DO December 2025 by rockportcustompublishing

Hot Stuff in 2025

Wrapping up 2025, we focus on perhaps one of the more talked about applications of the year—direct to film (DTF) printing. Numerous companies continue to enter the segment with printing technologies, ink sets, and other consumables in response to its continued interest from the industry.

It’s fast, flexible, and opens up more applications with less handling.

Why the popularity? According to Emilio Rangel, UV product manager, Mutoh America, Inc., DTF printing addresses problems common in traditional methods. “It’s fast, flexible, and opens up more applications with less handling.”

Our cover story, Expanding Without Overcomplicating, dives into DTF printing in detail, addressing the two main categories—aqueous pigment and UV. Use the article as a helpful guide if you are considering adding DTF printing to your shop’s service offering in the new year!

This issue also includes content on wallcovering installation techniques, web to print’s use in wide format print shops, and a spotlight on Just Vision It LLC, a print provider that’s mastered the art of silicone edge graphic (SEG) frames. Roughly 80 to 85 percent of the company’s total production is wide format dye-sublimation printing, and within that SEG represents 50 to 60 percent.

Happy Holidays,

Melissa

Donovan, editor mdonovan@rockportpubs.com

EDITOR IN CHIEF

Thomas Tetreault ttetreault@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

Olivia Cahoon, Tim Greene, Marco Boer, Melinda Tetreault, Amber Watson

ADVERTISING SALES

PUBLISHER

Thomas Tetreault

NATIONAL ACCOUNT EXECUTIVES

Amanda Doyon adoyon@rockportpubs.com 978-921-7850, Ext. 170

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Fiery Acquires Inédit!

Fiery, LLC announces that it has entered into an agreement with EFI Reggiani to acquire all interests in Inèdit Software, a Spanish specialty print technology company. Inèdit’s products and technologies complement Fiery’s specialty print software portfolio.

With the acquisition of Inèdit, Fiery expands its product line up to offer a range of software solutions for the digital textile and specialty printing markets. Inèdit’s software products like neoStampa and neoTextil complement Fiery’s Digital Factory family of solutions to serve a range of print applications such as fashion and apparel, home décor, soft signage, and direct to film printing. #190

Avery Dennison Training Schedule

Avery Dennison Graphics Solutions announces its 2026 training and certification exam schedule. The expert-led workshops provide in-depth, hands-on instruction with a range of films, including Supreme Wrapping Film/Vehicle Color Change, Commercial Wraps, Wet-Apply and Dry-Apply Paint Protection Film, and Automotive and Architectural Window Film. All skill levels are welcome. No previous experience is required.

Continuing education is an economical investment for installers. Available from applicable classes, participants receive a free roll of film, installation tools, and a discount for a one year membership to The Wrap Institute. #191

Durst Introduces P5 SMP

Durst Group launches the P5 SMP, a hybrid LED multi-pass inkjet system with a printing width of 3.5 meters, designed for both board and roll printing. Based on the proven P5 platform, it provides an alternative to conventional, singlepass systems. #192

Flatbed Tools Official Summa Distributor

For over 30 years, Summa has built a reputation for precision-engineered cutting systems, from roll-fed plotters to modular flatbeds and textile laser cutters. Flatbed Tools now brings Summa’s full lineup to market with expert support, integration, and supply chain knowledge.

Flatbed Tools now offers modular, futureproof flatbed cutting systems for rigid and roll media. Ideal for signage, point of sale displays, packaging, foamboard, synthetic materials, and textiles; along with high-speed fabric and textile finishing with laser precision, which is built to boost productivity, automate workflow, and ensure clean edge quality; as well as contour cutting for printed graphics and vinyl. Innovative features, automation-ready, compact, or pro sizes available.

Flatbed Tools is now a trusted Summa distributor, backed by years of consumables support, repair knowledge, and production guidance. Whether you are scaling up or replacing aging hardware, it will spec, ship, and support the right Summa system for your needs. #193

Gemini Launches Raised Print

Gemini introduces Raised Print, a capability that brings texture, visual depth, and ADA-compliant functionality to interior and exterior signage.

