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File Preparation Software | pg. 12 Cutting Magnetic-Receptive Media | pg. 20 DIGITALOUTPUT.NET VOL XXXII, NO. 9 • $6.95 USA

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Uninstalling Floor Graphics | pg. 24

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ON THE COVER: FELLERS Black Label 2-mil cast film is ideal for vehicle wraps and fleet graphics. See page 14.

Departments Editor’s Input ................................................................ { 4

features 14 } Spinning Wheels

Application Spotlight ............................................... { 10

Commercial Vehicle Wraps Clean designs and vast media choices.

Sign Business ..............................................................{ 12

20 } Attractive Edges

In the Aisles .................................................................. { 6

Target Charts ..................................................... { 19 & 23

by Melissa Donovan

Cutting Success for Magnetic Media Consider these nuances for creating a smooth �inished product. by Cassandra Balentine

Plus Marketplace Spotlight ................................................ { 8 Advertiser’s Index ........................................................ { 17 Companies Mentioned .............................................. { 17

24 } Now You See It, Now You Don’t Floor Graphics Leave Nothing Behind Temporary applications require a clean removal process. by Melissa Donovan

Showcase Advertisers................................................{ 18

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C A P T U R E

C R E AT I O N

O UTPUT

FINIS HING

VOLUME XXXII, NO. 9 DIGITALOUTPUT.NET ISSN: 1083-5121

EDITOR IN CHIEF

Thomas Tetreault ttetreault@rockportpubs.com

Tried-and-True Graphics Tried-and-true graphics applications make the world go round, quite literally when discussing our cover story, Spinning Wheels. Commercial vehicle wraps are seen on every highway and side road. Mobile advertisements are one of the most effective methods for reaching new customers. This article discusses the trends in wrap design—clean and simple; as well as the most in-demand material features—flexibility, ease of install, and improved adhesive.

Tried-and-true graphics applications make the world go round…

This issue’s Application Spotlight hones in on commercial wraps with a look at Wrapped by SB’s recent job for Rust Belt Riders. The print provider printed and wrapped a box truck for the company, whose mission is to help reduce food waste in its local community. The graphics help advertise this statement while out on the road—the ultimate goal of a good vehicle wrap. Another proven application—magnetic and magnetic-receptive material. Attractive Edges explores how both materials expand potential offerings for print providers, but part of understanding this substrate is determining the correct cutting tool(s). Identifying material structure and composition is a good place to start. Rounding out this edition, a feature on uninstalling floor graphics, several media charts, and a sneak peek at PRINTING United in September.

Cheers,

Melissa Donovan, editor mdonovan@rockportpubs.com

EDITOR Melissa Donovan mdonovan@rockportpubs.com ASSOCIATE EDITOR Cassandra Balentine cbalentine@rockportpubs.com WEB EDITOR Melissa Mueller ART DIRECTOR Sarah M. White swhite@rockportpubs.com CONTRIBUTORS Marco Boer, Olivia Cahoon, Tim Greene, Melinda Tetreault, Amber Watson ADVERTISING SALES PUBLISHER Thomas Tetreault NATIONAL ACCOUNT EXECUTIVES Amanda Doyon adoyon@rockportpubs.com 978-921-7850, Ext. 170 Subscribe online at digitaloutput.net

CORPORATE & PUBLISHING OFFICE 300 Newburyport Turnpike, Ste. 11 Rowley, Massachusetts 01969 ROCKPORT CUSTOM PUBLISHING, LLC CHAIRMAN Jeffrey Jensen PRESIDENT & CEO Thomas Tetreault Digital Output is published monthly by Rockport Custom Publishing LLC. ©Rockport Custom Publishing, LLC 2026. Reproduction by any means of the whole or part of Digital Output without written permission from the publisher is prohibited. Views expressed in the editorial pages do not imply our endorsement. Vendors: We welcome your product news. Include prices, slides, photos, and digital files with your press release. Please forward product samples and media kits to Reviews Editor, Digital Output, 300 Newburyport Turnpike, Ste. 11, Rowley, MA 01969. We cannot be responsible for unsolicited product samples.

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Continuing On More on PRINTING United by Digital Output Staff

the DigiTechTexas ST2/X1 Flatbed Printer, as well as new additions to the imagePROGRAF portfolio. INFO# 273

AGL, booth C1931, brings over 30 years of industrial laminator engineering to liquid coating with the SheerKote UV62, the first in its new liquid coater line. INFO# 269

Drytac, booth C1937, features its portfolio of printable media, laminates, and adhesive solutions. INFO# 275

n continuation from our write up in the August issue of Digital Output, we share information from additional vendors exhibiting at PRINTING United this Fall in Las Vegas, NV. Visit the Las Vegas Convention Center September 23 to 25, 2026 to see all of these companies and more.

Aleyant, booth N7313, releases an AI powered feature for PrintJobManager. INFO# 270

Brother International Corp., booths C2561 and C2661, introduces the direct to garment (DTG) and direct to film (DTF) GTX300 Hybrid Garment Printer. INFO# 271 Caldera, booth C1469, demonstrates PrimeCenter 5.0, which enables print providers to inspect, correct, validate, and prepare files in a single workspace. INFO# 272

Canon U.S.A., Inc., booth N5801, showcases its Colorado XL-series, the Colorado M-series, the Arizona 2380 GTF,

1) Magnum Magnetics, booth C966, features DigiMaxx and DigiMag magnetic sheeting, along with unmagnetized DigiMag Plus, DigiMag Xtra, and DigiMag Duplex digital sheets paired with Magnum magnetizer options. 2) Zund America, booth C912, showcases the Q-Line in its first-ever U.S. trade show appearance.

