com Marty McGhie, Craig Miller, Jared Smith Columnists Linda Volz Production Supervisor linda.volz@stmediagroup.com Lou Arneberg - East and Midwest US, Eastern Canada Ben Stauss - West and South US, Western Canada, Asia, Europe Business Development Managers Rick Bachelder, Kathy Boydstun, Terry Corman, Scott Crosby, Brandon Gabriel, Michael Garcia, Kirk Green, Robert Kissel, Tina McLaughlin, Craig Miller, Carmen Rad, Greg Root, Jared Smith, Mark Taylor Editorial Advisory Board

Tedd Swormstedt President Steve Duccilli Group Publisher Christine Baloga Audience Development Director Kari Freudenberger Director, Online Media Subscription Services (847) 763-4938 tbp@halldata.com bigpicture.net/subscribe bigpicture.net/renew Single Copies/Back Issues Debbie Reed debbie.reed@stmediagroup.com

THE BIG PICTURE (ISSN 1082-9660) is published 12 times annually by ST Media Group International Inc., 11262 Cornell Park Dr., Cincinnati, OH 45242-1812. Telephone: (513) 421-2050, Fax: (513) 362-0317. No charge for subscriptions to qualified individuals. Annual rate for subscriptions to non-qualified individuals in the U.S.A.: $42 USD. Annual rate for subscriptions in Canada: $70 USD (includes GST & postage); all other countries: $92 (Int’l mail) payable in U.S. funds. Printed in the U.S.A. Copyright 2012, by ST Media Group International Inc. All rights reserved. The contents of this publication may not be reproduced in whole or in part without the consent of the publisher. The publisher is not responsible for product claims and representations. Periodicals Postage Paid at Cincinnati, OH and at additional mailing offices. POSTMASTER: Send address changes to: The Big Picture, P.O. Box 1060, Skokie, IL 60076. Change of address: Send old address label along with new address to The Big Picture, P.O. Box 1060, Skokie, IL 60076.

THE BIG PICTURE JANUARY 2012

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wide angle

No Melting Ampco Grafix (ampcografix.com) worked with the SMAK agency to help create 20 festive snowmen for the holiday Torontoland event, sponsored by Tourism Toronto. The 7-foot, hard-coated foam snowmen bodies were engineered by Big Buzz Designs in British Columbia and sported designs created by city artists. Ampco produced the graphics templates and executed the output. Print production involved a trio of EFI printers – the Vutek 150, Vutek 200, and Vutek 3360, all with EFI Fiery RIP – onto 3M white self-adhesive vinyl with laminates. Computer cutting and hand trimming finished the job. Overall, the project took nearly 320 man-hours and involved 16 technicians. When Torontonians snapped a photo of one of the snowmen scattered throughout the downtown area and posted it to Torontoland’s Facebook page, Tourism Toronto donated $2 to the Starlight Children’s Foundation. www.bigpicture.net

wide angle

Shift

For Art Along the Schinkel â&#x20AC;&#x201C; an outdoor exhibition adjacent to the Schinkel Canal

in Amsterdam, Holland â&#x20AC;&#x201C; artist Natasha Rosling, known for her large, brightly colored artwork, created a digital collage titled Shift using images she had sliced, layered, and manipulated in Photoshop. London-based Blink Digital Media (blinkdigitalmedia.com) executed the output via its HP Scitex XP5300 UV printer, onto Seemee Frontlit Standard FR B7641 banner material. Rosling then cut the panels and sewed the seams to allow Blink to run the cables through to install. When the bridge is down, the four rows of panels are separated, but when the bridge rises, the panels shift together to form the large artwork. 6

THE BIG PICTURE JANUARY 2012

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The Substitute Sasquatch For museums, exhibit banners are a key part of getting the word out about their frequently changing exhibits and other events. In Renton, Washington, however, the Renton History Museum found out that a well-done banner can attract the wrong kind of attention as well. This autumn, when the museum hosted its Bigfoot is Probably Real exhibit – exploring “what we think we know about Sasquatch, and why we think we know it?” – museum director Elizabeth Stewart contracted with freelance designer Wil Samson to design a banner with bold graphics that would grab the attention of passersby and entice them to attend the exhibit.

THE BIG PICTURE JANUARY 2012

She chose to work with The Wide Format Company (thewideformatcompany.com) in Bellevue, Washington, to produce a 4 x 10-foot exterior banner that would feature Samson’s graphics. The museum had partnered with the print shop many times before, producing a number of wall murals and banners. Banner output was done on the shop’s Mutoh ValueJet 1614 with Mutoh EcoUltra inks, onto 13-ounce scrim vinyl. Finishing comprised a one-inch hem around all sides plus grommets. The Wide Format Co. completed the banner and delivered it to the museum, where installation was done by the museum staff. Just two months after the banner’s install, however, the museum received a phone call from someone whose car was stopped at the light right in front of the museum. The driver said she had just witnessed a man steal the banner in broad daylight on a busy street. “Later, a staff member figured out the thief must have scaled the wall to cut the ties holding the 10-foot banner so he could take it without damaging it,” says Stewart. The museum staff fi led a police report, of course, but they did not find the culprit or the banner. The theft was a major blow to the exhibit: “We are a very small museum with limited funds – $200 is a big chunk of our exhibit budget,” says Stewart. Outraged, Stewart posted on the Museum’s Twitter page, “Who steals a banner from a museum??? @rentonhistory just got robbed.” Which is where an interesting Sasquatch tie-in enters the story. When Marjorie Hastings, a

Renton resident and marketing research analyst for the Seattlebased Pemco Mutual Insurance Company, saw Stewart’s tweet, she convinced her company to make an immediate oﬀer on behalf of Pemco to cover the cost of a replacement banner. Pemco’s decision, Stewart explains, was certainly a matter of community goodwill, but the Bigfoot is Probably Real exhibit also dovetailed nicely with the insurance company’s marketing “We’re a Lot like You” campaign: “It’s a very funny campaign consisting of profiles of stereotypical Pacific Northwesterners – ‘Socks and Sandals Guy’ or ‘Skis in the Rain,’ for example. One of these profiles is ‘Desperately Seeking Sasquatch,’ featuring a bearded man in camo with binoculars, so they liked the tie-in with our exhibit theme. Whatever the reason, we were very appreciative!” The Wide Format Company then rose to the occasion as well: “Everyone at our shop was shocked to hear that the banner was stolen and we decided to move the banner reprint to the front of our production schedule,” says Neil Johnston, the print shop’s marketing director. Two days after the original banner’s theft, the replacement was printed and installed, and the Bigfoot exhibit promotion was, well, back on firm footing. Beyond the banner replacement, the museum’s S-O-S tweet also resulted in numerous other oﬀers of assistance. These funds will be set aside for the creation of banners for future exhibits, says Stewart, and used in assisting with the digitization of the museum’s audiotaped oral histories and fi lms.

Grapo Technologies Acquired, Becomes SigmaJet

BPIC and iPad Looking for The Big Picture on the Apple Newsstand for iPad or iPhone? Although we can indeed be viewed on iPads and iPhones by clicking on the link in the e-mail that’s sent with the digital edition of each issue, we have not yet created a custom app for BPIC (so we will not be found if you were to do a search in the Apple App Store or newsstand, for instance). We may pursue custom apps as interest grows – let us know if you’d like to see us on the Apple newsstand. Meanwhile, note that we currently publish our digital editions through Issuu, and you can find the latest digital edition here: issuu.com/the_big_picture/ docs/1201bpic (as well as all back editions and our Printer Sourcebook).

Number of consecutive months that economic activity in the manufacturing sector has expanded, as of November 2011, based on these indicators: new orders, production, employment, supplier deliveries, and inventories. As reported by the Institute for Supply Management (ism.ws) in its monthly ISM Report On Business, an economic report based on the survey responses of approximately 350 purchasing and supply executives nationwide in 18 different manufacturing industries.

Grapo Technologies, the Czech Republic-based manufacturer of wide-format hybrid and flatbed UV printers, has announced its acquisition by a group of private investors. The company will be re-named SigmaJet (sigmajet.com); Branislav Oravec, previously sales and marketing director of Grapo Technologies, has been appointed the new SigmaJet CEO. “We are very excited about the new opportunities that this partnership is presenting to us. It marks the start of a new and exciting chapter for SigmaJet,” says Oravec. “The wide-format print markets are experiencing phenomenal growth, and thanks to the support of our new investment team we will be able to increase our reach and value-offering. Our strategy is to continue to provide our customers with high-quality, high-performance wide-format solutions that address the constantly evolving demands of the inkjet-printing market.” The group reports it is making significant investments in areas of manufacturing, R&D, training, and customer support; it will open a new demonstration facility in Bratislava, Slovakia in January 2012. In addition, SigmaJet is currently working on a new online presence, including the rolling-out of an updated website. The new domain will be sigmajet.com; once the updated site is online, visitors to the current grapo.com domain will be automatically diverted to the new one. The company’s current branded printers – including the Manta printer line (Manta, Manta Slim, and Manta White), Gemini, and Shark – are undergoing migration to the new SigmaJet badging. SigmaJet reports that the company’s Octopus II line “will be phased-out over time, since technical and engineering advances in SigmaJet’s other products have created an overlap in its value offering.” The US distributor for the SigmaJet products will remain Integra Technologies International (integraint. com), based in Austin, Texas. “All of us at Integra are excited by the changes being implemented at Grapo/Sigma,” says Ron Skaggs, president of Integra Technologies. “These changes are important steps in the evolution of the company as a world-class manufacturer of UV print technology. Our partnership with Sigma has become stronger in large part because of the positive changes we have witnessed.”

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upfront

Clearing the Elephant in the Room With travel security at an all-time high, the US Department of Homeland Security sought to encourage travelers to join in the safety eﬀorts by being on high alert for suspicious activity. The campaign, inspired by the fact that many travelers claim they aren’t sure what “something suspicious looks like,” encouraged people to trust their instincts with the slogan: “If you see something, say something.” Maryland’s Integrated Design marketing firm coordinated the campaign and designed floor and wall graphics to be placed in Metro and train stations throughout Maryland, Virginia, and Washington DC. The final images depicted neglected bags, suspicious silhouettes, and even life-size elephants, and each graphic featured a QR code directing travelers to the Secure Transit website that explains what to look out for

and who to tell if and when travelers see something odd. ITA Promotions (formerly Idle Times Advertising, itapromotions.com) signed on to handle printing and installation. Output onto Mactac Streetwrap vinyl, the graphics were printed using an HP Designjet 8000 mild-solvent printer, laminated with Mactac Permaflex 6300 floor laminate, and contour-cut with a Mimaki CG130fx cutter. “Choosing the proper materials that would stand up to the high-traﬃc and the elements proved to be a challenge. The material needed to be strong enough to bond to concrete and tile and the overlaminate needed to provide a non-slip surface. Streetwrap is not designed for rough surfaces such as the concrete walls, but it worked fine after applying short blasts of heat, and a felt squeegee was used to push the material into cracks and crevices,” says Josh Sweat co-owner of ITA. The majority of the graphics measured 36 x 36 inches, while the elephant graphic was 72 x 72 inches. To support the campaign graphics, ITA also coordinated and executed outreach teams, which distributed grab bags filled with a flashlight, a wallet card, and a brochure about transit safety at 12 diﬀerent events over a three-month timeframe. The teams were outfitted with branded “backpack billboards” and t-shirts for increased visibility. The backpack billboards were printed onto an 8 x 8-foot, 12-ounce Ultraflex Matte Banner material and hemmed with grommets in the corners. Over the course of the campaign, 11,000 grab bags and 32,000 informational brochures were distributed to commuters across the region. Outreach teams also gathered campaign feedback by conducting surveys using Android tablets.

“We are producing data on a massive scale that is fast polluting our working environments and also encroaching into our personal lives. We are taking action to reverse this trend, just as organizations took measures to reduce environmental pollution after the industrial revolution.” — THIERRY BRETON, CEO OF ATOS, THE FRENCH IT COMPANY, WHICH HAS A GOAL TO ELIMINATE ALL INTERNAL E-MAIL IN THE NEXT 18 MONTHS; INSTEAD, ITS EMPLOYEES WILL UTILIZE INSTANT MESSAGING AND OTHER MODES OF COMMUNICATION.