Raised Print delivers vibrant, dimensional detail for both interior and exterior signage. Create ADAcompliant braille, textured layers, and raised lettering on precision-cut acrylic or metal substrates.

Raised Print is ideal for ADA-compliant braille and wayfinding; branded office, healthcare, and public signage; and tactile dimension, textures, and dimensional elements.

This new capability allows sign makers to integrate color, texture, and compliance into a single sign while saving time and reducing complexity with direct-to-material printing. #194

Enfocus Reveals New AI Chatbot with Pitstop 25.11 Update

Enfocus announces its latest update for its market-leading PitStop solution. The 25.11 update PitStop includes a number of new features and improvements. Notably, the update marks the launch of the beta version of Enfocus Botus, an AI-powered chatbot to support users in making the most out of PitStop’s many useful features.

In addition, the update brings macOS 26 (Tahoe) compatibility, a new Layer panel that enables more efficient layer editing by offering an overview of all layers and their properties, the ability to select unnecessary clipping objects, improved detection of thin objects, a host of bug fixes, and many more productivity-boosting upgrades.

To access Botus, users must have a current PitStop subscription and be opted in to data analytics. #195

1) An Avery Dennison Supreme Wrapping Film application is demonstrated first before class participants have the opportunity to work with the films themselves. Pictured is instructor Justin Pate, The Wrap Institute. ©2025 Avery Dennison Corporation.

New Mutoh XPJ-1641SR Pro II

The MUTOH XpertJet 1641SR Pro II introduces the new AccuFine HD Pro printhead, delivering up to 60 percent faster print speeds and improved dot placement. An updated front dryer increases drying capacity by 20 percent, while the new smart take-up unit automatically starts and stops with printing to support long, unattended runs. With accurate media handling and consistent color reproduction, the XPJ-1641SR Pro II supports a wide range of applications. Its four-stage head-height adjustment and multi-stage pressure roller system help maintain print quality across different media types and thicknesses. Enhance productivity with MUTOH VerteLith RIP Software and a complimentary one year subscription to SAi Flexi DESIGN MUTOH Edition—a combined value of $1,600.

New HP Latex FS70 W

The HP Latex FS70 W Printer is HP’s most productive HP Latex printer to date. It delivers vibrant color at 1,259 square feet per hour (sf/h) outdoors and 980 sf/h indoors, with a maximum speed of up to 1,744 sf/h, enabling accelerated turnaround without compromising quality.

The addition of a 6L white ink cartridge allows print service providers to grow into higher margin applications while providing confidence in unattended overnight printing. For more information visit hp.com. INFO# 198

Finishing Simplified

KalaXY Automatic XY Cutters from Supply55. Engineered and manufactured in Europe, the KalaXY Cutter/Trimmer reduces labor and increases profits by eliminating the timeconsuming task of manually cutting printed digital images.

Our line of automatic XY cutters are the ideal solution for processing a wide range of media including wallpaper, paper, DTF (direct to film), canvas, laminated/encapsulated films, banner material, polycarbonate, and other non-woven roll goods. Increase your output while reducing operation costs with KalaXY Cutters.

For more information visit supply55.com or contact Supply55, Inc. at 734-668-0755 or sales@supply55.com. Simplify your finishing operation today with KalaXY Cutters & Trimmers. INFO# 7

Latest Printers from swissQprint

swissQprint recently introduced two new flatbed models tailored to users with high-quality requirements and smallto medium-production volumes, Topi 5 and Oryx 5. The two models are available now. Topi 5 is a 3.2x2-meter flatbed printer capable of producing up to 126 meters squared per hour. Oryx 5 is its 2.5-meter wide counterpart with an output of up to 114 square meters per hour, 26 percent more than the Oryx 4 predecessor model. Both machines facilitate maximum versatility and are highly precise. Learn more at swissqprint.com. INFO# 199

Vanguard Introduces Natchez Vanguard Digital Printing Systems, a Durst Group Company, introduces a new printer—Natchez. The latest printer in its productivity redefined line, this UV LED flatbed printer was engineered with the most challenging substrates in mind, from wood to corrugated boards.