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CET Color, booth C1537, offers a firsthand look at the 24x36-inch Q2-100 flatbed as well as high-production flatbed and hybrid systems. INFO# 274

DuPont Artistri and Brown Manufacturing Group, booth C715, reimagines DTF as a continuous, hands-off workflow. INFO# 276 Ecker Textiles, booth C2878, exhibits its range of U.S. primed FREDRIX print canvases and high-quality printable papers. INFO# 277

Elitron America, booth C331, demonstrates the Spark and Kombo TH systems. INFO# 278

Epson, booth C1945, showcases new textile products; along with its commercial, industrial, and business inkjet

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solutions; software; and printheads. Shown for the first time is the SureColor V4000 UV direct to object printer. INFO# 279

GBC/SEAL, booth N5521, demonstrates the GBC LamPrix 100 automated laminator. INFO# 283

Flatbed Tools, booth C132, runs the Summa Vantage flatbed cutter, cutting production materials in real time. INFO# 281

The Gilman Brothers Company, booth C801, showcases a range of foamboard and specialty substrate solutions including InSite, INFINITY, EagleCell, Resilient, and Adhere. INFO# 285

FASTSEWN, booth C1042, transforms textile finishing with StitchNCut, which combines three finishing steps into a single workflow. INFO# 280

Fiery, booth C1449, showcases RIP and workflow solutions, including previews of next-gen Fiery digital front end technology and its latest software innovations. INFO# 282

General Formulations, booth C523, introduces Quick-Split Scored Liner. With universal 1.25inch spacing it “cracks” for quick release and smooth, seamless application. INFO# 284

Hybrid Software, booth C1371, highlights AI-powered automation, GPU-native rendering, workflow

software, and color management across its portfolio. INFO# 286

Innovative Digital Systems, booth C759, demonstrates the Prisma Z-Max Pro high-gap UV flatbed printer, the RevPro 360 rotary UV printer, the Sonic Jet SP100 single-pass UV printer, and the SurfaceTreat 360 pretreatment system. INFO# 287

Kongsberg Precision Cutting Systems and MultiCam, booth C300, show three advanced solutions, the Kongsberg Ultimate equipped with the Roll Feeder, the C-series fitted with the Smart Material Handler, and the global debut of MultiCam’s latest routing technology. INFO# 288

LSINC, booth C701, exhibits the Peri Series, including the PeriOne, LSINC’s single-spindle helical UV printer. INFO# 289 LogoJET, booth C2691, shows attendees how direct to object UV printing helps businesses create, customize, and grow. INFO# 290

Magnum Magnetics, booth C966, features DigiMaxx and DigiMag magnetic sheeting, along with unmagnetized DigiMag Plus, DigiMag Xtra, and DigiMag Duplex digital sheets paired with Magnum magnetizer options. INFO# 291 Mutoh America, booth C1315, highlights eco-solvent, UV, and dye-sublimation printers. Also experience the launch of its newest printer. INFO# 292

Nazdar SourceOne, booth C2315, showcases the latest digital and screen solutions. INFO# 293 STRATOJET

SUPPLY55, INC.

One Printer, Endless Possibilities

ExpressCutPRO Digital Die Cutter

The StratoJet Shark Flatbed Series is engineered for the evolving needs of North American print businesses, delivering industrial performance, flexibility, and scalable growth. With up to 13 color configurations—including spot colors like orange and green—the Shark produces vibrant, accurate output at up to 2,400 dpi and speeds of 34 boards per hour. Available in three sizes, it adapts to production needs and expands as demand grows. Backed by StratoJet Remote Tech and tested across over 190 applications, the Shark helps increase production, expand capabilities, and grow profits. For more information email info@stratojetusa.com, call 562-758-3018, or visit stratojetusa.com. INFO# 1

ExpressCutPRO reduces labor and increases profits by eliminating the time-consuming task of manually cutting direct to film (DTF) or UV DTF transfers. Featuring an integrated conveyor belt and quick response workflow, this allows for a fully unattended workflow experience. Increase your output while reducing operation costs with ExpressCutPRO DTF Cutters.

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Learn more at supply55.com, call 734-668-0755, or email sales@supply55.com. Simplify your cutting operation today with ExpressCutPRO. INFO# 2

Nekoosa, booth C2723, highlights NextBond and the expanded Trifecta collection. INFO# 294

ORAFOL, booth C551, announces that ORAJET 3751RA+PS is now available in the ORAFOL wrap film lineup. INFO# 295 Photo Tex, booth C2621, features three primary versions of its peel‑and‑stick fabric. INFO# 296

Practix Mfg LLC, booth C3449, exhibits the OK-375, a dual station machine. INFO# 297

Roland DGA, booth C1545, showcases TrueVis XG-640 and VG4540, AG-640, VersaObject MO-240, and Dimense DA-640. INFO# 298 digitaloutput.net

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SAi, booth C350, highlights advancements across the Flexi family and its partnership with OneKlik DTF. INFO# 299

Spartech, booth N7510, features the Lentillusion lenticular sheet, as well as PrintMax ECON HIPS sheet and rollstock. INFO# 300 STS Inks, booth C8269, demonstrates the XPD-924D 24-inch DTF printer with the S-24 TPU Shaker. INFO# 301 Summa, booth C723, debuts the F Series Vantage range and innovations that expand the F Series Vantage ecosystem. INFO# 302

Sun Chemical, booth C2880, presents Streamline Kashu aqueous pigment ink. INFO# 303 Tekra, booth C2023, features JetView UV inkjet velvet/matte polycarbonate and functional coatings. INFO# 304

Ultraflex Systems, booth C2461, showcases digitally printable substrates through application-focused environments. INFO# 305 Vision Engraving & Routing Systems, booth N5769, demonstrates the 25 Series Router, 1624 Pro Engraver, and VE810 Engravers. INFO# 306 Zund America, booth C912, showcases the Q-Line in its first-ever U.S. trade show appearance and the Zünd G3 digital cutting system. INFO# 307 D EXPANDED VERSION OF THIS ARTICLE ONLINE AT DIGITALOUTPUT.NET

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Expertise Wraps a Box Truck Commercial Wrap as Mobile Billboard by Melissa Donovan

rapped by SB began in 2013 as a side hustle. In college Scotty Bollinger, CEO, Wrapped by SB wanted to make some extra money on weekends and with a 24-inch Graphtec America, Inc. plotter in his dorm room, Bollinger created everything from roof wraps to custom decals. His interest in the print industry grew, as did his skills as he made his way through various local print shops absorbing information at each company.