THE BIG PICTURE JANUARY 2012

market metrics

Least-Effective Engagement Techniques Tangerine Tango: Color of the Year Pantone (pantone.com) has announced Pantone 17-1463 Tangerine Tango as the color of the year for 2012. Over the past several years, orange has grown in popularity and acceptance among designers and consumers alike, says Leatrice Eiseman, executive director of the Pantone Color Institute. “Tangerine Tango is an orange with a lot of depth to it. Reminiscent of the radiant shadings of a sunset, Tangerine Tango marries the vivaciousness and adrenaline rush of red with the friendliness and warmth of yellow, to form a high-visibility, magnetic hue that emanates heat and energy.” To arrive at the selection of the color of the year, Pantone looks for color influences around the globe. This can include the entertainment industry and films in production, traveling art collections, hot new artists, and popular travel destinations. Influences can also stem from technology, availability of new textures and effects that impact color, and even upcoming sports events. Pantone reports that fashion designers including Tommy Hilfiger, Nanette Lepore, Cynthia Steffe by Shaun Kearney, Elie Tahari, and Adrienne Vittadini are already incorporating Tangerine Tango into their spring collections. And Sephora, the beauty specialty retailer will launch a limited-edition Tangerine Tango-inspired collection in March 2012 featuring a variety of products. Other products incorporating Tangerine Tango are already available from Chronicle Books, Dessy (a manufacturer of bridesmaid, social-occasion, and flower-girl dresses), Rickshaw of San Francisco (lightweight and stylish messenger bags), W2, MyColor inspired by Pantone, and Pantone Paints. Note: Tangerine Tango can be cross-referenced to all other Pantone Libraries including Pantone Plus and Pantone Goe for graphic design. For cross-referencing information, see pantone. com/COY2012.

When Dealing with Smaller Businesses

When Dealing with Larger Businesses

17%

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Percentage of customers

24%

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who feel the technique is effective

Joining an Online Customer Community

15%

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Interaction with the Company via Social Media

The three least-effective techniques for encouraging customers to continue using a business and buy more from them, according to “The Customer Dance: When to Lead, When to Follow,” a recent Pitney Bowes (pb. com) study. “Attempting to engage customers on these platforms before the basics of good communications management and customer service are established will not work.”

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graphics graphicson onthe thego go

The Inner Workings of Small-Fleet Projects By Jared Smith

hile we all love to land those high-profi le clients that make us feel like the “celebs” of the wrap world, the truth is, they only make up a small slice of our business pie. At bluemedia, our bread and butter are those wraps that aren’t set for primetime, but rather are destined to be workhorses, sent out into the world to get a job done. Some wrapped vehicles carry tools to a jobsite while others carry patients to hospitals or suspects to jail. A few carry passengers to the airport and others carry food to grocers. These are the heart and soul of the fleet market and, in the macro-sense, America – our “blue-collar” wraps if you will. We typically define a small fleet as a team of 10 to 50 vehicles. While I don’t have any hard data on the percentage of the typical total fleet makeup, I suspect that these small fleets comprise the majority of the fleet market. Let’s take a look at the inner workings of a small-fleet project, and you’ll see why we love these jobs. They do require that you take a few additional steps here and there, but overall they have a high probability for success and will certainly add to your company’s bottom line.

Landing small-fleet clients The first step is no diﬀerent from any other vehicle-wrap job: You have to land the client. Luckily, one of the primary things you’ll notice when looking for potential small-fleet clients is that they’re everywhere. You probably drove past 10 examples of these on your way in to work this morning. Popular industries to look for include: landscaping, roofing, appliances, pool service, IT service, copier sales and service, job placement, wholesale foods, catering, audio/

JARED SMITH is president of bluemedia (bluemedia.com), a leading provider of design and printing for use in vehicle, large-format, and environmental applications, in Tempe, Arizona.

THE BIG PICTURE JANUARY 2012

video, tire repair – the list goes on forever. And that’s the point: These small fleets are incredibly easy to find. Take note of potential or existing small fleets; develop a plan to go after them. Try offering a special for that industry – explain that you are aggressively marketing to their industry, which means you will be making this offer available to their competitors, too. The client’s “off season” is the best time to make the sales call because this is when they’re most likely to have the time and money to invest in their fleet. Next, identify the client’s needs. How many wraps? What is the estimated timeline? What is the purpose of the fleet wraps? How long will the fleet remain wrapped? It’s best to get all of the client’s expectations upfront so you increase your chances of bringing their vision to life. It will also help your shop better plan for the job ahead. After you’ve made the connection and identified the client’s needs, the next step is estimating. This is where you will need to be very organized. First, create a system to identify and keep track of each vehicle. You’ll need the year, make, and model to pull the correct template and you may want to get the unit number, license-plate number, and possibly even the VIN, as well. Tracking this data in a place that the customer can log into and view is always a good idea – I recommend something like Google Doc, a free tool that allows you to create and share your work online. Once you’ve organized the details of the vehicle, you can pull all of the required templates, calculate the square footage, add time and materials, and determine the price point for each vehicle. If I were that customer, I’d expect to pay a little less per vehicle if I am sending you 30 of them to be wrapped. So pay attention to quantity discounts, but only to a point because you will still have to complete these one at a time. We’ve made the mistake of giving too much of a discount when pricing small fleets and later determined (after it was already too late) that we did them far too cheap. Make sure your customer knows that this is a fleet price and that if vehicles get cancelled, the “per-unit price” on each vehicle will go up. We negotiate how long the clients have to place the orders. A good rule of thumb is to reconcile the contract on a quarterly or semi-annual >35

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Classic Graphics’ Continuous Re-Invention By Paula L. Yoho

f he had stopped to think about it, David Pitts might have said, “Thanks, but no thanks,” when his colleague approached him with the idea of opening their own print shop. It was the winter of 1983 and Pitts was working alongside fellow press operator Bill Gardner on the night shift at Belk Printing in Charlotte, North Carolina. Ronald Reagan was president and the US was just beginning to creep out of a recession. Inflation was up, unemployment was high, and the looming economic boom that was to become the 1980s wasn’t yet a blip on the national radar. “We weren’t thinking about this kind of stuff when we were 23, but in retrospect, we probably picked the best time to start a business,” says Pitts. “We borrowed $15,000 from our families and opened a printing company in April of 1983. Our sales the first year were $65,000 and it grew from there. This year, I’d say our sales will be about $50 million.” Their company, Classic Graphics, with offices now in Charlotte and Raleigh, got its start as a traditional offset printer. “We had offset duplicators and were trying to do work for agencies and designers when they needed small runs. Our goal was to move as quickly as possible to the quality side of the market – we thought that would be our niche,” Pitts says. “In the first years, it was pretty easy to be a printer: guy puts ink on paper and sells it to people. From 1983 through 2000, we grew at an average annual growth rate of about 37 percent, and every two or three years, we would double the size of the company.” PAULA L. YOHO is a freelance writer based in Columbus, Ohio, and a frequent contributor to The Big Picture. Her most-recent feature articles have included “Wide Format: Five Women Changing the Face of Large-Format Printing”( November 2011) and “A New Path to Client Success: The Graphic Systems Group Aggressively Pursues the De-Coupling Trend” (August 2011).

THE BIG PICTURE JANUARY 2012

The secret to their success, he says, is the team’s ability to keep re-inventing the company. “Charlotte was a great place to be in business in the 1980s. The banking industry was growing dramatically at that time, and we rode that wave all the way to 2000, when we hit a new recession, which dramatically changed the way we do business.” Instead of being “just a printer,” Classic Graphics found that it had to add other services to stay competitive. “First, we added fulfi llment services. That led to smallformat digital printing, then mailing, then data-management services,” Pitts says. “We had a tough 2001 and 2002, but by 2003 we had reversed the slide.” Around that time, one of Classic Graphics’ retail customers began asking the company for large- and grandformat work. At first, Pitts and crew outsourced the work – anything bigger than 28 x 40 inches, “a lot of it screen print” – to suppliers. “But, we love to control our own destiny. So we decided that we wanted to have that capability in-house, and we knew that we wanted to be digital instead of screen,” he says.

Diving into wide-format In 2007, Classic Graphics bought its first wide-format digital machine – a two-meter DuPont flatbed hybrid – and spent that first year in what he describes as “printing kindergarten,” learning about the substrates and inks and how the wide-format business works. “In 2008, when we sort of got our legs under us, we went from kindergarten to graduate school, because we added an HP TurboJet, which we have been running with ever since,” Pitts explains. “Then, in February of this year, we replaced that first little DuPont machine with a Durst Rho 900, a very robust hybrid platform. Before the end of 2011, we will also have up and running a Durst 500R 5-meter machine, in addition to the 900.” The move to wide-format digital was something of a no-brainer for Pitts and Gardner, who pride themselves on having the foresight to go digital early in the process. “We knew our existing customer base was buying >36

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Fabric’s Endless Possibilities Big Image Systems pursues fabric printing on a grand scale.

By Mike Antoniak “Our focus has always been to print on fabric, or fabric-like material,” says Olle Lindqvist, president of the US sales oﬃce of Big Image Systems (bigimagesystems.com), the 25-year-old company headquartered in Sweden. “That’s where we started, where we have the skills, and where we can oﬀer something unique.” By his estimation, the company has printed on more than 2000 fabrics and flexible media since its founding, and is continually testing new material. Big Image Systems’ prints have been seen on curtains and carpets, furniture and buildings, and walls and ceilings. The company is primarily known, however, for its output of gargantuan images on fabric, which transform a stage, exhibit hall, or retail space into a new environment 16

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with new possibilities. In one of its largest projects to date, the company produced a 38,000square-foot recreation of Mt. Everest to commemorate the 50th anniversary of the conquest of the world’s highest peak. Installed inside a former gas storage tank in Leipzig, Germany, this cyclorama immersed visitors in an image that stood 110-feet high and measured 345 feet in circumference. Printed on more than 50 sections of uncoated muslin, the final output weighed in at nearly a ton when assembled for installation. And every year continues to bring new projects that serve to further bolster Big Image Systems’ reputation as the go-to company for fabric printing on the grandest scale. For the 2011 E3 Expo electronic-gaming confer-

ence in Los Angeles, for instance, the company provided EventMakers (eventmakers.com), an event-production specialist firm, with a variety of graphics printed on voile sheer cloth, flag cloth, and Artist Heavy polyester for the Warner Bros. booth. Highlighting characters such as Batman, Harry Potter, and the Sesame Street cast, the largest graphic was a dye-sub print on flag cloth measuring 24 x 90 feet. The project also required two more pieces on flag cloth measuring 15 x 40 feet, a 24 x 47-foot panel on voile, and five tapered cylinders (each measuring 27 x 50 feet) output on Artist Heavy polyester. And the shop designed and engineered the frame system to suspend and support the prints. For last year’s Association of Fundraising Professionals conference

in Chicago, Lindqvist and his staﬀ worked with event planner Leading Authorities (leadingauthorities.com) on set design and production, with all work printed on fabric. In keeping with the event theme, “Fundraisers are Story Tellers,” they collaborated on a 22-foot stage backdrop designed to represent an open book. Keynote speakers – including former President Bill Clinton – entered the stage through a cutout in that polyester curtain, stepping out of the book’s pages to share their stories. “Printing is the most straightforward part of many of these projects,” notes Lindqvist. “But we can also advise clients on the artwork, the best fabric, even the packaging as well as the installation. We have a lot of capabilities in-house.”

“We’ve found the American market to be very similar to Europe, with a lot of clients learning the advantages of printing on fabric,” says Olle Lindqvist of Big Image Systems. Above: just some of the company’s work – including five 27 x 50-foot cylinders output on polyester – for the Warner Bros. booth at the 2011 E3 Expo.