With the ability to add up to three rows of Kyocera four picoliter variable drop printheads, Natchez offers speeds of up to 3,875 square feet per hour and resolutions of up to 1,800 dpi. Combined with an enhanced vacuum table, machined to a flatness of ±50 microns, Natchez delivers precise dot placement and perfect registration from print to print. #196

Avery Dennison Neo Matte Black PPF

Avery Dennison Graphics Solutions releases Neo Matte Black Paint Protection Film (PPF), an addition to its premium wet apply color PPF line. This film joins the Neo Noir Gloss Black PPF to give installers and car enthusiasts the two most popular black aesthetics backed by superior protection.

Neo Matte Black is crafted for drivers who demand a sleek, modern style and noticeable color depth. Its non-reflective finish offers dramatic restyling, a stealth aesthetic, and the lasting protection of a paint protection film.

At a total 8.5-mil thickness and backed by a seven-year warranty, the wet-apply film also offers excellent adhesion, self-healing performance, a hydrophobic topcoat, stain resistance, and conformability around curves and recesses.

Installers find Neo Matte Black highly versatile and installer friendly. It can be applied as a full wrap for a complete color change or used to create stunning accents. #197

SUPPLY55, INC.

1, 2, & 3) Kansas, City, MO-based Just Vision It provides a range of large format applications. Roughly 80 to 85 percent of its total production is wide format, dye-sub fabric printing.

SExcellence in SEG

End-to-End Control, High-Quality Output

by Cassandra Balentine

ilicone edge graphics (SEGs) present a high quality and versatile solution for displaying wide format signage. With a seamless appearance, the systems are designed to easily set up and take down, provide portability, and be changed out if necessary.

SEG displays are generally printed using a dye-sublimation (dye-sub) process on fabric-based media. A thin, silicone strip is sewn around the edge of the print and inserted into the grooves of a frame to create tension. The result is a smooth, high-quality graphic that is flush with the edge of the frame.

Print providers that have mastered the art of SEG attract print buyers from retail stores, trade shows and events, museums, and airports. Just Vision It LLC is one of these providers.

In businesses since 2013, it started out

as a two-employee company and has grown to a staff of 30 with an annual revenue of nearly eight million dollars in sales. It operates from a 50,000 square foot facility located outside of Kansas City, MO.

Large Format Expertise

Just Vision It specializes in large format graphic production, utilizing over 13 digital printers that can collectively produce more than 100,000 square feet of printing daily. The shop also operates six 3.2-meter calendar heat presses, laser cutters, and industrial sewing machines.

To ensure efficiency, it implements redundancy measures; if one machine breaks down, it quickly switches to another printer to complete the job without waiting for a technician to arrive.

SEG delivers a clean, frameless aesthetic with wrinkle-resistant fabric and tool-less changeouts…

— Lisa Scarafoni, VP of sales, Just Vision It

Among other things, it sets itself apart from competition with a focus

on color consistency. It received G7 Grayscale, Targeted, and Colorspace Compliance certifications, and is a G7 Master Facility certified dye-sub printer.

“We re-certify our production team members annually. That means fewer remakes, truer brand colors, and reliable repeatability at scale. We can hit any custom color a brand requires,” shares Lisa Scarafoni, VP of sales, Just Vision It.

The company also sets itself apart with end-to-end control. “We handle everything in house—print, cut, silicone bead, sewing, finishing, quality control, and privatelabel drop shipping—so timelines and outcomes are predictable,” she adds.

Further, the print provider offers hardware and fabric under one roof. “Our Easiframe USA system is 30 percent more cost effective than many competitors while being stronger and more versatile. Customers get both the frame and the fabric graphics perfectly matched from a single partner,” notes Scarafoni.

Productivity is another pillar for the print provider. Scarafoni estimates that typical graphics are shipped within 48 hours and custom frames in three to five days. “We’re known for being on time—every time.”