Out in the Real World

After graduation, Bollinger kept the momentum going. During this time he designed commercial wraps for clients and relied on other sign shops to print his work, effectively becoming a mobile designer and an installer. In 2019 he made the jump and purchased his own printer from HP Inc. and acquired 1,000 square feet of space, which he outgrew within a year. The result—a move

1 & 2) Wrapped by SB out of Macedonia, OH printed nearly 500 square feet of Avery Dennison MPI 1903 media on a Epson SureColor S80600 to create a box truck wrap for Rust Belt Riders, an employee-owned cooperative that picks up food scraps in Cleveland, OH.

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to a larger location and the addition of two employees to the roster.

2022 brought two more staff members. Business boomed and 2024 found Bollinger in a 12,000 square foot building in Macedonia, OH, which is where he operates today with a team of three full-time employees. Wrapped by SB offers commercial and custom vinyl wraps, paint protection �ilm, ceramic coatings, window tint, and large format printing. It currently services all of the northern OH and western PA.

It hosts a variety of hardware on site including an Epson SureColor S80600 eco-solvent wide format printer, an Using a new film is always a little daunting HP Scitex FB750 just because you never really know how it UV hybrid printer, a Royal Sovereign is going to install until you get into it. laminator, and a — Scotty Bollinger, CEO, Wrapped by SB Graphtec FC9000160 plotter.

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Friendly Materials & Support

When it comes to media, Bollinger admits he is pro�icient in installing just about anything but he relies on Avery Dennison Graphics Solutions. “I choose it over anything else for as many of our needs as possible due to its reliable consistency, user friendliness, and print quality.” With over a decade of experience, Bollinger says that “learning all of the �ilms over the years, adjusting to different install types depending on the manufacturer or application has added up to becoming a well-rounded installer that doesn’t turn down any type of installation.” It helps that Bollinger is an Avery Dennison Certi�ied Wrap Installer, a moniker he earned after passing the certi�ication exam in 2015.

Trucking Food Scrap

Commercial vehicles are a sweet spot for Wrapped by SB. It garnered attention for a box truck wrap for Rust Belt Riders, which picks up food scrap from participants throughout the Cleveland, OH area. It then transports that scrap to composting facilities.

Rust Belt Riders employs a �leet of vehicles but its most noticeable is a 26-foot box truck with a 10,000 pound hauling capacity. On a tworun day the truck brings in ten tons of food scrap. It covers a lot of ground and Rust Belt Riders recognized it as a marketing opportunity to promote its mission. Avery Dennison is a major employer in northeast OH and part of an economic organization that Rust Belt Riders is also a member of. The vinyl media provider not only digitaloutput.net

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signed up as a customer, but agreed to provide the vinyl materials needed to wrap the 26-foot box truck. While Bollinger and his team work on a lot of commercial vehicles, what made this job standout was that it was the print provider’s �irst time working with Avery Dennison MPI 1903 cast wrapping �ilm. “Using a new �ilm is always a little daunting just because you never really know how it is going to install until you get into it. Normally, with large-scale panels like you have on the side of a box truck, you get a good amount of natural stretch as you work the panel down. However, with MPI 1903, it is more dimensionally stable, so alignment was streamlined, as it didn’t stretch as much naturally and only stretched when we wanted it to, or when we applied heat,” shares Bollinger.

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Nearly 500 square feet of media was printed in �ive and a half hours on the Epson SureColor S80600. The printed media was laminated with Avery Dennison DOL 1360Z optically clear, high-gloss digital overlaminate using a Royal Sovereign laminator and each panel—six panels per side and two on the rear of the truck—was hand trimmed.

Notable Project

The Rust Belt Riders wrap is notable for a number of reasons. From a community standpoint, the project is an excellent example of how vehicle wraps create awareness. Working with Avery Dennison MPI 1903 for the �irst time and having immediate success is indicative of how Bollinger’s installer skills have evolved over the years. D See page 17 for more info.

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Vulnerable Point File Preparation by Melissa Donovan

ile preparation is a common delay in a print work�low. Depending on where a �ile comes from and how it’s built, it is not always print ready. Rework and/or manual intervention means wasted time, resources, and money. Print service providers (PSPs) constantly ask for “a quicker, easier way to get �iles production ready while keeping full control,” explains Sebastien Hanssens, VP marketing, Caldera, in a press release from May 2026. File preparation tools streamline work�low. Certain solutions may allow for the user to “check, �ix, and validate �iles in one place, then move straight into layout creation. That means less jumping between tools, less rework, and more time spent getting jobs out the door,” shares Hanssens.

The Weakest Link

File preparation is one of the most vulnerable parts in the entire print work�low. “It sits at the intersection of design intent and

1) FlightCheck is Markzware’s preflight workhorse for checking fonts, colors, images, and document construction before output. 2) HP PrintOS Production Hub helps streamline many of the preflight tasks that may be manual and traditionally occur between file submission and printing.

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production reality. Presses have never been faster, but the bottleneck has shifted upstream. Files arrive from a range of creators, applications, and experience levels, and often without consistent standards applied,” shares Heather Long, senior product marketing manager, Fiery, LLC. It’s no surprise �ile preparation is where breakdowns occur. David Graves, CEO, Aleyant, says this is due to the disconnect between the digital and printed world.

“When a designer creates a piece on a high-end monitor, they’re working in a perfect, theoretical environment. But print is mechanical and tangible—physical ink, paper movement, and cutting blades. The delay happens because shops are highly automated. When an automated system processes a �ile that doesn’t match the physical constraints of That’s where file preparation is heading— the press, the machine doesn’t just �igure it automated remediation that closes the loop. out; the whole work— Servi Pieters, CEO, Viesus �low grinds to a halt,” continues Graves.