Utilizing, and creating, technology For Big Image Systems, “in-house” means either of two production facilities in Europe: one in Taby, outside Stockholm, and another near Berlin. Together, the European operations employ more than 70 people. The American sales oﬃce functions as a contact point for clients here, and is staﬀed by Lindqvist as well as an account executive and an artwork/production manager. Throughout Europe, the company is a recognized specialist in printing on fabric and flexible materials for the

theater, corporate, and retail markets. Here in the States, business is divided between clients in the entertainment industry and corporate events. “Many of our US clients come to us initially because they are looking for something beyond what their current large-format print provider can handle due to size or complexity,” notes Lindqvist. He estimates US sales around $2 million in 2011. To meet clients’ varied demand, the company has a mix of the latest in wide- and grand-format presses at its European facilities. Which printer gets used depends on the usual mix www.bigpicture.net

Big Image Systems of factors, including size of the job, as well as material required. As Lindqvist explains, the company’s Gandinnovations AquaJet (now Agfa) dye-sub printer can handle rollfed polyesters up to 10-feet wide. Two Durst Rho 350 UV printers are used for printing backlit images on polyesters and foil projection screens. For polyesters up to 16-foot wide, and for grand-format vinyl, the company’s EFI Vutek UltraVu 5300 handles the job. Finishing is handled with Zünd 10-foot-wide cutting machines. For most shops, that hardware roster might seem like a pretty comprehensive printer lineup. But it’s only part of the picture at Big Image. As a pioneer in digital printing on fabric, the company has also designed and developed its own print systems,

pushing the definition of grand-format printing to its limits. When photographer and company founder Werner Schäfer first encountered large-format printing while on assignment in Australia in 1981, he immediately recognized its potential appeal. Early on, though, he believed digital printing on fabric, rather than paper or other rigid substrates, could be a superior solution for some applications and settings. Flexible images, he reasoned, could be easily installed and removed, and re-used again and again without damaging the print. Schafer introduced digital largeformat graphics to many in his market area while working as the Scandinavian sales rep for a Liverpool-based printer. Success there only strengthened his conviction, and Schafer even-

Big Image Systems executed more than 46,000 square feet of print work for the 2007 Coors National Distributor meeting at Caesar’s Palace Event Center in Las Vegas. It included a 20 x 800-foot room wrap printed with the company’s Airbrush printer onto muslin, plus numerous “pods” in the middle of the show floor that were inkjet printed onto the company’s Rolltex polyester fabric. 18

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tually set out on to pursue his vision of printing on fabric. He purchased an early digital airbrush printer in 1987, launching the company that became Big Image as ScanaPrint AB. When that press proved too complicated to reliably deliver consistent output, he decided to design and build his own fabric press. Working with students at Sweden’s Royal Institute of Technology, Schafer designed and developed the digital Airbrush printer, which now allows the company to print seamless images on fabric at sizes few companies can approach, Big Image Systems reports. Key to its performance is the Airbrush printer’s large drum design. Fabric is taped to the drum, which slowly rotates beneath the printhead during printing. “The ink is applied by four spray nozzles in a vertical row, spraying out all four colors at the same time on top of each other,” explains Lindqvist. “The print is actually a spiral, with each line only a few millimeters apart.” Big Image Systems has three of these Airbrush fabric printers, which use water-based inks. Two presses can print images on fabric up to 20 x 20-feet; the third unit can image up to 20 x 40-feet. “We use our Airbrush printer almost exclusively for the theater work,” he continues. “We print on the same materials these clients always have been using for their set designs – muslin, velour, scrim, and PVC foil – to create a seamless image.” Another advantage, he says, is the fact these materials require no special handling to preserve and protect the print. Fabric can be folded up, rolled, packed away, and re-used without damage. “That’s the durability they need and expect,” he says. In fact, the drum design worked so well for its Airbrush printer that Schafer later adapted it to inkjet with the company’s other proprietary press, the Bopjet. This machine is used to print on specialty fabric up to 16-feet wide. “The drum puts less stress and tension on the fabric during printing

so we can print on fabrics that are not strong enough for a conventional printer,” says Lindqvist. “There are a number of fabrics that work only or best on the Bopjet: cloth 201 muslin, sheer fabrics like voile, and PVC flooring, which is fairly stretchy.”

All the world’s a stage As word of the company’s capabilities spread, clients throughout Europe turned to the company as a largeformat solutions provider. The theater community, especially, learned how to tap imaging on fabric as a superior solution for stage and set design. “Theaters were used to working with craftspeople in scene shops, and not with print shops,” notes Lindqvist. “To become their supplier, Big Image had to develop an understanding of how the images were used, and master craft skills like theatrical sewing and edge finishing.” Demand from that sector eventually proved so great that Schafer added the Berlin operations center in 1995. Then, in 1998, he relocated the Swedish production center to a former aircraft hanger outside Stockholm, which now serves as the company’s headquarters. By the time the American sales office opened in 2001, Big Image already had a following within the American theater community, too. “We had been selling to clients in the US prior to 2001, and saw an opportunity here,” recalls Lindqvist. “We had a strong reputation in the theater world for grand-format printing on fabric. Soon people on the corporate event side heard of us, as well.” The American office now serves a client base that is half theater and entertainment, and half corporate events. “Some know what they want, and turn to us simply to print their files,” he notes. “Others need our help from start to finish, figuring out what will work best, what fabrics to use, and how to handle the installations.” The typical project, if there is such a thing, requires three or four days

For the Association of Fundraising Professionals conference in Chicago, the company’s proprietary Bopjet inkjet machine was used to produce the 35foot stage backdrop, with graphics printed onto its Rolltex Wide polyester. of print production time, two days shipping to the US, and relies heavily on online tools to get the jobs done. “Without the Internet we couldn’t operate,” notes Lindqvist. “It’s involved in every aspect of our jobs – from initial contact through transferring files. There are all kinds of communications back and forth, a lot of e-mail, even occasional video conferencing, to make sure our clients get exactly what they need for their job.” Often, Big Image is brought on as a subcontractor for the end user. In theater, the company regularly provides prints for Rosebrand and I. Weiss, both specialists in stage design production. “When we work directly with theater clients, we’re more involved in selecting the fabric and deciding on the quality of the image.” On the corporate side, its working partners include such event specialists as Multi-Image Group, Momentum, Freeman Audio-Visual, and Eventmaker. “There are other companies who can do large-format printing on the corporate side, of course, but we have much more experience with printing on fabric – to offer them new options,” in transforming a conference center or exhibit hall. For the corporate clients, timing is everything: “There really is no margin for error,” he points out.

“Our clients often receive their print only a day or two before an event, and many times do not even have time to look at the print before they begin the installation.” Meeting those expectations puts Big Image in its own niche. “Our customers know we print on all types of fabric, are very strong in color management, and put a lot of effort into customer service, to make sure they are completely happy with the work we do,” says Lindqvist.

Retail: the third column As Big Image Systems looks to grow beyond the corporate and entertainment markets, Lindqvist hopes to repeat the company’s growth in Europe – where retail now represents the third column in its success “Overall, we’ve found the American market to be very similar to Europe, with a lot of clients learning the advantages of printing on fabric,” he observes. “But in Europe, retailers have been quicker to use our capabilities just like they are used in theater, to create a unique environment and exciting experience for shoppers. That’s something we hope to be doing for more clients here in the future.” Freelance writer Mike Antoniak is a regular contributor to The Big Picture. www.bigpicture.net

Finding Technology Solutions in New Orleans

IMAGE COURTESY OF SGIA

At SGIA Expo, new products and supplies were in abundance.

By Britney Grimmelsman and Gregory Sharpless In the Bayou this past fall, more than 16,000 attendees of the 2011 SGIA Expo were looking for some wideformat voodoo that would aid in casting a technological spell to further energize their companies. The 167,000square-foot show floor in New Orleans’ Ernest Morial Convention Center allowed attendees in-person discussions and demonstrations with nearly 500 exhibiting manufacturers and suppliers, matching up their needs with a diverse group of solutions. The SGIA Expo oﬀered much more than just the exhibition floor, of course, including: 30 educational seminars; an annual Business Development Conference; Expert Advice Zones targeting narrow-format 20

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printing, digital-apparel production, vehicle-graphics installation, digital electronics, and garment special effects; various networking events; and an array of awards presentations. On the pages that follow, we take a look at some of the newest technologies that grabbed the attention of attendees.

a top speed of 323 sq ft/hr in High Speed mode (226 sq meters/hr in Standard); maximum resolution is 1440 dpi. In addition, the new printer oﬀers: three variable dot sizes; threestage intelligent heater; automatic

Mimaki’s JV34-260 Printer The 104-in. JV34-260 printer was showcased by Mimaki (mimakiusa. com). Capable of being outfitted with either solvent or water-based sublimation inks (ink type must be chosen at install), the 4-color JV34-260 features two newly developed printheads in a staggered arrangement, producing

media feeder; uninterrupted ink-supply system; automatic drying fan; adjustable head height from 2 to 3mm; and Mimaki’s RasterLink Pro5 SG RIP software. Price: $59,995.

SmartApps PitStop Pro Plug-in From Onyx Onyx (onyxgfx.com) introduced its SmartApps PitStop Pro plug-in for Adobe Acrobat software. The new plug-in is a wide-format PDF preflighting solution that gives users the ability to fix client PDF files quickly and efficiently without leaving Acrobat software, and hence move to a PDF workflow. Key features include: the ability to quickly check all aspects of wideformat PDF files to create certified print consistency; a wide-formatspecific preflight checklist that creates a reliable “digital master” so PDF files print correctly; spot color and colormanagement issues are automatically highlighted, with options for correction; automatic detection of file issues such as missing or bad fonts, missing bleed, etc.; tools to quickly edit PDF files from inside Acrobat without damaging the integrity of the original file; and more.

Screen Adds Features to Truepress Jet2500UV Screen USA showcased two new features now available on its Truepress Jet2500UV printer: multi-layer printing and automatic generation of see-through graphics. Now a standard feature on the Jet2500UV, multi-layer printing gives users the ability to print seven separate image layers without feeding the media back through the machine. The resulting multiple layers of ink can improve the performance of backlit displays, create embossed and three-dimensional effects, and allow images to be viewed from both sides of transparent materials with no show-through. The printer’s ability to automatically generate see-through graphics is accomplished by leaving certain sections of the film surface blank in a dot or slit pattern in the design data. The types and sizes of the dots and slits are selected according to the desired

use; operators simply select the seethrough graphics option for printing.

Mutoh ValueJet 1638 Mutoh (mutoh.com) launched the new ValueJet 1638, a 64-in. eco-solvent printer. This roll-to-roll printer images onto coated and uncoated media with Mutoh’s Intelligent Interweaving and drop-on demand piezo technology for increased print speeds and elimination of banding and ink mottle. With print speeds up to 545 sq ft/hr, the printer features a maximum dpi of 1440. Mutoh’s SpectroVue VM-10 spectrophotometer is optional. The new addition to the ValueJet series will replace the previous ValueJet 1618 64-in. printer. Price: $29,995.

Drytac’s New Films, Media, and Coatings Drytac (drytac.com) introduced several new films, media, and coating products. WindowTac is a clear window film featuring a permanent adhesive on one side and a removable adhesive on the other. The doublesided adhesive allows decals to be face-mounted to glass or acrylic panels with a squeegee. Available in 25-, 40-, and 51-in. rolls. Four new thermal laminates were introduced. MHL Velvet Touch is a 1-mil BOPP film with a matte finish and velvet feel that provides scuff resistance. MHL EarthSmart Matte and EarthSmart Gloss are 1-mil biodegradable. The MHL High Gloss Silver is a base film that can be used alone or printed with UV curable inks. Used alone, it can be an alternative to foiled papers; when printed, it can mimic

the look of metallic inks or foil stamping when white ink is completely or partially knocked out, Drytac reports. Also debuted: InstaCure Guardian UV Coating, a liquid coating developed specifically to protect digitally printed wall coverings for high-traffic, public areas that are required to meet safety standards. InstaCure Guardian suppresses flames and prevents mold, mildew, and odor-causing bacteria.

New Films from Avery Graphics Avery Graphics (averygraphics.com) showcased its MPI 3300 digital promotional films. The line of six calendered films is digitally printable and ideal for short-term, promotional graphic applications. The films are available in a combination of gloss and matte finishes and clear or gray permanent adhesives. Compatible with solvent, eco-solvent, and UV-curable inks, the 3-mil films are available in roll sizes of 24-, 30-, 50-, 54-, and 60-in. Supreme Wrapping Film, an opaque-film product line available in 33 colors that provides a paint-like finish for vehicles and trucks, was featured as well. And the company announced its new blog, Roll Play. Rollplay.com offers a platform for print providers to share stories and to exchange ideas, videos, tips, and tricks.