Core Offerings

Just Vision It provides a range of large format applications. Roughly 80 to 85 percent of its total production is wide format, dye-sub fabric printing.

Within that, SEG represents about 50 to 60 percent. This includes dye-sub printed fabric graphics, silicone edge finishing, hardware, and full kits.

Selling points of SEG include a premium look with practical simplicity. “SEG delivers a clean, frameless aesthetic with wrinkle-resistant fabric and tool-less changeouts—ideal for brands that refresh frequently. It ships compactly, installs quickly, and scales from small retail walls to large trade show environments—all while keeping color consistent across campaigns. SEG is easy to install and offers cost-effective, lightweight shipping,” asserts Scarafoni.

SEG applications have grown since the company adopted Easiframe display systems, which are straight and curved aluminum frames that can be custom cut to size with rapid turnaround.

The company is preparing to scale Easiframe nationwide. “We are expanding our Easiframe extrusion lineup and inventory to better serve larger customers. For teams with in-house fabrication, we supply full 126-inch sticks and accessories; for custom needs, our facility provides precisioncut, one-off frame fabrication. For example, if a client requires 20 freestanding double-sided SEG frames at 50 inches wide by 100 inches high, we’ll cut to size. Early adopters are already seeing the benefits of this model,” according to Scarafoni.

Trade show and event displays are a popular application as

well, this includes backdrops, booths, towers, light boxes, and modular environments; as well as photo and retail backdrops, which are often ordered for photography studios, retail rollouts, and pop-ups.

The company also provides wholesale commercial printing on fabric/white-label programs and private-label drop shipping and finishing for print resellers and display houses. It is looking to do more private-label programs for display houses and print partners that need reliable SEG production and drop shipping.

The shop is equipped with full in-house finishing including sewing, cutting, quality control, test fitting on to frames, pack out, and nationwide distribution.

For SEG media, Just Vision It recommends Fisher Textiles for its responsive support and premium fabric quality. “Our preferred option, EZ Stretch Premium, is available at up to 126 inches wide and also comes in a fully recycled version that is made from 100 percent post-consumer recycled polyester and has a better white point than traditional textiles made from post-consumer waste. EZ Stretch Premium is reliable for SEG and has a nice hand feel. It is wrinkle free and has stretch in both directions, which is unique for fabric that does not contain spandex. Fisher Textiles’ product range gives us the right fabric for each application. Our production crew can hit brand-critical color targets with our G7-calibrated workflows and their fabric consistency,” shares Scarafoni.

The shop also leverages a consignment model, which keeps material flowing and lead times tight for customers.

While Fisher Textiles is its go-to for most SEG jobs, Just Vision It also runs complementary fabrics and specialty media when a project requires unique diffusion, hand, or flame ratings. “Our team qualifies materials against color, stretch, and finishing performance to ensure perfect keder/ silicone fit and tension on install,” explains Scarafoni.

To produce its SEG work, Just Vision It runs 13 Panthera industrial dye-sub printers paired with calibrated heat presses for

deep, even dye penetration and vibrant color.

Its sewing team uses a variety of different machines. It employs automated cutting with a dedicated Summa laser cutter and conveyor belts on its sewing equipment. The shop’s preferred automated sewing machine is the Cronos Overlock, manufactured by Matic. It performs overlock stitching, a technique that cuts, sews, and finishes silicone beads on the fabric edges.

Overcoming Challenges

When creating SEG displays, several factors may prove challenging. This is why it is important to work with an experienced provider like Just Vision it.

Tolerance and fit are essential. “Ensuring perfect tension requires tight control of print, heat, and sewing. Our process control and G7 standards mitigate variance. We like to set up the hardware, and test fit each graphic that leaves our shop.

This can be time consuming and a challenge if the graphic is a reprint, or we do not know the true size of the graphic, because it is being replaced in the field,” offers Scarafoni.

Curved frames are a bit more challenging. For example, Easiframe Curved demands precise patterning and sewing. The shop has dialed in templates to maintain smooth faces without creasing or flaws on the finished product.