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This is “compounded by the fact that multiple teams interact with a single job from prepress to press operators to �inishing. Errors introduced early in the process are not always caught right away and may surface later during printing or �inishing,” notes Nick Walters, technical product manager for ink, Durst Image Technology US. Thomas Giglio, HP Latex Segment Manager, North America, admits that the time spent checking and double checking �iles is problematic, but “the greatest risk to production ef�iciency comes when a job must be reprinted due to �ile errors, creating signi�icant delays, additional labor, wasted materials, and increased operational costs.”

“In most print work�lows, the highest cost is not just �ixing the �ile. It is the lost time, interrupted schedule, and delayed press availability,” agrees Mary Gay Marchese, public relations, Markzware, Inc. What’s surprising, says Lewis Jones III, event specialist, Mimaki USA, Inc., is that PSPs calculate “how long they think a print job should take. Companies build their budgets around these numbers. But all these calculations assume that their �iles are created correctly. Print work�lows are delayed when a company doesn’t factor �ile preparation into their work�low.”

PSPs are “expected to produce the same design consistently across multiple substrates and printing technologies while maintaining color accuracy, production ef�iciency, and brand consistency,” points out Ravi Shekhar, senior application specialist, InSoft Automation. digitaloutput.net

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Common Mistakes

Errors in �ile preparation include design scenarios like missing bleeds, submitting a �ile as RGB instead of CMYK, low-resolution images, and unembedded fonts.

“The most common issues encountered during �ile preparation may appear minor during design, but they can signi�icantly impact production ef�iciency and print quality,” attests Pascal Wybo, product manager PACKZ, Hybrid Software.

Marchese points out that today PSPs receive �iles from more sources than ever before. “InDesign, IDML, PDF, Canva, and older or orphaned design �iles. Before a printer can even pre�light the job, they often need to identify what is inside the �ile and whether it can be opened, inspected, or converted.” Alicia Wallace, customer success specialist, Onyx Graphics, Inc., says “not saving a �ile with the proper embedded color pro�iles and rendering intents or not saving the �ile in the correct format are common. Image resolution is an issue. If images are not set to an appropriate resolution for the expected viewing conditions, print quality can suffer.” “Designers forget to extend background images past the trim line, or place critical text too close to the edge where it risks getting sliced off. If the printer’s system doesn’t own the exact font the designer used, the text can shift or default to standard Arial. Complex vector effects that look great on screen often �latten unexpectedly on a printing press, creating weird blocks of solid color around images,” explains Graves.

Mark Rugen, managing director of learning and development, SAi, suggests “a major, common pitfall is that each individual element can carry its own independent color settings, which con�licts with the overall RIP color management. For example, a bitmap without an embedded input pro�ile can cause dramatic, unexpected color shifts when the �ile is processed by the RIP for �inal printing.”

PDFs are another common problem. “A PDF is not a �ile format—it’s a container. Inside that container there can be 72 dpi images. Most work�low tools tell you those images are there. They won’t touch them. So the operator is left with a technically �lagged �ile and no automated path forward,” shares Servi Pieters, CEO, Viesus AG.

How to Fix It

File preparation tools help streamline print work�lows to hit these pain points.

Organizations must establish a strong process or standard operating procedure for �ile preparation, which provides the design department with a consistent method for preparing �iles. “This can be achieved by testing �ile formats, resolution settings, embedded color pro�iles, and rendering intents throughout the work�low, from �ile creation to �inal print, and evaluating the results in a properly lit environment,” recommends Wallace.

According to Wybo, automation, cloud-based collaboration, and arti�icial intelligence (AI) are adopted to improve �ile preparation ef�iciency and reduce manual touchpoints. “The goal is to process more jobs with greater consistency, shorter turnaround times, and fewer opportunities for error.” “The most meaningful shift is AI that moves from detection to correction—AI that operates inside of the �ile formats that print work�lows already handle. That’s where �ile preparation is heading—automated remediation that closes the loop,” says Pieters. Several of the vendors mentioned in this article offer tools that remove some of the pain from the �ile preparation process. Visit digitaloutput.net to learn more. D See page 17 for more info.

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by Melissa Donovan

ommercial vehicle wraps are effective forms of mobile advertising. As design trends evolve, brands move away from cluttered, information-heavy graphics in favor of simple branding that provides immediate recognition. Advances in printable wrap materials aid in making this application a valuable long-term investment. From home service companies and food trucks to national { 14 } September 2026 | Digital Output

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fleets, commercial vehicle wraps increase brand visibility for a range of industries while protecting the vehicle.

Clean Designs, Vast Media Choices

The evolution of a wrap design has transitioned from including every little detail to keeping it simple and straightforward. It is a thoughtful move when considering the few

moments a passerby may have to absorb the information included on the vehicle.

Less is more. “Current trends in commercial vehicle wraps focus on branding the entire vehicle to build awareness and recognition. This

Above) GF 830 AutoMark Cast with DRIFT Technology from General Formulations is a full-body cast wrap solution and the material of choice for full wraps and complex vehicle surfaces.

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is a shift from the past, when vehicles were often treated like mobile flyers or business cards. Modern branded designs prioritize quick recognition, using a less-is-more approach, with specific brand colors, mascots, and friendly logos. There is no longer a need to list every service or contact method on the vehicle, thanks to the accessibility of Google, websites, and AI search,” explains David Korvah, marketing manager, Avery Dennison Graphics Solutions. “Although each design and wrap is unique, many business owners choose simpler logos with clear type to make their most pertinent information—company name and phone number—stand out. Some companies also elect to incorporate quick response (QR) codes so prospective clients can visit their website instantly,” agrees Robert Childress, national sales manager, sign and graphics, FELLERS.