Fujifilm Launches Uvistar 2 Printer Series Fujifilm North America (fujifilmusa. com) introduced the second generation of its Uvistar UV rollfed inkjet printers. The new Uvistar2 series is recommended for P-O-P and displaygraphic printings and is available in 3.5- and 5-meter (print width) versions; it builds on the existing Uvistar platwww.bigpicture.net

SGIA 2011 form. The 4-color printer uses Uvijet QK inks and offers 600-dpi resolution (1200 apparent). Top speed on the smaller machine is 2991 sq ft/hr; it’s 3800 sq ft/hr on the larger Uvistar. The Uvistar2 boasts new parallel drop size (PDS) technology, which enables users to print 40-pl drops together with 20-pl drops, eliminating the need for “light” colors to achieve quality print results, Fujifilm reports.

More Technology These companies also introduced new or modified products at the SGIA Expo. • Transilwrap (transilwrap.com) showcased a new 54-in. width in its Trans-Cling Clear Vision printable film. Made of non-PVC plastic, Trans-Cling is available in various opacities. • Better Life Technology (bltllc.com) introduced G-Floor Graphic Ultra, a new thinner (0.035-in.) version of its original product. The new Ultra is now suited to print on most large-format printers, including UV, solvent, eco-solvent, and Latex ink technologies, the company reports. Available in three textures: Wood Grain, Ceramic, and Smooth. • CRC Information Systems (crcinfosys.com) showcased its browser-based Customer Relationship Management solution, which features e-mail integration, appointment management, interactive alerts, shipment tracking, and more. • Clingz (clingz.com) added new widths – 36- and 42-in. – to its Clingz Wide Format printable polypropylene film for temporary short-run applications. • Xanté (excelagraphix.com) showcased its Excelagraphix 4200 wideformat inkjet system featuring aqueous inks. We covered this in our Graph Expo 2011 report (see November, pg. 14). • The Colex (colex.com) Sharpcut Flatbed Cutter, which debuted at ISA 2011, featured a new design and appearance.

THE BIG PICTURE january 2012

Other modifications include: a new Linear Encoder that monitors printhead location for improved accuracy of drop placement; upgraded electronics offering greater control over printhead heating; a front-end scale-up feature allowing large files to be RIP’ed in smaller sizes and then scaled up on press; and multi-roll support enabling users to work simultaneously on as many as three rolls up to 65-in. wide. A ColorGate Production Server RIP is standard; a flatbed table for rigid materials is optional. The company also previewed its Cloud-based ColorPath Sync solution. Formerly named Taskero Universe ColorPath Sync, the latest edition of the color-alignment tool expands its ability to align digital presses to neutral gray using G7 methodologies and utilizing Device Link Profiles (DLP).

Agfa’s New Anapurna M2540 FB Flatbed The Anapurna M2540 FB UV flatbed from Agfa Graphics (agfa.com) made its North American debut. The 6-color (CMYKcm + white) printer features a quick-change vacuum-bed divided into two table zones of four different compartments, allowing the use of different-sized media without having to tape off the whole vacuum bed; this design also allows separate parts of the bed to be used for different jobs in the same print run while maintaining a perfect vacuum, Agfa reports. The printer accommodates media up to 100 x 54 in. and up to 1.77-in. thick. The M2540 FB also features: a maximum print speed of 484 sq ft/hr in Express mode (280 sq ft/hr in Production mode); borderless-printing capabilities; ionizer elements to prevent

the buildup of electrostatic charge on media; shuttle safety sensors on both sides of the print carriage to protect printheads from hitting the media; Wasatch SoftRIP standard; and more. The company also provided attendees with a look at its new M-Press Leopard. The manual-load, 4-color Leopard is built on a Thieme screenprinting press base and incorporates inkjet shuttle technology to generate speeds up to 3179 sq ft/hr. It can accommodate substrates up to 65 x 104 in. and up to 2-in. thick; it also features: UPH 2 grayscale variabledroplet technology, a Thieme 55 universal print table with variable vacuum zones, and Apogee Vibe workflow software.

A Trio of HP Scitex Printers HP (hp.com) unveiled additions to its Scitex portfolio, adding three new printers: the Scitex FB7600, the Scitex XP5500, and the Scitex XP2500. The HP Scitex FB7600 is an upgrade to the company’s FB7500 printer and offers in-line saturation control for backlit applications, hot folders, and job queue. The 6-color (CMYKcm) machine can print up to 5380 sq ft/hr at top speed (1937 sq ft/ hr in Text mode), provides a resolution of 600 dpi, and can handle rigid and flexible media up to 65 x 126 in. (up to 25-mm thick). The machine uses HP’s new FB225 Scitex inks, which are designed to better adhere to plastics and possess improved flexibility on corrugated media; the pigmented UV-curable inks also are Greenguard Children & School certified. A Caldera GrandRIP+ or Onyx ProductionHouse RIP is standard; a multi-sheet loading table is optional.

The HP Scitex XP2500 (10.5-ftwide) and XP5500 (16.6-ft) models are replacements for the Scitex XP2300 and XP5300, respectively. Both are 4color UV printers that can print simultaneously on up to three rolls of media and can utilize HP Specialty Billboard Scitex Inks to achieve high ink coverage. Both have a top resolution of 360 dpi and come standard with Caldera GrandRIP+ or Onyx ProductionHouse RIPs. Top speed on the XP2500 is 2850 sq ft/hr; the XP5500 tops out at 3500 sq ft/hr. Options include a double-sided printing kit and HP Vertical Cutter kit (XP2500 only).

In addition, the company showcased the Rho 1000 with a Mirus feeder, which allows for the loading of stacks up to 1500 kg on pallets from three sides (and two parallel stacks can be loaded at the same time). The feeder is capable of handling media up to 5-mm thick.

ConVerd Offers New Sustainable Media

Two EFI printers made their North American debut: the EFI Vutek GS3250r and the Vutek TX3250r. The Vutek GS3250r is a 6-color (CMYKcm) roll-to-roll UV machine that offers dual 600- or 1000-dpi resolution and speeds up to 2400 sq ft/hr. It also features: multi-queue functionality available at the user interface; multi-roll capability (up to two 60-in. rolls), co-branded EFI/3M Premium UV inks in 5-liter containers; an EFI Fiery XF RIP; native JDF connectivity; and optional automated double-sided printing capability. The GS3250r accommodates media up to 126.5-in. wide and up to 0.125-in. thick. The Vutek TX3250r is a 126.5-in. dye-sublimation textile printer that can print direct to textile or indirect via transfer paper. Aimed at the softsignage and digital textile markets, the TX3250r is an 8-color printer (CMYKcmyk) switchable to Fast-4 mode (CMYK x 2). Top resolution is 1080 dpi. It’s multi-roll capable (up to two 60-in. rolls) and includes a heavyduty unwinder.

ConVerd (converd.com) launched four new media products: • Blox-Lite Chrome, a direct aluminum metalized opaque banner paper alternative to PVC vinyl banner. Printable on two sides, recyclable and FSC-certified; available in Mirror Gloss and Brushed Chrome. • GreenLight Opti-Max, a satin print gloss backlit alternative to synthetic films. • EnviroScape Mural Plus HD, a heavy-duty version of the existing wallscape solution, designed with 10% Post Consumer Waste and available with or without a water-activated and removable adhesive system. Features a textured finish. • And Enviroboard MR/HD 12mm, a heavy-duty rigid, moisture-resistant bright white paper board for signage, display, and promotional furniture.

New Options for Durst Rho 1000 Durst (durstus.com) announced two new options for its Rho 1000 printer. Its Smart Speed Option accelerates the printing speed by more than 20% when using the unit’s Quality printing speeds. And it adds a Spot Gloss Option, which enables the Rho 1000 to print both gloss and matte areas within one image.

EFI Vutek GS3250r and Vutek TX3250r

Media and Laminate Solutions From Flexcon Flexcon (flexcon.com) released various new media and overlaminate retail solutions: • CounterDeco is a non-vinyl counter advertising system available

with clear matte polyolefin or clear polyester overlaminates. Ideal for quick-serve restaurants that must use counter and table-top graphics that are FDA indirect food contact compliant. • Three new “greener” WallDeco non-vinyl products including WallDeco 6772, 6710, and 6714. All feature a microsphere repositionable, removable adhesive designed for shortterm, interior contour-cut decals. • New additions to the WindowDeco line: super clear, opaque, and translucent window films. Super clear 6525 is a polyester film for UV printing, removable for promotional or architectural use. Also available is the 6-mil, white opaque film 6545 and the 6-mil translucent backlit vinyl 6575. • FlexMark BILBRD SWVG gloss is 3-mil non-opaque white gloss vinyl, ideal for general-purpose permanent signage and transforming retail displays and tradeshow spaces. • And additions of white, clear, silver, and brushed silver finish options to the FlexMark Floor Art line of floor graphic media. Clear, silver, and brushed silver finish options are also now available for Floor Art 6600 underlaminates.

Visual Magnetics’ Digital Fabric Collection Visual Magnetics (visualmagnetics. com) announced the launch of its new MagnaMedia Digital Fabrics Collection and the line’s first two products: VM-Canvas 22 and VM-Bamboo 17. The collection is ideal for producing woven fabric-textured photo reproductions, wall murals, and fabric-based P-O-P signage. www.bigpicture.net

SGIA 2011 VM-Canvas 22 is a 22-mil, 100% cotton magnetic-receptive canvas with a soft matte, washable, textured print surface. VM-Bamboo 17, is a 17-mil, 100% bamboo magnetic-receptive fabric with a smooth textured matte print surface. Both feature Visual Magnetics’ Micro-Iron back-coating, a highly magnetic coating on the back, allowing for the printing of images that will hold magnets through the surface of the film. This allows a user to place magnets directly on a printed image, and the image can be removed at will. VM-Canvas 22 is available in 60-in. rolls; VM-Bamboo 17 is available in 50-in. rolls.

Oracal Media and Laminates Oracal (oracal.com) announced the Orajet Series 3571RA wrapping cast film with RapidAir technology. The 2.25-mil film features a low initialtack, repositionable adhesive and an air-release system for conformability onto difficult curves. Available in 30-, 54-, 60-in. rolls, and a glossy finish. Also new: Oraguard Series 270 and 280 Stone Guard laminating films. Series 270 is a 6-mil, PVC laminate intended for automotive fenders, rear bumpers, deck or side skirts, and other outdoor applications. Series 280 is an 8-mil film designed for more long-term protection.

New Papers from Epson Epson (epson.com) debuted two new papers: GS DisplayTrans Backlight Film and Signature Worthy GS Canvas Satin. GS DisplayTrans Backlight is an opaque polyester backlit film designed for professional solvent backlit displays or daylight signage graphic applications. Available in 24-, 36-, 44-, 24

THE BIG PICTURE january 2012

and 60-in. rolls. Signature Worthy GS Canvas Satin is a canvas with the same coating utilized on the GS Canvas Gloss, but with a satin finish. The 21-mm polycotton canvas is built on a polyester and cotton blend that’s specially coated to produce vibrant colors as well as rich, deep blacks, and tonal gradations. Available in roll widths of 13, 17, 24, 44, and 60 in.; 17 x 22-in. cut sheets are also available.

EskoArtwork i-cut Automate EskoArtwork (esko.com) launched i-cut Automate, the latest addition to i-cut Suite. Built on Esko’s Automation Engine, i-cut Automate is designed to tie together the pieces of the company’s i-cut Suite – i-cut Preflight, i-cut Layout, and i-cut Vision Pro – and automate the production process. Using i-cut Automate allows for the building of dynamic workflows to automate repetitive prepress tasks, thereby enhancing productivity and reducing operator intervention and errors. i-cut Automate can also be integrated with MIS systems, enabling automatic job creation.

Mactac Launches New Media and Laminates Mactac (mactac.com) introduced several new media and overlaminates: • PermaColor PermaFlex DecoLam line of six textured laminate films. For indoor and outdoor use, the DecoLam line ranges in thickness from 4 to 4.7 mil and features a permanent adhesive. In a variety of finishes including fine and coarse wood grain, brushed metal, carbon clear, and flock and leather. • DecoArt DecoSatin DA012, a fabric-based pressure-sensitive media intended for wall graphics, wall murals, and wall coverings. Ideal for interior use, DecoSatin is a white woven polyester textile coated with a clear, repositionable acrylic adhesive. • A line of sustainable digital print media and overlaminate series:

Imagin Verde VM1229P and PermaColor Verde VL1000. Imagin Verde VM1229P is a chlorine- and phthalate-free film designed for indoor or medium-term outdoor advertising and promotional applications. The film is a 3.1-mil gloss white, top-coated polypropylene. PermaColor Verde VL1000 series overlaminates are clear, pressure-sensitive films available in gloss, matte, and luster finishes. The 3.1-mil polypropylene films are designed for indoor or short-term outdoor applications and can be laminated to photographic prints, transparencies, and digital images. • MacMark Tuning Films is a new line of carbon fiber and matte wrapping films for a variety of custom wrap applications. The 0.9-mil cadmium-free polymeric vinyl is available in five carbon fiber colors.