And of course, compressed timelines add pressure. “Events move fast. Our in-house model and materials-on-hand approach keep us responsive without quality trade offs,” states Scarafoni.

Recent Work

Just Vision It recently created a national event backdrop and demo zone featuring a 20- by 10-foot SEG wall and two freestanding towers. The objective of the project was to provide

brand impact, install quickly, and offer the ability to reskin for future stops.

The print provider collaborated with the client on file preparation, panelization, and frame engineering to optimize sightlines and lighting for photography and video.

The venue required a narrow install window and limited dock access. The print provider kitted frames to minimize on-site assembly and pre-labeled all graphics and Easiframe hardware.

The display was dye-sub printed on Fisher Textiles EZ Stretch Premium fabric, which it selected for color saturation and stability. Easiframe hardware was used for its strength-to-weight ratio and cost efficiency.

Graphics were provided within 48 hours; custom frames manufactured in four days; and total ship-to-install window was under a week.

The client’s crew completed setup, but Just Vision It provided detailed install guides and labeled kits for the hardware.

Scarafoni says the client has since re-used the same frames with fresh SEG skins for multiple events, cutting future rollout costs and waste, making it a highly desirable display process.

SEG Success

Just Vision It is well versed in wide format, dye-sub printing. A large and growing portion of its business is dedicated to SEG. D

W2P for Wide Format

Continued Advancements Fuel Adoption

by Cassandra Balentine

Web to print (W2P) technology continues to break into the wide format space, offering a variety of advantages to adopters. New advancements specific to large format make W2P tools increasingly helpful to production.

The need for speed and accuracy has never been greater, according to Douglas Gibson, CEO, Infigo. “Wide format has always offered a creative playground—think gallery-quality prints, retail graphics, large-scale event visuals—but what’s really changed is the expectation around how these products are ordered and delivered.”

Using the latest advancements, buyers can now upload large files, preview artwork to scale, select from bespoke substrates, and get instant pricing—all through a beautifully

simple online portal. “That’s the big shift—W2P isn’t just for repeat, standardized print runs anymore,” says Gibson.

Gibson offers the example of In�igo client Indigo Giclée. The print provider specializes in �ine art and photography printing, where quality and detail are everything. Historically, this meant a highly manual process with lots of back and forth to get things just right. But by embracing W2P, Indigo Giclée is able to offer the same level of care and craftsmanship while streamlining the experience for both its team and customers.

The evolution of W2P over the past decade has been nothing short of transformative— especially for wide format.

— Douglas Gibson, CEO, Inﬁgo

W2P now enables wide format providers to offer high-impact, highly customized products with the same convenience people expect from ecommerce. “And that’s how businesses like Indigo Giclée are standing out—not

1 & 2) Aleyant eDocBuilder is a cloud-based online designer and variable data publishing solution. Whether integrated with Pressero or used separately, eDocBuilder streamlines customization and approval—right from a web browser. 3) Print Three o ers high-quality digital and commercial print services backed by complete W2P capabilities powered by Racad Tech.

just through creativity, but through operational excellence,” shares Gibson.

Technology Evolution

Over the past several years, W2P technology has come a long way. Key features include storefront capabilities, web-based �ile submission, design wizards and templates, proo�ing/approvals, and reporting and analytics.

“The evolution of W2P over the past decade has been nothing short of transformative—especially for wide format,” notes Gibson. “What was once a clunky, manual process has become a seamless, intelligent ecosystem. Storefronts, for example, have moved from static product lists to dynamic, responsive experiences. Clients like Indigo Giclée can offer personalized portals

where customers explore complex product options—like substrate, size, or �inish—with complete clarity, all without the typical back and forth.”

Gibson points out that file submission has also come a long way. “In the past, uploading large format artwork was often a headache. Now, cloud-based uploads manage those hefty files with ease, and with design wizards and templates, even customers without creative experience can build productionready designs for everything from signage to fine art prints,” shares Gibson.