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Less clutter, more impact, that’s what Jay Kroll, director of product education, General Formulations, says is the trend. “Bold typography, clean geometry, and targeted campaigns that communicate a brand message in the few seconds a passing driver has to absorb it. Text-heavy wraps are giving way to graphic-forward layouts that work at highway speeds, and QR codes are showing up more frequently as brands look for ways to bridge physical visibility with digital engagement.” “Trends in color evolve and drive customer preferences for their commercial vehicle wrap designs. Other design trends come from clothing, cosmetics, and automotive digitaloutput.net

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designers,” shares Craig Sykora, senior director global application engineering, 3M Company.

A wrap shop’s main priorities in a film haven’t changed, according to Kroll. “Shops want materials that print beautifully, protect the substrate, and don’t fight the installer. What has evolved is the expectation for all three to coexist without compromise. Thinner laminates, better air egress technology, and improved adhesive formulations are meeting that bar in ways that weren’t possible a few years ago.”

Thriving Visibility

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Home service companies, retail/ food, and much more are poised to take advantage of commercial vehicle wraps. Businesses of all sizes and backgrounds benefit from visibility and brand recognition. Sykora argues that almost every industry is poised to gain from commercial vehicle wraps. “Delivery services, small business owners, entertainment, retail, and food service can leverage commercial vehicle wraps to represent their brands and communicate to everyone on the road the value their brands provide.”

“The wrap creates the most economical and multi-use form of advertising. The biggest benefit to a vehicle wrap is that it acts as a mobile billboard providing thousands of impressions each day it is on the road. The more vehicles a business has on the road, the more their impressions on prospective clients multiply,” adds Childress. #20

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Lately, Korvah says he has seen an increase in home service

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It’s a wide range, admits Sykora. Professional installs range in price depending on if the job is for a small logo on a door or a full vehicle or a large truck and trailer. The total cost depends on the complexity of the installation.

Cut vinyl decals for a single door panel might be a few hundred dollars, explains Kroll. Whereas a full wrap on a large Sprinter van with premium cast material, a matched laminate, and professional install can run from $6,000 to $8,000 or more, depending on design complexity and regional labor rates. “Vehicle size, coverage percentage, design intricacy, and material selection all factor in. The better question for a customer isn’t just digitaloutput.net

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“Commercial vehicle wraps last anywhere from three to seven years. For example, a commercial wrap in AZ could last anywhere from one to three years, while a wrap in OH could be five to seven years,” says Korvah. A reasonable working average is four years. “Even though many wrap films are rated for longer durability, removability becomes more challenging as adhesive dwell time increases and the film weathers,” says Kroll.

Smart wrap shops build removal into the customer relationship proactively, points out Kroll. They offer complimentary removal at year three, a partial credit at year four, and full removal charges at year five and beyond. With that in mind, using the right type of media is critical. Korvah recommends asking a number of questions to the shop and installer to determine the best film for the vehicle/project’s need.

Mobile Advertising

Commercial vehicle wraps are one of the most effective advertising methods. Today’s wrap designs are clean and simple. Almost every industry can benefit. D

PAGE

INFO#

ADVERTISER

WEBSITE

27 3A Composites USA

9 3acompositesusa.com/display

28 3A Composites USA

19 3acompositesusa.com/display

8 AGL Inc.

11 aglinc.com

9 Aleyant

13 aleyant.com

3 Alpina Manufacturing, LLC

18 fastchangeframes.com

4 Alpina Manufacturing, LLC

18 bannergrip.com

10 Better Life Technology

15 gfloorgraphic.com

5 Budnick Converting Inc./Banner Ups

18 bannerups.com

25 DreamScape

23 dreamscapewalls.com

11 DreamScape

26 dreamscapewalls.com

12 Flatbed Tools

21 flatbedtools.com/summa

13 General Formulations

5 generalformulations.com

14 Lintec of America

16 digitalwindowgraphics.com

15 Magnum Magnetics

21 magnummagnetics.com

16 Mutoh America, Inc.

2 mutoh.com

26 Natura Media Inc.

19 naturamedia.us

6 Newlife Magnetics

18 newlifemagnetics.com

17 Renolit

15 renolit.com

7 Sign Guardian

18 signguardian.com

18 Signs365

28 signs365.com

19 Spartech

25 spartech.com

1 Stratojet USA

8 stratojetusa.com

20 Stratojet USA

16 stratojetusa.com

21 Summa

22 summa.com

2 Supply55, Inc.

8 supply55.com

22 swissQprint

27 swissqprint.com

23 Ultraflex Systems, Inc.

11 ultraflexx.com

24 Zund America, Inc.

7 zund.com/q-line

COMPANY

115 3M Company

314 HP Inc.

100 3M Company

315 Hybrid Software

COMPANY

PAGE

Based on research from Blake Madsen, trainer/owner, Brand Command Wraps, Korvah says the cost of a commercial vehicle wrap varies depending on vehicle type. However, typical pricing from a reputable shop will cost between $4,000 to $6,000.

Commercial wraps remain installed for several years. Weather, UV rays, temperature; as well as when it is the end of an advertising campaign negate this.

INFO#

The variety of wraps falling under commercial vehicles is vast, from a small decal to a fully wrapped truck, making pricing a challenge.

Time Lapse

PAGE

Price Range

what it costs, but what it costs per impression over the life of the graphic,” stresses Kroll.

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businesses utilizing commercial vehicle wraps. Companies like this—those providing maintenance, repair, improvement, or cleaning services directly to residential properties—often manage large fleets. “When a business seeks to gain visibility and brand recognition among potential customers, a commercial vehicle wrap is an ideal solution.”