Caldera Version 9 Caldera (caldera.com) displayed the new version of its production-oriented RIP software dedicated to wide- and super-wide print and print-cut. Caldera Version 9 features: Adobe PDF Print Engine 2.5, which provides a 20% increase in RIPing of files with transparency; an integration of i1Prism v2, for better smoothness and profiles; last-minute Color Correction; the ability to open a job in the spooler and resubmit it with different parameters; relinearization; quick print configs; and more.

Ultraflex DSS Blockout New DSS 12-oz Blockout from Ultraflex (ultraflexx.com) is a smooth, two-sided blockout banner material that’s flame-retardant and compatible with eco-solvent, solvent, latex, screen, and UV inks. It’s designed for indoor

applications where complete banner opacity and/or a double-sided graphic is needed. Available in 38-, 51-, 54-, 63-, 80-, 102-, and 126-in. rolls.

New ColorPainter H2 Printers From Seiko Seiko Instruments USA (seiko-i.com) announced its ColorPainter H2 series of mild-solvent inkjet printers. Available in two sizes, the 104-in. H2-104s and the 74-in. H2-74s, the new printers offer two inkset choices: CMYK x 2, or 8-color (CMYKcm + gray and light gray); the gray inks allow for real gradation, light shadows, and metallic texture, Seiko reports. Top speed is 1075 sq ft/hr for 4-color configuration (538 sq ft/hr for 8-color); maximum resolution of 900 dpi. Other features include: Dynamic dot printing technology, jetting three different drop sizes per print pass; SmartPass 3 technology for noninterleaving printhead control and banding reduction; Smart Nozzle Mapping, allowing for the remapping of printhead nozzles in the event of a clog; and CP Manager printer control software. A Mesh Printing Kit is optional.

CrystalPoint imaging technology to produce instantly dry, waterresistant prints that are cut to size. It can print on a range of media up to 42-in. wide, from uncoated bond paper to specialty media. Top speed is 926 sq ft/hr (1141 sq ft/ hr with optional takeup unit); Production speed is 452 sq ft/hr, and Quality Plus speed is 183 sq ft/hr. The Poster Printer offers a 600-dpi resolution. Two media-handling options are available: a stacker that can automatically sort up to 150 sheets of paper and is especially suited to handle heavier media; and a takeup unit for roll-toroll printing. List price for the base printer is $47,590.

3M Expands Performance Guarantee

Seiko also announced that it is shipping its IX low-odor and HAPs-free inks for the ColorPainter W printers.

3M (3mgraphics.com) announced an addition to its roster of OEM inkjet printer and ink combinations qualified to receive the 3M Performance Guarantee when used with approved 3M media: Durst Rho 500R printer with Rho Roll DM v.3 UV ink and HP Scitex LX600, LX800, LX820, and LX850 printers with HP LX610 latex inks.

Océ Debuts ColorWave 600 Poster Printer

Synergia H Printer From Novus Imaging

Océ (oceusa.com) announced that its ColorWave 600 Poster Printer is now available in the US. Based on the company’s original ColorWave 600 printer but now specially designed for poster-printing applications, the rollto-sheet ColorWave 600 uses Océ’s TonerPearls solid toner (CMYK) and

Novus Imaging (novusimaging.com) introduced its first printer: the Synergia H hybrid press. The 126-in. Synergia is available in two models: the AQ and UV (indicating the type of ink used). Both offer: 2400-dpi apparent resolution; Spectra Q class printheads with a 10-30 pl variable drop; 4-color

standard ink system (optional colors include cmW, orange, gray, red, and blue); the ability to handle media up to 2-in. thick; iPad integration; and a Caldera Grand RIP+. The Synergia H/AQ features the company’s new AquEpoxy inks, which are water-based epoxy inks and environmentally sustainable. Print speed of the Synergia H/AQ ranges from 1500 to 2500 sq ft/hr. The Synergia H/UV utilizes UV27 UV-curable inks and offers speeds from 700 to 120 sq ft/hr. It can be field-upgraded in speed and ink type to the H/AQ.

Price: $649,000 on the Synergia H/AQ; $525,000 on the H/UV. The H/UV is shipping now; the H/AQ will be available in the spring of 2012. US distribution by Global Imaging (globalimaginginc.com).

New Media Options from Kapco Kapco (kapco.com) added four new media and laminates: PSA 5 Floor Lam is a 5-mil PVC laminate for floor graphics in both indoor and outdoor applications. It’s UL-410 approved for slip resistance. PSA 3 Gloss and Matte White Vinyl is a 3-mil media featuring removable gray adhesive and air release liner. The white films are designed for floor-graphic applications on smooth indoor surfaces. PSA 5 Gloss White is a 5-mil, semirigid film for removable applications on smooth surfaces. It can be printed with solvent and eco-solvent inks. Designed for slightly textured exterior asphalt and cured concrete surfaces, PSA 3 Sidewalk Gloss White Vinyl is a slip-resistant outdoor floor laminate. >37 www.bigpicture.net

Social Media: A Virtual Storefront

Ten print shops weigh-in on utilizing social media to market their businesses.

By Britney Grimmelsman The old adage, “You need to spend money to make money,” has stood the test of time throughout the history of marketing. Price has always acted as the gatekeeper of exposure – if you didn’t have the big bucks to throw at advertising, the chances of your business succeeding were often slim to none. But, today, it seems as though marketing smarts finally trumps (or at least is a solid contender against) marketing dollars. With the prominence of social media and the increase in industry “know-how,” money no longer prevents your business from being seen in a big way. Thanks to social media, a time investment in the virtual world offers you a sort of storefront on Main Street where you can showcase your company’s tools and talents to millions of potential clients. 26

THE BIG PICTURE JANUARY 2012

And along with the perk of limited dollar investment, social media oﬀers the ability to start a dialogue with not only your top clients, but other industry experts, too. The networking sites serve as a forum to exchange industry knowledge, flaunt your portfolio, and even publicly address negative customer reviews. To see how social media works for those of us in the wide-format industry, we talked to 10 print shops who, through trial and error, have found a way to make their mark in the world of online marketing.

When and why did you decide to enter the world of social media?

Sean Tomlin, Designer Wraps: In early 2009, Facebook was exploding and I was getting a lot of positive feedback

“We realized that social media allowed brands to have a two-way conversation with their best customers on a daily basis. There aren’t many more marketing tactics that provide this value of return financially or intellectually.” on my personal page from all the pictures I would post of our work. So, I decided to create a Facebook business page and Twitter account as a way for our business to establish its own social-media presence. Darren Wilson, bluemedia: We also entered in 2009, in Q3. We realized that social media allowed brands to have a two-way conversation with their best customers on a daily basis. There aren’t many more marketing tactics that provide this value of return financially or intellectually. Darin Smith, Printscape: We decided to kick oﬀ our social media with Facebook a few years ago, due to the fact that we are constantly updating and changing our oﬀerings – and Facebook was an excellent way to show actual photos with descriptions. Jill Rowen, Apple Visual: We entered the social-media arena in February of 2011 in anticipation of launching our new website and re-branding. The idea was simple: We knew we needed social media icons on our website and didn’t want customers to click on icons that didn’t take them to a useful resource.

Even if a strategy is not formally written down, it seems that a lot of businesses have developed some sort of social-media game plan. In utilizing social media, what has been your company’s strategy? Kaitlyn Burns, Britten Inc.: Our strategy to date has been mostly reactionary. We share information about what we do after events are completed. We post active content, discussions, and pictures almost always daily, as well as blog at least three times a week. Coming into 2012, our marketing team will have a written strategy, which is a journey in itself to write out.

Our Social-Media Panelists Ryan Broderson Director of marketing and customer relations SuperGraphics supergraphics.com

Kaitlyn Burns Marketing special project coordinator Britten Inc. brittenbanners.com

Blake Castetter Account executive Advertising Vehicles advertisingvehicles.com

Randy Clark Director of communications TKO Graphix tkographix.com

Dolph Frederico Owner Pelican USA pelicanusa.com

Damon Henrichs Sales and marketing manager ABI Digital Solutions abidigitalsolutions.com

Jill Rowen Sales and marketing coordinator Apple Visual Graphics applevisualgraphics.com

Darin Smith Director of strategic planning Printscape myprintscape.com

Sean Tomlin Owner Designer Wraps designerwraps.com

Darrin Wilson Partner bluemedia bluemedia.com

Randy Clark, TKO Graphix: We make sure we are only promoting ourselves about 25-percent of the time. Our www.bigpicture.net

social media strategy is based on attraction, not promotion. It’s peer-topeer dialogue. The content should be something someone wants or needs. This includes solving problems, sharing strategies, and having fun. We concentrate on sharing topics like social-media ideas, leadership, humor, and the graphics industry. Damon Henrichs, ABI Digital: It’s important to constantly be getting new material out there. But at the same time, don’t be afraid to be repetitive. Think about your own social-media interaction. You’re probably not on Facebook 24 hours a day – if you are, your boss really ought to sit down and have a talk about priorities. So a post you make Tuesday morning might not get read. Go ahead and post a variation of it Tuesday afternoon. Ryan Broderson, SuperGraphics: Our main objective is to connect with our clients. We use each platform to relay different messages. For example: Facebook celebrates our employees, features unique client products, and showcases some of our community partners. With Twitter, our primary focus is to educate our clients and keep them updated on the latest industry trends.

“I recently heard someone say that asking the ROI of social media is like asking the ROI of your phone. It’s hard to measure, but you know you need it. Companies that don’t utilize social media will be left behind in their marketing efforts.”

Henrichs: ROI in social media is pretty tough to track. Clients rarely call and say, “Hey, I found you on Facebook.” It’s also hard to quantify the “I” of ROI since there is not a full-time employee doing it. I don’t see social media as a lead generator; I see it as more of a tool to help strengthen our website traffic. Our website has gone from generating zero leads per year to generating nearly one lead per day. Burns: Not necessarily profit-wise, but it has been a good source of lead generation. We’re able to showcase and highlight pictures of work we did for a client, while also “tagging” them. It shows that we’re proud of the work we did for them – and most of the times we get a great compliment right back. Blake Castetter, Advertising Vehicles: Since there isn’t a monetary investment on our part, we feel we see a great ROI. Our efforts online are consistently increasing the number of friends and followers we have, all of which are coming in contact with our brand and our work on a regular basis. Rowen: Now that Google is using “likes,” followers, and overall activity on social media as part of the SEO algorithm, social media helps your company’s organic search results – and that kind of impact on ROI is almost immeasurable. Dolph Frederico, Pelican USA: We’ve spent about $20,000 on websites and pay-per-click ads on search engines – very little ROI there. On a free social-media page, however, we’re able to see immediate response. You get real-time feedback and people ask things like, “I saw you just wrapped a van for so and so. How much to wrap my truck?” Boom. Customers see the project, consider the project for their use, and communicate with you all in about 30 seconds.

Rowen: We want to spend as little time on social media as possible during our peak business times. This means that updates happen during down times and if updates have to be made throughout the day, they are done so through a scheduled update service.

Smith: We’ve been testing different methods of posting specials to see how quickly we receive comments, e-mails, or phone calls. It’s refreshing to see that we typically receive an inquiry within minutes of that post.

Clark: I recently heard someone say that asking the ROI of social media is like asking the ROI of your phone. It’s hard to measure, but you know you need it. Companies

Tomlin: Facebook is by far the best social-media site to date simply because everyone is on it. And, as we all know, the more eyes on your product or service, the better chance you have at turning those eyes into buys. I’ve found that Twitter and LinkedIn are great for connecting with others in our

Have you seen enough return on investment? Or, have you struggled to see ROI? Basically, do you think your time spent on online marketing/social media is time well spent?

that don’t utilize social media will be left behind in their marketing efforts.

THE BIG PICTURE january 2012

What sites work best for you? Worst? Why?