George Mixco, COO, Aleyant, says W2P evolution starts at the order level. “Prepress steps that typically take many touches and communication can be handled

during the ordering process— not post—reducing turn time creating more customer loyalty.”

Design as a concept has been democratized with tools like Canva and other options outside of the Adobe sphere as sources for production �iles. “Anticipating growth in �iles from such sources to be made production-ready is another area the industry is evolving in,” shares Mixco.

Proo�ing and approvals are also maturing. “Real-time visualization in the browser—even at oversized scale—means clients can sign off with con�idence, while automated work�lows eliminate delays and keep production moving,” notes Gibson.

Another exciting shift is in reporting and analytics. “Wide format used to be heavily reliant on of�line interactions, but now platforms like ours provide clients with powerful insights into buying behavior, product performance, and repeat order

trends,” adds Gibson. “That kind of data empowers innovative businesses like Indigo Giclée to market smarter, forecast demand, and grow sustainably.”

Mixco agrees, pointing out that analytics into customer behavior and more readily available access to customer data and behavior will help printers specialize around their local market, or expand toward a greater market.

Automation supported by W2Plevel production �ile automation is also on the rise, as are true touchless work�lows enhanced by arti�icial intelligence (AI), including natural language processing and data analytics; augmented reality/virtual reality for signage and displays; ful�illment partner industry standards via XML and production �ile preparation; higher hybrid work adoption extending into production and ful�illment; security with higher adoption of personalization and wider AI integrations; and dynamic displays that combine printed displays with projection media, according to Mixco.

“It’s not just about selling print online anymore—it’s about delivering an end-to-end experience that’s as premium and precise as the product itself,” comments Gibson.

Standalone Solutions

As W2P becomes more integrated, standalone solutions still do play a role.

Gibson says the role for standalone W2P is particularly suited for smaller providers who want

to get online quickly without overhauling their existing systems. “However, the real power of W2P is unlocked when it’s integrated into the broader workflow—MIS, CRM, prepress, production, and logistics. For wide format especially, where margins can be impacted by setup times and finishing complexity, integration reduces manual touch points and drives automation. At Infigo, we see integration not as a ‘nice-to-have’ but as the key differentiator between a storefront that sells and a platform that scales profitably and returns the best bottom line for the printer.”

In�igo looks at integration of W2P into other business processes as more than a luxury for wide format print providers. “It’s the difference between a storefront that simply takes orders and a platform that drives growth. For businesses like Indigo Giclée, it’s not just about looking professional online. It’s about delivering a seamless experience across the entire production journey, and ensuring the business scales ef�iciently without compromising on quality,” comments Gibson.

Mixco explains that the tech stack of any print shop is greater than just the W2P platform. “W2P is de�initely an integral part of doing business, especially anchored in place during the pandemic, but automation goes far beyond what is possible. An integrated solution from the sense as serving as a hub that interconnects these tools and their data points is going to be the future.”

Print Three

Wide format print providers increasingly adopt W2P. Another example is Print Three, a Canadian-based provider of high-quality digital and commercial printing services, delivering superior print pieces to clients nationwide. Backed by complete W2P capabilities, marketing expertise, digital printing services, and commercial printing services, it strives to turn its customers’ visions into reality.

Print Three’s W2P solution integrates with its customerfacing sites, allowing its customers to have branded portals with exclusive access for their clients/ employees to purchase print.

It uses a variety of W2P offerings, most notably W2P Tech

powered by Go ePower from Racad Tech Inc. “For wide format purposes Go ePower and uDraw, also from Racad Tech, are the most formative as they allow our customers to upload and preview their artwork, as well as create template products with as much or as little customization as they would like,” explains Andrew Hrywnak, president, Print Three.

Print Three initially adopted Racad Tech’s Go ePower in the mid 2000’s and has been using and providing the technology provider with feedback since. “That initial push came from a need to offer something unique in the print-for-pay environment, and started with the regular stationary items, but since then it has

expanded to cover everything from those initial items to banner stands, posters, and banners,” explains Hrywnak.