310 Aleyant

316 InSoft Automation

200 Avery Dennison Graphics Solutions

107 Jessup Manufacturing Company

117 Avery Dennison Graphics Solutions

108 Kernow North America

311 Caldera

125 Kongsberg Precision Cutting Systems

123 Colex Finishing Solutions Inc.

126 Laguna Tools

101 Continental Grafix USA, Inc.

127 Magnum Magnetics Corporation

102 DreamScape

317 Markzware, Inc.

103 Drytac

318 Mimaki USA, Inc.

312 Durst Image Technology US

109 Nekoosa

124 Elitron America

319 Onyx Graphics, Inc.

201 Epson

110 Photo Tex Group, Inc.

118 FELLERS

204 Royal Sovereign

313 Fiery, LLC

112 S-One Holdings Corporation

104 Flexcon

320 SAi

105 GBC & SEAL

111 Ultraflex Systems, Inc.

119 General Formulations

321 Viesus

106 General Formulations

128 Vision Engraving & Routing Systems

202 Graphtec America, Inc.

129 VTX Tools

203 HP Inc.

130 Zund America, Inc.

See right for more info.

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3acompositesusa.com allsquare.com aslanvinyls.com auroratextile.com bigsystems.com breathingcolor.com usa.canon.com canson-infinity.com dafgraphicmedia.com digifab.com dpmedia.com dreamscapewalls.com drytac.com dupont.com/graphics eckertex.com proimaging.epson.com fdcfilms.com felix-schoeller.com fishertextiles.com flexcon.com folex.com fusiondigitalpaper.com gbc.com generalformulations.com gilmanbrothers.com thegriffnetwork.com guyennepapier.com/en hahnemuehle.com herculite.com hexis-graphics.com/us hplfmedia.com innovaart.com jessupmfg.com kapco.com kodak.globalbmg.com koroseal.com/korographics lexjet.com digitalwindowgraphics.com mactac.com mehlerheytex.com metamark.co.uk moabpaper.com mpm.com sourceone.nazdar.com neenahpaper.com/wide-format permalite.com crystalprintfabrics.com premierimagingproducts.com prestotex.com qmls.com que-media.com dotworks.com redrivercatalog.com rolanddga.com saintclairtextiles.com seatex.com sergeferrari.com/en sihlinc.com itsupplies.com sgpweb.com southpointphoto.com spandex.us tecco.de tvfinc.com ultraflexx.com veritiv.com worthenind.com

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135 3A Composites USA 136 AllSquare Digital Solutions 137 ASLAN Selbstklebefolien GmbH 138 Aurora Specialty Textiles Group Inc 139 Big Systems LLC 140 Breathing Color 141 Canon U.S.A., Inc. 142 Canson Infinity 143 DAF Products 144 DigiFab Systems Inc 145 DP Media Solutions, Inc. 146 DreamScape 147 Drytac 148 DuPont Tyvek 149 Ecker Textiles LLC 150 Epson America 151 FDC Graphic Films, Inc. 152 Felix Schoeller Digital Media 153 Fisher Textiles 154 Flexcon Company, Inc. 155 Folex AG 156 Fusion Digital Paper 157 GBC SEAL 158 General Formulations 159 Gilman Brothers Company (The) 160 Griff Paper and Film 161 Guyenne Papier 162 Hahnemühle 163 Herculite 164 Hexis USA LLC 165 HP 166 Innova Art Ltd. 167 Jessup Manufacturing 168 Kapco Graphic Products 169 Kodak 170 Korographics 171 LexJet 172 Lintec of America 173 Mactac 174 MehlerHeytex 175 MetaMark 176 Moab by Legion Paper 177 Monadnock Paper Mills 178 Nazdar SourceOne 179 Neenah, Inc. 180 Permalite 181 Precision Fabrics Group, Inc. 182 Premier Imaging Products 183 PrestoTex 184 Quality Media and Laminating Solutions 185 Que Media, Inc. 186 Recognition Systems Inc/Dotworks 187 Red River Paper 188 Roland DGA 189 Saint Clair Textiles 190 Seattle Textile Company 191 Serge Ferrari 192 Sihl Inc. 193 Simply Elegant by IT Supplies 194 Sonoma Graphic Products 195 Southpoint Photo Imaging Supplies, Inc. 196 Spandex 197 TECCO GmbH 198 TVF 199 Ultraflex Systems Inc. 200 Veritiv 201 Worthen Industries

Canvas

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PRINTABLE CANVAS, PHOTO PAPERS, AND FILM

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CUTTING SUCCESS FOR MAGNETIC MEDIA by Cassandra Balentine

agnetic and magnetic-receptive print materials expand potential offerings for print service providers (PSPs). However, certain considerations like material thickness, flexibility, holding method, and density make a difference in the success of printing and finishing this specialty media. Jason Friesen, sign division manager, Laguna Tools, admits these factors directly impact cut quality, tool life, and overall production efficiency of finishing hardware. { 20 } September 2026 | Digital Output

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“The right tool combination improves edge quality, production efficiency, and material handling, while also extending the lifetime of consumables and minimizing downtime,” agrees Filip Van Bruaene, application specialist, Kongsberg Precision Cutting Systems.

The Right Tools

It is important to choose the correct cutting tool for magnetic signage. According to Daniele Gallucci, president, Elitron America, the goal is to achieve a clean cut without damaging the surface or creating excessive tool wear.

“Flexible magnetic sheeting is denser and more abrasive than conventional vinyl or paper-based media because it contains magnetic particles within a flexible polymer system. A blade or cutting system that performs well on standard pressure-sensitive vinyl may wear more quickly or fail to cut consistently when used on magnetic material,” explains Neil Hawkins, marketing manager, Magnum Magnetics Corporation.

Above) For most professional magnetic signage applications, drag knife tools, such as Kongsberg’s Rigid Material Knife and Psaligraphy Knife tools, provide a clean and controlled edge quality.

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Because magnetic materials are dense and rubber based, they require an ideal balance of cutting force, control, and blade geometry to achieve clean edges. “Without those qualities, processing materials can result in tearing, poor edge quality, and significantly reduced efficiency,” admits Van Bruaene.