“I don’t see social media as a lead generator; I see it as more of a tool to help strengthen our website traffic. Our website has gone from generating zero leads per year to generating nearly one lead per day.” field, but I can’t say we’ve actually gotten direct business from them. Henrichs: Twitter works for us in that we have a lot of followers, though I have doubts about the quality of those followers. Most people will follow you back if you follow them, so that’s easy to grow. We have fewer Facebook followers, but these are definitely people who have sought us out and actually pay attention to what we post. Burns: Because we’re a visual company, we like sites that we can show as many photos as possible. Also, Constant Contact [e-mail marketing software] has been a great way to continually feed our clients directly via e-mail. Rowen: Twitter absolutely works best for us. The Twitter apps available make using Twitter effectively super easy. We can schedule Tweets, monitor our click rate, re-Tweets, and follow industry conversations with the click of a button. LinkedIn, however, is the hardest to use and being an active part of a community on LinkedIn requires more time and conversation monitoring than we necessarily want to spend.

At your company, who is permitted to use your company’s social-media sites – do all of your employees have the password or access to posting? If not, who does? Wilson: No, we only allow one core person to manage our accounts. This decision was made primarily because of volume. Our brand and community is not big enough that it needs more than one person to manage.

“Our customers and potential customers have access to our portfolio at any time. I feel that our Facebook page is really just an extension of our website and it regularly turns into business.”

Castetter: All of our employees don’t have the ability to post on behalf of the company. In an attempt to keep a consistent voice throughout all of our posts, our online efforts are streamlined based on the product being offered. Each of our solutions has a separate online presence and is maintained by the respective specialists. This allows us to not only keep a consistent voice, but also share our client’s success stories, upload pictures, and answer questions in a timely manner. Frederico: I and two trusted employees that have demonstrated good judgment in their postings have access to post on the sites. We’ve had customers rant about problems at an event or something and it’s very easy to take it personally and post something snappy back at them. I make sure we answer these negative comments and solve the problem. If you just whack them or delete them from the page, you just lost one good mouthpiece for your company. Reach out, reply, and make them happy in front of the rest of the world.

Does your company have a social-media policy?

Burns: Yes, Britten Inc. and all affiliated companies include a social-networking policy within our employee handbook. Tomlin: Not really. We just make sure we don’t throw anything up without any thought. So, as long as it’s creative, fun, and/or informative, and of course stays within our company’s brand, it’s a go. Wilson: Not officially. This is mainly because we only have one social-media manager, so we don’t need to police what our team members are saying on behalf of our brand. Frederico: Ours is simple: Don’t over post and annoy people. It must be relevant content and always keep it positive.

What about success stories: When has social media really helped your business?

Tomlin: Now! It helps our business on a daily basis, literally. Our customers and potential customers have access to our portfolio at any time. In short, I feel that our Facebook page is really just an extension of our website and it regularly turns into business. >38 www.bigpicture.net

More than 60 sources of laminates and graphics-protection products.

With many print jobs comes a decision: Should the work be laminated? The answer, of course, varies with the job and application, but if you and your client do opt for laminating, you then have a dizzying array of options available to you. First, there’s the type of lamination itself to consider: hot/thermal, cold/pressure-sensitive, heat-assist/low-temp? Or perhaps you want to go with a liquid laminating system? In addition, you can narrow your choices by looking at these critical components and factors: • Base media: Polyester, polycarbonate, vinyl, polypropylene, and others are available. • Adhesive: What type of fi lm adhesive is used and what is the adhesive strength? • Thickness: Films range from ultra-thin and conformable to thick, rigid varieties. • Protection level: For what application will the output be utilized? A fine-art print/giclée? A building graphic, 30

THE BIG PICTURE JANUARY 2012

Oraguard 290 laminate, ORACAL

Mapping Out a Laminate Quest

hence the need for an anti-graﬃti laminate? Etc. • Finish: Gloss, matte, luster, satin, and velvet finishes can enhance the print. • Texture: To add even more impact, suppliers make available canvas, sand, stipple, leather, and linen textures, as well as no-slip varieties for floor graphics. • Other laminate properties: Is your client asking for a sustainable or green option? Is there a need for an antimicrobial solution? To help you map out your quest for finding the perfect laminate, we’ve compiled an extensive directory of graphicprotection sources. For the purposes of this sourcelist, only primary producers and manufacturers of laminates and graphic protection for the wide-format market are included, as are companies that have their own branded media. We’ve not included distributors/dealers who only oﬀer another company’s brand.

Advanced Greig Laminators aglinc.com Cover-Rite thermal and pressure-sensitive overlaminate fi lms in matte, gloss, textured, and luster finishes; Cover-Rite V2 overlaminate in gloss or luster finish. Advantage Distribution advantagedistribution.com Advan-Tac Economy laminating fi lms include pressure-sensitive GlossLamUV, LusterLam-UV, PS Laminate, PS High Gloss PolyLam, PS Velvet Polycarb Laminate, Crystal Textured Laminate, and PS Clear Dry Erase. Advantage Sign Supply advantagesignsupply.com Various Optima Opti-Koat laminates for floor graphics, window graphics, dry-erase apps, and more; in gloss, luster, satin, and matte finishes. Arlon arlon.com Series 3200 2-mil, optically clear; Series 3220, luster, satin, matte or gloss; Series 3420, satin or gloss; its Series 3350 is specifically designed as an anti-graﬃti overlaminate. Artgrafix.com artgrafix.com Acid-free cold (matte, gloss, luster); lomelt (high gloss); scuﬀ-resistant fi lms (matte, gloss); and digital UBV fi lms (matte, gloss, luster). Art Unica unicadigital.com DuraLam+ (gloss, matte, luster, satin) and DuraLam+ Crystal laminates. Aslan-Schwarz aslan-schwarz.com Various self-adhesive polyester and PVC laminating fi lms for short-, medium-, and long-term use, including Aslan SL Series, in various finishes, textures, and thicknesses; and MP Series for floor and outdoor graphics.

Avery Dennison averygraphics.com DOL pressure-sensitive cast overlaminates include DOL 1060 (gloss), 1080 (matte), 1360 (gloss), 1370 (luster), 1380 (matte), new 3D 1460 (gloss), and 1560 (optically clear); promo calendered DOL 3060 (gloss), 3070 (luster), and 3080 (matte); and DOL 6060 antigraﬃti specialty fi lm.

tured and Smooth overlaminates, in glossy, luster, matte, canvas, elam, stipple, and Lexan versions. Creative Banner Assemblies creativebanner.com Titan Cold Lamination Film, 4-mil, for indoor and outdoor use.

Breathing Color breathingcolor.com Glamour 2 Veneer is a canvas/giclée varnish that is water-based and nonyellowing; available in gloss or matte. Timeless is true matte, water-based, and non-yellowing; available in gloss, satin, or matte.

D&K Group dkgroup.com Expression line of thermal, pressuresensitive, and low-melt fi lms and laminates, in various thicknesses, widths, scuﬀ resistance and finishes; also available is its SuperStick line of heat-assist, linerless laminates. New is the Diamond Hard Velvet finish for all of its laminating fi lms.

CalComp Graphic Solutions calcompgs.com Pressure-sensitive, cold-laminated Artisan PVC fi lms include Econo, Textured Flex Lam, Crystal, Polycarbonate, and Dry Erase; thermal-laminated cast fi lms in gloss, satin, matte, clear.

Daige daige.com Rollaguard liquid coating (gloss or satin finish) for outdoor signage as well as canvas fine-art prints. Also offers a line of Daige Solo cold laminates in gloss, luster, and matte.

Catalina Graphic Films catalinagraphicfilms.com CM polyester fi lms, CP polypropylene and polycarbonate fi lms, CV and LM flexible vinyl, and SRV embossed rigid vinyl available in matte, clear, gloss, textured, luster, and velvet. Mojave Digital Media “green” waterbased adhesive laminates available in gloss, high-gloss, matte, and textured finishes. Clear Focus clearfocus.com ClearLam optically clear polyester, pressure-sensitive, cold-mount overlaminate (flat installations only); CurvaLam conformable, glossy, cold-mount PVC for vehicle-, windowgraphics, and other outdoor applications on surfaces that are flat or have simple to moderate curves. Coda codamount.com Cold-Mount pressure-sensitive Tex-

CurvaLam CLEAR FOCUS Denco Sales Company dencosales.com Aspire 3-mil PVC, polyester, and polycarbonate laminate in luster, gloss, and matte finishes. Drytac drytac.com Pressure-sensitive overlaminates, including Interlam Pro, HeatSet overlaminating films, and MHL low-temp thermal overlaminating/encapsulating films. Its Interlam Bio line of lamiwww.bigpicture.net

laminates finishes; FlexMark Floor Art polyester, slip-resistant laminate for floor graphics; Classics Plus polyester and vinyl overlam in several finishes; and JetBond polyester-based for outdoor and P-O-P graphics.

Interlam Pro Emery TCX DRYTAC nates is designed to be fully biodegradable after use. Also offers a range of EnduraCoat Aqueous low-VOC liquid coatings, including EnduraCoat UltraMaxx Gloss and UltraFlex Matt for wrap applications, as well as EnduraCoat Transit for transit apps, plus InstaCure UV-curable liquid coatings. DuPont dupont.com Tedlar PVF film includes the PV2000 and PV2100 series of overlaminates. Eastsign eastsign.com Roll thermal and cold laminates in gloss, frosty, or matte finishes. FDC Graphic Films fdcfilms.com FDC Series premium-, intermediate-, and promotional-grade, pressuresensitive laminating films for various applications in gloss, matte, or luster. Fellers fellers.com Gamutskin and Lamex laminates in gloss, luster, matte, clear, or textured finishes, as well as overlams with rigid backing. Flexcon flexcon.com BusArt bus/train-wrap system; Brushcal brushed stainless polyester/vinyl laminate; FlexMark black/white gripper and vinyl overlaminate in several 32

THE BIG PICTURE january 2012

GBC gbcconnect.com Laminates include thermal films Octiva, Nap-Lam, and AccuShield in gloss, matte, luster, or textured finishes; Arctic pressure-sensitive laminates and adhesives in gloss, matte, luster, satin, or textured finishes; and HeatSeal laminating pouches. General Formulations generalformulations.com Concept pressure-sensitive, adhesivecoated C1, C2 (clear), and M1 (matte) polyester films; VF (clear, luster, matte), SR5 (clear) vinyl; PC polycarbonate films (velvet, gloss); Concept 115 optically clear; and PP2 polypropylene film (clear).

Hahnemühle hahnemuhle.com Hahnemühle Shield Protective Spray is odorless, transparent, fast-drying, and non-yellowing. Hexis USA hexisusa.com PVC and polyester laminates in gloss, matte, satin, or embossed. AG400M is a new anti-graffiti gloss laminate and the AM030 and AM060 are antimicrobial gloss laminates. PC30M2 is a matte cast laminate. Also new is the PL300CG2 PVC-free gloss. Ilford ilford.com The company’s BioMedia laminate is available in a satin finish and 41- and 51-in. widths (in 75-, 125, and 250-micron varieties). Has similar properties to traditional polyester laminates but is biodegradable as well as recyclable; can be used with various substrates for indoor or outdoor applications.

Gerber Scientific Products gspinc.com Laminates include GerberGuard (3mil, gloss), StrikeGuard (8-mil, gloss), UVGuard G5 (1-mil, clear polyester), and UVGuard 9 (1-mil, clear polyvinylfluoride). Graphic Laminating graphiclaminating.com Durafilm pressure-sensitive, thermal, and low-melt films in matte, luster, gloss, satin finishes; also, laminating pouches (gloss, satin). Graphics One graphicsone.com GO PermaFilm pressure-sensitive, cold laminate in gloss or matte; GO PermaShield liquid laminate. Gregory Inc. gregory1.com TrendFilm 2-mil, permanent adhesive in clear, gloss dry-erase, or gloss.

BusArt FLEXCON Ink2Image ink2image.com Lyson Print Guard spray or brush-on lacquer in satin or gloss, slow or fast dry. Ink2Image is the US distributor for Lyson products. Integument Technologies integument.com Peel-and-stick FluoroGrip clear, single- and double-sided films for protection against graffiti and the elements.