Before cutting magnetic or magnetic-receptive materials, Mark de Guzman, marketing manager, Vision Engraving & Routing Systems, suggests evaluating the material composition, thickness, density, and durometer. “In addition, evaluate your feed and speed settings and the strength of the magnetic attraction because these materials can attract metal debris and stick to metal machine parts.” Hawkins adds that a test cut is one of the most important steps. “It allows the operator to verify pressure, speed, blade depth, corner quality, and material hold down before committing printed material to production.”

#12

Powered Cutting

Powered cutting tools help streamline the finishing process for both magnetic and magnetic-receptive signage.

Because magnetic and magnetic-receptive materials often vary in thickness and stiffness they can be difficult to cut cleanly with manual tools. “Powered systems provide controlled force, stable tool movement, and repeatable accuracy,” says Gallucci.

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runs and for processing thicker or higher durometer materials, agrees Guzman.

“We recommend cutting magnetic-receptive materials with a high-precision CNC cutter. Using a CNC prevents material damage during cutting, ensures optimal edge quality, and avoids material tearing,” seconds Andrew Pagelow, sales manager, VTX Tools.

“CNC routers or machines equipped with oscillating knives or rotary tools are the best option when you want clean repeatable cuts, as well as faster production,” notes Friesen. “They also give you a lot more flexibility with different material thicknesses, complex shapes, and higher volume jobs while keeping the finished product looking professional.”

Keith Soya, business development manager, Zund America, Inc., says blade-based digital cutting tools are ideal for magnetic signage when consistency, precision, and production efficiency are required. “They deliver clean, repeatable results at high speeds for both shortand long-production runs.” “Digital flatbed cutters equipped with oscillating, tangential, or heavy-duty drag knives process many flexible magnetic and receptive products while maintaining good control through curves and corners. Vacuum hold down is valuable because it keeps the material flat and reduces movement during cutting,” shares Hawkins.

Keith Verkem, national sales manager and senior product manager, Colex Finishing Solutions Inc.,

believes it is preferable to use digital flatbeds or XY cutters to achieve the highest repeatable quality with the most productivity. Roll-fed plotters and vinyl cutters can be effective for thinner products and less demanding shapes, suggests Hawkins. “The machine must have enough cutting force to penetrate the complete construction, and its pinch rollers and feed system must be capable of moving the heavier material accurately.”

Different Strategies

Not all magnetic media is created equally, cutting requirements differ. Each application is influenced by factors like material thickness, density, and end use. “Vehicle magnetics are typically thicker and more durable, requiring robust through

cutting with clean, consistent edge quality to withstand outdoor conditions,” points out Soya.

Pagelow suggests using a more robust blade—such as a double-edge blade—for thick vehicle magnetics.

“Sharp corners should be avoided because they are more vulnerable to wind exposure and edge lifting. A clean perimeter also improves the graphic’s professional appearance,” adds Hawkins. Meanwhile, indoor applications utilizing magnetic-receptive materials often demand higher precision and registration accuracy, supported by advanced vision systems, comments Gallucci.

Indoor magnetic-receptive graphics are usually thinner and lighter. “As these materials are often used for retail displays, wall graphics, and short-term promotional applications, visual finish and precision are especially important here,” adds Van Bruaene. Indoor magnetic-receptive materials tend to be more forgiving, but Friesen says accuracy and clean edges are still required for fit and finish. “On a CNC, a drag knife is usually used for thinner material and simpler shapes, and an oscillating knife when you need more control or you’re working with thicker or more detailed cuts.”

Cutting Through

It is essential to utilize the right processes and tools when cutting magnetic and magnetic-receptive materials to ensure optimal performance. D See page 17 for more info.

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257 Yupo Synthetic Paper

yupoamerica.com

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Website 3sigma.cc 3m.com/graphics arlon.com aslanvinyls.com atp-ag.com graphics.averydennison.com cgxusa.com contravision.com dkgroup.com dafgraphicmedia.com dotworks.com dreamscapewalls.com drytac.com fdcfilms.com flexcon.com floorsignage.com gbc.com generalformulations.com gpa-innovates.com grafityp.com thegriffnetwork.com hascographics.com hexis-graphics.com/us hplfmedia.com innovaart.com jessupmfg.com kapco.com kernowcoatings.com kodak.globalbmg.com kpmfusa.com lexjet.com digitalwindowgraphics.com macpapers.com mactac.com metamark.co.uk sourceone.nazdar.com nekoosa.com orafol.com permalite.com piedmontplastics.com prestotex.com qmls.com que-media.com rolanddga.com sihlinc.com coloredfilms.com spandex.us spicers.ca/graphics substance.com trimusa.com ultraflexx.com xcelproducts.com

Polyester

Company Name 3 Sigma 3M Commercial Solutions Arlon Graphics ASLAN Selbstklebefolien GmbH ATP Adhesive Systems Avery Dennison Graphics Solutions Continental Grafix USA, Inc. Contra Vision North America, Inc. D&K Group, Inc. DAF Products Dotworks DreamScape Drytac FDC Graphic Films, Inc. Flexcon Company, Inc. FloorSignage, LLC GBC SEAL General Formulations GPA Grafityp Selfadhesive Products Griff Paper and Film Hasco Graphics Hexis USA LLC HP Innova Art Jessup Manufacturing Company Kapco Kernow North America Kodak KPMF LexJet Lintec of America Mac Papers and Packaging Mactac MetaMark Nazdar SourceOne Nekoosa ORAFOL Americas Permalite Piedmont Plastics PrestoTex Quality Media and Laminating Solutions Que Media, Inc Roland DGA Sihl Inc. Solar Graphics Spandex Spicers Canada Substance Inc. Trim USA Ultraflex Systems Inc. XCEL

Polycarbonate

205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 255 256

Foil

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BASE MATERIALS FOUND IN OFFERED PRODUCT LINES

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by Melissa Donovan

etailers, event organizers, and businesses looking to capture attention, guide visitors, and reinforce branding in high-traffic spaces turn to floor graphics. While vibrant visuals and durability are essential, success from install to removal depends on something less visible—the ability to remove graphics cleanly when the campaign ends. “Floor graphics are one of the most effective tools for wayfinding, branding, and in-store engagement. { 24 } September 2026 | Digital Output

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Whether used in retail, events, or corporate environments, they must not only look great but perform reliably—especially when it comes to removability,” says Taniya Goyal, channel marketing manager, GBC & SEAL.

Removing Importance

Floor graphics need to remain fully on the ground while in use. When it’s time for removal, the adhesive must come off cleanly and not ruin the floor surface underneath. Clean removability is key. digitaloutput.net

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“The best graphics balance strong adhesion with clean removability, helping to reduce labor and protect the surface,” advises Bob O’Neill, Competitive EDGE Representatives, DreamScape representative – U.S. & Canada. Walter Gierlach, president, Photo Tex Group, Inc., points out that floor graphics aren’t meant to live forever. “If they don’t come up cleanly, they create more problems than they solve. The real issue isn’t putting them down—it’s what happens when it’s time for them to go.” “Removability is one of the most critical—and often overlooked— factors in floor graphic selection. Surface protection is one of many reasons. Floors represent a major investment. With any floor type, adhesive residue or surface damage from improper removal can be costly or irreversible,” suggests Kylie Schleicher, VP of business development and product management, Ultraflex Systems, Inc. User friendliness and safety drive successful removal. “Users want the ability to remove the graphic quickly and easily in the minimum number of pieces without leaving residue. Facility workers and guests want a safe floor that doesn’t increase risk of slips, trips, and falls,” explains Craig Sykora, senior director global application engineering, 3M Company. “Reliable removability also strengthens the customer experience by preventing torn film,

Left) Drytac Polar Grip and Interlam Pro Emerytex is a two-part system designed for high foot traffic and long life expectancy. 1) General Formulations’ 109 Traffic Graffic is ideal for ﬂoor graphics.

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sticky residue, or dirt collecting on leftover adhesive, which can create an unprofessional look in high-traffic areas. It also plays a key role in facility compliance. Retailers, schools, healthcare, and corporate campuses require that temporary graphics leave no trace once a campaign ends,” states Kate Waurio, marketing specialist, Nekoosa.

“If removal isn’t clean, it adds time, labor, and risk. A good floor graphic gives both—reliable hold during use and a predictable, low-risk removal at the end,” says Dennis Leblanc, senior product and business development manager, Drytac. Media selection matters for removability. “Prioritizing it from the beginning allows graphics to come up without surface damage and makes the removal more efficient without adhesive residue,” says Laura Antenucci, marketing director, Continental Grafix USA, Inc.

Overall, “clean removability helps reduce labor costs, minimizes disruption to the facility, and allows spaces to be refreshed quickly for the next campaign,” suggests Mike Richardson, business development manager, Jessup Manufacturing Company.

Adhesive Choice

1 it’s a trip hazard and a liability. An adhesive that’s too aggressive risks damaging the floor finish or leaving residue that’s time consuming and costly to clean.”

for floors are engineered to bond to tile, concrete, and linoleum while allowing for clean removal after use,” suggests Bekie Burg, senior product manager, Flexcon.

“Removable acrylic pressure-sensitive adhesive systems designed

“For smooth, flat floors like sealed concrete, tile, and laminate, a water-based removable adhesive provides reliable tack and clean removal. For carpet and more textured floors, a solvent-based adhesive with higher initial tack is the better fit,” adds Kroll.

Common adhesives according to Leblanc include standard removable acrylic for short-term installs; dot pattern that reduces contact with the floor to make installing, repositioning, and removing easier; microsphere, which is similar to dot pattern and limits surface contact; and peel-able permanent systems that offer a stronger hold but remove cleanly.

Goyal says most removable floor graphics rely on water-based acrylic adhesives, “which offer a balance between adhesion strength and removability.”

To achieve that sweet spot between remaining in place for the duration of the project and being easily removed often comes down to the right adhesive. Jay Kroll, director of product education, General Formulations, explains that “an adhesive that’s too light risks premature lifting, which isn’t just a graphic failure—

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Waurio points out that some products use modified acrylic adhesives for slightly higher initial tack on lightly textured floors, while rubber-based adhesives appear in very short-term applications but are less common due to residue concerns.

Adhesives with a high coat weight are also in the mix. “To stick well to a sidewalk, the graphic needs a thick layer of adhesive that flows into the surface to ensure adhesion and prevent peeling,” explains Nate Goodman, product development director, Brand Management Group, part of S-One Holdings Corporation.

According to O’Neill, microsphere adhesive enables installers to reposition graphics during installation while still providing reliable adhesion throughout the campaign and leaving zero residue when removed. “Microsphere adhesives use tiny adhesive particles to create a repositionable bond that simplifies installation and removal,” adds Lydia Rootes, head of marketing, Kernow North America.

Successful Removal

To achieve a successful—and safe—floor graphic removal, certain steps must be taken.

“Start by cleaning away any loose dirt or debris around the graphic,” recommends Rootes.

Then lift a corner of the graphic and start to peel it back. The angle at which the graphic is pulled can determine how much, if any, adhesive residue is left behind, shares Antenucci. A low angle is advised for best results.

Technique matters, says Leblanc. “Start by lifting a corner and peel low and slow, but keep steady tension to avoid tearing the graphic. Slitting the floor graphic into smaller strips can also assist in clean removal.”

“If the film is tearing, ease off and try warming the graphic slightly with a heat gun on a low setting to soften the adhesive temporarily,” suggests Schleicher. After the graphic is removed from the floor, Goodman recommends cleaning any residue left behind with a mild detergent or citrus-based cleaner.

Slight of Hand

Clean removability matters. As adhesive technology continues to improve, floor graphics ensure a lasting impression—without leaving a mess. D See page 17 for more info.

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