Inx Digital International inxdigital.com Triangle Products-brand liquid laminates include ClearFlex (gloss), Fleet ClearFlex ME (gloss, semi-gloss), Ultra for giclĂŠes (gloss, semi-gloss), and CristalBond (gloss) for UV-curable prints. Kapco Graphic Products kapco.com Kapco pressure-sensitive (vinyl, polyester, and polycarbonate) and thermal (low-melt and heat-assist) laminates in various finishes. Also has a 5-mil floor laminate for indoor and outdoor applications. Lamination King laminationking.com LK Series standard, low-melt, and pressure-sensitive cold-mount laminating films in various thicknesses and finishes. Thermal and self-seal laminate pouches also available. Lamotex lamotex.com Thermal laminate films in General Purpose, CoPolymer, Heat Seal, and Pouch varieties; UniLam pressuresensitive laminates. LexJet lexjet.com LexJetâ&#x20AC;&#x2122;s low-melt laminates include DisplayGuard, ArmorGuard UV Hardcoat, and polyester films; also Floor, Simple Flo Wrap, Optically Clear, Elite UV Vinyl, Elite Polycarbonate, Elite Coex, and pressure-sensitive laminates. Also available is 3-mil GraphicShield UV satin and Sunset Coating liquid laminate; all available in various finishes, and textures. New is Infinium: a water-based printable coating with built-in laminate and adhesive layers conformable to most substrates; available in matte or gloss. Lintec of America lintecofamerica.com Pressure sensitive L-AG Protect laminates available in a variety of constructions and sizes. Its Revi overlaminate

films are iridescent and change color when viewed from different angles. LG Hausys America lgvizuon.com The LP line of calendered PVC film laminates in various thicknesses and finishes. Mactac mactac.com Permacolor pressure-sensitive, optically clear overlaminates (in three finishes); Permacolor rigid and intermediate overlaminates; and Permacolor thermal overlaminates (Thermacolor). Permacolor lines also include ColorGard for image enhancement and adhesion; PrintCover for short-term graphics; Permacolor Permaflex, Permaguard, and Rayzor Gloss for short-, medium-, and long-term applications. Marabu North America marabu-northamerica.com ClearShield (water-base), ClearJet (solvent-base), and Marashield (UV-curable) liquid laminates. ClearShield is available in several versions, including Anti-Graffiti and CSX5000, designed for high chemical resistance and UV protection; ClearJet is also available in a Fine Art version. New is Marashield, which includes UV-CBG, UV-FXG/ FXM, UV-PGL, and UV-RG/RM.

versions. Also included in the line are the Pro Series optically clear windowgraphics laminates and Fast Wrap vinyl laminates for vehicle wraps.

Elite Textured Coex LEXJET Milano Digital milanoinc.com PS Series PVC and polycarbonate pressure-sensitive laminates in gloss, luster, matte, and dry erase; DI Series thermal laminates in matte, satin, gloss, and luster; also ProTect lamination spray. Montroy Supplies montroy.com Moncor cold laminates available in gloss, matte, and satin finishes.

PC3OM2 hexis

Neschen Americas neschenamericas.com Neschen UltraCoat and AccuLac water-based coatings and AccuCure UV-based liquid laminates. Also, Filmolux pressure-sensitive laminates available in various finishes and textures. Via its Seal brand, the company offers heat-set (Print Guard, Floor Guard), heat-activated (Jet Guard, ThermaShield), and pressure-sensitive (Print Shield, Shield Write) laminating films, available in various finishes and textures; also Seal heat-activated Pouch Boards and laminating pouches in gloss or matte finish.

Media One mediaoneusa.com Its Professional Series pressure-sensitive and thermal laminates are available in gloss, luster, and textured matte

Nu Sign Supply nusignsupply.com Nuflex line of 4-mil pressure-sensitive or cold laminating film offered in matte or glossy. www.bigpicture.net

laminates Optima International optima-int.com Liquid laminates include Optima Millennium XE/GiclĂŠe Elixir, Medallion XE, Maxim XE, Marquee XE, and Aqua Max II. Oracal oracal.com Oraguard 200 Series laminates include PVC, Anti-Graffiti, Stone Guard, Skid-Resistant, Premium Cast, Optically Clear Cast, Economy, and Ultra Flexible Cast films. Finishes include: gloss, semi-gloss, matte, high-gloss, and textured.

Permacolor Rayzor Gloss MACTAC

Pacific Studio Supplies coatac.com Laminate films in a variety of textures including luster, glossy, matte, pearl, leather, canvas, brush, linen, diamond, and crackle; also a variety of finishes and thicknesses. Pitman pitman.com ProGuard UV plasticized PVC laminates (gloss, satin, luster, matte); Sentinel Low-Temp laminates (gloss, satin, matte); Low-Temp Display Luster, Dry Erase Gloss, and Hard Coat Luster. Premier Imaging Products premierimagingproducts.com Its liquid coatings include lacquerbased Print Shield for paper, waterbased Eco Print Shield for canvas (in

THE BIG PICTURE january 2012

gloss, satin, matte), and Eco Elegance water-based gel designed for fine art and photography. Protect-all Inc. protect-all.com Protect-all clear laminate films in polyester, polypropylene, and nylon; Taffeta and Deep Silk textured films. Proveer proveer.com SS ALam, Dry Erase, Velvet, and Safari Finish vinyl laminates. R Tape rtape.com Eclypse series PVC and polycarbonate PVC overlaminate films available in various finishes and textures. Eclypse Patterned overlaminate films are available in linen, frost, diamond plate, carbon fiber, and glitter. Remington Laminations remingtonlaminations.com RemiGuard low-temp, heat-activated film in luster or satin; RemiGloss, RemiSatin, RemiLustre, RemiWhite, RemiMatte, Remi Erase, and RemiTex thermal laminating films; RemiCrystal, RemiChrome, RemiFrost, RemiClear, RemiGlossy, and RemiLustre pressure-sensitive, cold laminates. Ritrama ritrama-us.com RI vinyl, polyester, polypropylene, and polycarbonate overlaminates series in various finishes (gloss, luster, matte, scuff-resistant, gloss velvet). Also: clear, scuff-resistant Eco RI Floor Talkers for floor applications, and more. Roland DGA rolanddga.com PGM line of pressure-sensitive overlaminates in optically clear gloss and matte finishes for various applications. Royal Sovereign International royalsovereign.com Royalam I and II and Lomel thermal

laminates; Royal Clear Mount, White Mount, and PrintPro UV pressuresensitive laminates; and Royal FotoFlex Sand heat-activated laminates. Roysons dreamscapedirect.com DreamScape DreamGuard Protex3 liquid topcoat is available in gloss, matte, and satin finishes; compatible with solvent, mild-solvent, and UVcurable prints. Sign Warehouse signwarehouse.com PrismJet 200 series anti-skid overlaminate films. 3M Commercial Graphics 3Mgraphics.com Offers an array of overlaminate films, including 3M overlaminates (interior matte, polyester, transparent velvet polycarbonate); Scotchcal overlaminates (gloss, high gloss, luster, matte, ultra matte, clear) including Scotchcal gloss 8528 for outdoor applications; and Scotchgard Graphic and Surface Protection film in high-gloss and for textured surfaces. Also offers 3M Piezo Ink Jet Protective Clear liquid coating. Transilwrap transilwrap.com DigiKote series of low-temp laminates includes Display Lustre, Display WO (white opaque), Gloss/Satin, HC (hard coat) Lustre, and Matte; Trans-Kote polyester-base thermal films. USI usi-laminate.com Cold, roll laminates include ProTac UV pressure-sensitive, Expression, and Print Shield Xtreme UV lines. Also, pouch and roll laminating films.

<12 basis. Always keep in mind that a major portion of the discount offered for high quantities is in exchange for the efficiencies you gain as the shop owner by being able to produce the materials all at once. So, if a customer gives you one vehicle a month for a year you could miss out on that advantage, unless you can still produce them all at once and just install as needed. We have encountered customers who get a price on 30 vehicles and instead send us 15, expecting the same pricing. That doesn’t fly in our shop. To provide a financial safety net for your company when dealing with small fleets, write up very specific terms that address all possible problems that may arise. If your client commits to 30 vehicles but has only brought you nine vehicles by the end of a year, you’re going to wish you had put in better terms. Always mind their total awarded credit limit – a creditworthy customer may be awarded a credit line of $20,000 and terms of net-30, as opposed to a COD customer or a net-60 customer. Also take a look at the client’s timeline: Will your guys need to work overtime or weekends to get the job done? These terms are custom for every shop, every client, and every fleet. But all terms need to share one common attribute: ensuring that you’re covered for all contingencies.

Perfecting the design With all the logistics taken care of, next comes the creative part. The key to any good wrap is a solid design. I see two common requests when working with small fleets: First, they need to professionally deliver a message; and secondly, all small fleets want to look like a big fleet. The second request requires a bit of finesse in toning down some of the outrageous requests you might receive. The elements we use for the custom motorcycle painter’s truck or an SUV for the local hard-rock radio station shouldn’t be inspiration for any small fleet. The crazy fonts and obnoxiously loud color schemes are typically avoided for these small-fleet projects. We like to make these very clean, very professional with easy-to-read text in standard positions to project a feeling of security and trust. But, even with a conservative design, it’s still your job to make the wrap look as cool as possible. No company wants an ultraconservative, boring look. Well, maybe that’s not entirely true, but I think you get the point. It’s always best to lean toward a more professional look while still putting out a design that will get the company noticed and convey the appropriate message. Another design issue often seen in small-fleet wraps is that the fleet is made up of multiple vehicle types, so the design must translate across different vehicle styles. Make sure you don’t sell them on the greatest truck design ever made that doesn’t translate to the passenger cars and vans in the fleet. I recommend presenting design options as mock-ups on each of the vehicle types. The customer should be judg-

ing how the entire fleet will look when they make their final decision. This takes a little more work, but keep in mind that you will be issuing a higher priced invoice, as well. The last design item to pay extra attention to is the approval signatures. With high dollar amounts involved, you have to require real signatures on the final proof as insurance in case there is a typo or mistake. We always approve content by PDF and color by an Epson match-print. We tell customers that we don’t want them to “have to pay twice.”

Finalizing production Then comes the “easy” part – printing. I recommend printing as many of these vehicles at the same time as you can. We all know that color likes to drift as time passes and the environment changes from hot to cold or dry to humid. Printing a fleet as one big job saves time and money and has the best chance of maintaining color values. Items printed and laminated together also reduce the chance of a wrong material accidentally being used in the process. Last in the process comes installation. This part is usually dictated by the customer. In some cases, they can only be without one vehicle per day. In other cases, they will want 30 vehicles done over a three-day period when all of their reps are in town for training. The best advice I can give here is to have these discussions before you submit the estimate. How the install goes down is a vital parameter in the specs of these projects. The more input and communication here the better. Fleets have the highest probability of using multiple installers; this means that your install diagrams and mockups need to be more thorough than usual. Diagram each piece of the project, the order the pieces should be installed, and include photograph mockups to show how the completed vehicle should look. Don’t forget to include unit numbers or required Department of Transportation numbers for tracking. After each install is complete, update the online spreadsheet to reflect this and take photos from all sides.

Wrapping up One of the most important lessons we’ve learned is to make it a point to have a wrap-up session with your client. This is the perfect opportunity to provide them with use and care information and to thank them for the business. Better yet, send a small appreciation gift like cookies. And don’t make the mistake in thinking that the job is over once the fleets are back on the road. You need to remind them to keep an eye out for any lifting or peeling in the first few weeks of owning the wrap, and that you are more than happy to do touch-ups free of charge. Set reminders for yourself for when to contact them about removals before the warranty expires. Stay on your client’s radar so that you’ll get the call for the next round of wraps and develop a lifelong client. www.bigpicture.net

inside output <14 wide-format products already, they were just buying them from different suppliers,” explains Pitts. “In order for us to be able to handle larger, national accounts and even large regional accounts, we found that these guys want to deal with a single source when they’re running a campaign. If you’re doing an in-store retail campaign for a customer, for example, they don’t want to buy print over here, banners over here, and end-cap displays over here. They need somebody to manage that entire campaign for them.” Classic Graphics now has the capacity to serve that entire spectrum of needs. It’s their diverse portfolio of services that has helped the company hold onto larger retail and financial clients even as marketing campaigns, and their requisite printing demands, have grown increasingly complex. “Probably the biggest strength of Classic Graphics is that we’re still primarily a sheetfed offset printer, so the bulk of our revenue dollars still run through offset presses,” he says. “But, our ability to manage a direct-mail campaign that’s tied into promotional displays in a retail store somewhere, and to run that thing absolutely from end-to-end is a huge advantage for us when we get into a market.” Today, Pitts says, the agency portion of the company’s business is relatively small, the focus instead being on the marketing staff housed inside corporations. He recounts a recent successful collaboration with the team at a large national restaurant chain, which brought a national, multipart campaign to Classic Graphics after experiencing a run of color-matching errors. “They were having a problem managing color between a variety of jobs, some that were printed on offset and other parts that were printed either inkjet or screenprint. The shrimp would be pink on one piece and red on another. By virtue of the fact that we were now controlling the manufacture of all of those items and using computerized colormanagement systems, we were able to make all of those things match, no matter how they were printed. That has been a huge advantage and selling point for us with those kinds of national clients.”

A keen eye on strategic growth

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THE BIG PICTURE JANUARY 2012

cording to Pitts, is keeping up with the emerging technologies while still making wise capital investments. It’s easier said than done. “In wide-format, the technology moves incredibly fast, so we’ve got to make pretty good bets, because a good decision 36 months ago is obsolete now,” he says. “We know we’re going to have to make very shrewd capital investments in that department, because it’s very easy to get leap-frogged. Then, if things that are beyond our control – like the economy – would settle down and stop throwing us a curve ball every single day, I think we’re in a position to really go gangbusters.” In addition to making judicious capital investments, Pitts and Gardner keep a keen eye on strategic growth. They took a major leap in this part of the business in early 2011. “We did our first acquisition on January 1 of this year [2011] when we acquired Belk Printing, the company where Bill and I met,” he says. “Belk was a long-term family company, and it was time for them to make a decision about making huge capital investments or finding a strategic partner. It was a good fit, and we’ve got a very nice increase in sales as part of this.” The acquisition came just as Classic Graphics was finalizing a lease on a new, larger facility in Charlotte. “Up until late last year, the Charlotte operation was housed in two facilities that totaled about 107,000 square feet. We were beginning to have operational issues as we grew, and even though we hit $39 million in those two facilities, our leases were coming up so we started shopping around.” Pitts found a landlord who worked with them to creatively fit their entire operation into a single, 180,000square-foot facility. “We thought, ‘Man, we are going to have so much room to spare’” Pitts says. “Some time between signing the lease and moving in, we decided to do the Belk Printing merger. With that deal, we combined operations into a single facility, and ended up doing a 70,000-square-foot expansion that was basically full by the time we finished moving in. It took less time than I ever imagined.”

Never say never Now that the Belk acquisition is finalized and the company is settled into its new, state-of-the-art facility, Pitts has turned his attention to future opportunities. “We’ve seen a very nice increase in sales as part of the Belk deal. So as I look to the future I see Classic Graphics looking for other acquisitions and adding more capabilities and wide-format clients that way,” he predicts. “We certainly want to continue to expand print-related services and, even though I don’t want to be everything to everybody, I have learned to never say never, because we do a lot of things now that I never imagined we’d ever do.”

SGIA 2011 Jetrix 2030FRK Flatbed Introduced

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PrinterEvolution’s Evo33 Aftermarket Upgrades PrinterEvolution (printerevolution. com), a Novus sister company, announced the Evo33-U upgrade solution for the EFI Vutek 3360 printer. The upgrade of an existing 3360 unit comprises: a revised ink-delivery system – with either water-based AquaSub33 dye-sub inks or LolSol33 biosolvent inks (60% natural renewable materials, no HAPs) – as well as industrial-grade variable-drop printheads; a motion-control system; new updated electronics; and a new Windows 7 computer with new interfaces. Quality print speed on the upgraded printer is 1300 sq ft/hr, reports the company. PrinterEvolution can also provide a fully upgraded Evo33 printer to shops that do not have existing 3360 printers. Price: $199,000 on the Evo33-U upgrade kit; $239,000 for a fully upgraded Evo33 printer. US distribution: Global Imaging (globalimaginginc. com).

Neschen SolvoPrint WallGrip SolvoPrint WallGrip by Neschen (neschenbrands.com) is a 6-mil polymeric vinyl removable wall media. WallGrip features a specialty removable adhesive, designed for clean removal without residue or damage to walls, the company reports. The indoor wall media has an opaque, white, matte finish and the specialty adhesive allows the graphic to be printed to the edge or without borders. The product is intended for signage, retail displays, murals, and tradeshow graphics. Available in 27- and 54-in. rolls.

The Jetrix 2030FRK flatbed from InkTec Corporation (jetrix.co.kr) made its US debut. The new Jetrix can run CMYK x 2 or CMYK + white + varnish (or other), and can accommodate media up to 79 x 121 in. Features include an automatic anti-crash printhead facility, an automatic headcleaning system, and built-in sensors for operator safety. Optional roll-to-roll configuration with takeup system.

its Photo Realistic line, a recyclable media certified as responsibly sourced in compliance with Forest Stewardship Council requirements. The OmniJet Photo Realistic line includes both gloss and satin finishes, and is compatible with aqueous dye and pigment inks, as well as UV-cured, latex, and electrostatic printers. Available in two weights (175 and 235 gsm) and in 24- to 60-in. widths.

BioMedia from Ilford Ilford (ilford.com) launched its new BioMedia line of media, which includes biodegradable display films, boards, and laminates. All of the BioMedia products are designed to completely break down under anaerobic (no-oxygen) landfill conditions due to an enzyme that accelerates the biodegradation process, the company reports, and meet ASTM D5511 standards. The new BioMedia line includes: • BioMedia Display Film: A flexible substrate with a microporous imaging front layer, available in widths from 24 to 60 in., and in 250, 350, and 500 microns. BioMedia Display Film is compatible with aqueous, eco-solvent, solvent, and latex technology. • BioMedia Display Film UV: Compatible with UV printers, the range is suitable for outdoor display applications. Available in 50- and 60in. widths, and in 250, 350, and 500 microns. • BioMedia Rigid Display Board: Suitable for UV-print platforms. Offered in 750 microns; 1.5mm and 3mm thicknesses; and in 48 x 96- and 61.5 x 120-in. sizes. • BioMedia Laminate: Available in a satin finish and includes 75-, 125-, and 250-micron laminates; in 41- and 51-in. widths. Similar properties to traditional polyester laminates yet are biodegradable as well as recyclable. In addition, the company announced it has expanded its OmniJet inkjet media with the addition of

X-Press 1000 from CET CET Color’s (cetcolor.com) new XPress 1000 is a flatbed UV that can handle substrates up to 49 x 99 in. and 4-in. thick. It offers an 800 x 1200-dpi resolution maximum; the X-Press 1000’s Production speed is 960 sq ft/hr (4-pass) and High Quality speed is 400 sq ft/hr (8-pass). Three inksets are available: CMYK, CMYKcm, and CMYK + white + clear. Features include: a customizable print spooler; four-zone reversible vacuum table; and pin registration system. Price: $145,000.

GMG Debuts Wide Format Solution GMG (gmgcolor.com) introduced its Wide Format Solution, a workflow system designed specifically for the large-format industry featuring GMG color management with SmartProfiler. The workflow system includes production automation, color management, preflighting, PDF-file editing, real-time previewing, output RIPing, as well as cutting and finishing instruction for more than 600 printers and cutting systems.

www.bigpicture.net

social media “Don’t do social, be social. There’s a difference. The constant flow of information and new content is great, and is what keeps people coming back.” <29 Broderson: Our blog postings have effectively promoted our business. New customers searching for particular products have found our articles, learned about the process to build the product, and called our team to help execute their initiative. Rowen: One of the best examples of when social media obviously helped our business was a few weeks ago via Twitter. I posted a link about smart-car wraps. It was re-tweeted several times, and the very next day we received a call “off the Internet” about smart-car wraps. We are currently having our in-house designer handle this project.

Being that social networking is an uncontrolled medium, has there ever been a time when social media might have worked against you? Frederico: Knock on wood; we really haven’t had a bad experience yet. We’ve had the random person rip us up over some mix up, but like I mentioned, we never delete that stuff. We reach out and resolve it right there in front of everyone. In the end, we have a 100-percent solve rate and the people who were upset have become big supporters.

“This stuff doesn’t go away in 12 months like that last expensive phone book ad you bought. This stuff filters across search engines and websites forever.“ Burns: I think the only time social media has hurt our business is when we weren’t properly engaging. It’s one of those things that if you’re going to do it, do it well. Keep it going. It can only help. Broderson: We have been fortunate to have not experienced any backlash regarding a post. We believe all posts should be vetted with common sense. Prior to posting anything client-sensitive, our team will have a quick group huddle to discuss ramifications. We understand that posts are open to the public and want to make sure we are never offensive in any of our messaging. 38

THE BIG PICTURE january 2012

Wilson: I’m an optimist, so I’d say never. You’ll find that most complaints or concerns that you receive through social channels help make you aware of issues you need to resolve in your business. And, once the issue has been corrected or addressed, that once unhappy customer will more often than not become a huge advocate of your brand online and off.

What is your best advice for those considering using social media for their print shop?

Henrichs: Come up with a plan. Don’t just say, “I will post a new video or whitepaper every week.” Create a plan for each week for the next 52 weeks, and then assign those weeks to specific people ahead of time. That way, you have content waiting to get posted instead of content waiting to be created. Tomlin: It’s free. You have nothing to lose but business. Burns: Don’t do social, be social. There’s a difference. The constant flow of information and new content is great, and is what keeps people coming back. Rowen: Your sales team shouldn’t have to call clients everyday to remind them that your print shop is a valued vendor and partner. Use social media as an easy way to stay fresh in their minds as well as to show off exciting new projects you have worked on for other high-profile clients. Wilson: Understand the parameters, jump in, stay committed, and never look back. If you’re not using social media yet and you think the fad will pass, you’re probably one of those people who thought cell phones and ATM machines were trendy also. Frederico: You are a graphics company, right? Post pictures and show them what you can do. It’s like having a store on Main Street. Put your best stuff in the window and change it often. In the words of a close friend, “Do it.” This stuff doesn’t go away in 12 months like that last expensive phone book ad you bought. This stuff filters across search engines and websites forever. Britney Grimmelsman is associate editor of The Big Picture.

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THE BIG PICTURE JANUARY 2012

The Client Safari Land Indoor Amusement Park The Players GZ Sign Designs (gzsigndesigns.com) Tools & Supplies Roland VersaCammVP-540i, Avery MPI 1005 Easy Apply RS cast vinyl, Royal Sovereign RSC 1400c laminator, Avery DOL 1060 overlam, Roland EcoSol Max inks The Job With any major investment comes the need to ask yourself: “How the heck am I going to make my money back?” That’s exactly the thought that crossed the minds of the owners of Safari Land Indoor Amusement Park in Illinois after purchasing an upgraded MaxFlight Flight Simulator. The two-seat flight simulator is an indoor 360-degree fullmotion aircraft ride in which riders choose one of five combat and flight-training programs to be viewed in the “cockpit.” Because the machine looked nearly identical to the replaced older ride, Safari needed a way for visitors to immediately know that this ride was new and improved. Long-time print provider GZ Sign Designs took on the challenge to concept, design, and output a full wrap of the simulator. Production To intrigue Safari Land visitors, GZ Sign went with an out-of-this-world concept created using CADlink SignLab 8.0 and Adobe Photoshop CS3. The machine was to look like an alien aircraft had crash landed on Earth – the drivers being an alien and a monkey. The ride’s control station also reflected the theme: Designed to look like a ladder, the control-tower wrap featured aliens and monkeys checking out the scene. Using the Roland VersaCammVP-540i printer-cutter with VersaWorks RIP and EcoSol Max inks, GZ Sign output the graphics onto 200 square feet of Avery MPI 1005 RS cast vinyl. To finish, the shop utilized its Royal Sovereign RSC 1400c laminator with Avery DOL 1060 overlaminate. All told, the output took about eight hours to complete. Two GZ Sign installers took half a day to wrap both the Flight Simulator and the control pillar. Because the machine turns 360-degrees so it can be viewed from all angles, the installers had no room for error: “We give our employees two pieces of advice: Measure twice and cut once, and when using the torch to set the wrap, we urge everyone to learn not to burn,” says GZ Sign’s Dianne Molnar.

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