The ability to upload template products—of any size, from business cards to large banners—is important to many of its customers’ print purchasing workflows. “That level of customization streamlines the process for everyone, saving time and money, especially for our multi-unit customers,” notes Hrywnak.

Technology Trends

W2P continues to advance, offering new features and integrations tailored to wide format print providers and streamlined production.

irect to film (DTF) continues to dominate the conversation. With various printer vendors offering some combination of the technology—whether it be a dedicated device or something that works as both a DTF and direct to garment (DTG) printer.

“DTF is still fairly new in our industry, but it’s exploded in popularity because it solves problems common in traditional methods. For print service providers (PSPs), it means expanding capabilities

by Melissa Donovan

without overcomplicating workflow,” shares Emilio Rangel, UV product manager, Mutoh America, Inc.

Key to the DTF process is the ink. There are two main categories—aqueous pigment and UV. The selection depends on what the final transfer is applied to, fabric or rigid/semi-rigid surfaces.

For DTF involving aqueous ink, which is usually textiles, any PSP looking to add or expand fabric decoration as part

of their business benefits from DTF output, admits Chien-Yu Lin, senior segment manager, Mimaki USA, Inc. “DTF allows print shops to produce a range of fabrics, including cotton, polyester, and blends that can be used in fashion, promotional, and home goods.”

The appeal for UV DTF, according to Hugo Gonzalez, senior segment specialist, Mimaki USA, Inc., comes from the ability to produce direct to object output for surfaces that other printing

processes can’t due to shape, size, or run length requirements. UV DTF also has the advantage of maintaining a similar look and feel to objects printed directly on a UV LED flatbed.

With UV DTF, “there are speed advantages over rotary printing. Instead of mounting each part, you can print bi-directionally on sheets or rolls, then apply to shapes that are tough to hit with a rotary jig. It’s fast, flexible, and opens up more applications with less handling,” notes Rangel.

It’s undeniable, DTF is growing in popularity. Wide format sign shops benefit from adding DTF services whether water-based or UV. The best part, it’s a minimal financial commitment and yields high profitability.

“DTF is an excellent business service extension for wide format PSPs. The same design files used for signage or display graphics can be repurposed for apparel, tote bags, or promotional items. This approach allows businesses to diversify their offerings, enhance customer retention, and tap into customized apparel and promotional products without major workflow disruptions,” says Tim Check, senior product manager, Professional Imaging, Epson America, Inc.

Ink Options

Choosing the correct ink set is pivotal to a successful graphic. This

holds true with DTF printing.

According to Karl Tipre, owner, Printer Biz, a DTG-C company, the simplest way to look at DTF ink sets is to split them into two categories—textile and UV.

Textile

Water-based or aqueous pigment inks are commonly used for textiles, which include apparel and soft goods.

Ryan Filip, business development manager AW Specialty Papers, says water-based ink sets are similar to what is found in DTG printing,

however “what sets DTF apart is the white ink underbase combined with adhesive powder. The white layer makes CMYK colors pop with full vibrancy, while the powder bonds the ink to the garment fibers for a permanent, durable transfer.”

“Pigment inks are cost effective and fabric friendly, as well as

more sustainable due to their water-based nature,” shares Scott Donovan, NA commercial lead, DuPont Artistri Digital Inks.

Mike Davis, application specialist, Roland DGA Corporation admits that “this type of ink is more environmentally friendly than some of the other inks that

Left) DuPont Artistri P1600 pigment inks are ideal for DTF printing applications. 1) The new Mimaki TxF300-1600 utilizes aqueous pigment ink, PHT50 from Mimaki. It takes DTF to another level with the ability to print up to 63-inch rolls.

UNSUNG HERO: ADHESIVE POWDER

Part of the direct to ﬁlm (DTF) process is the adhesive powder. The adhesive powder used impacts durability, washability, hand feel, stretch, and brightness.

Karl Tipre, owner, Printer Biz, a DTG-C company, refers to adhesive powder as the “unsung hero” of the DTF process. “Ink gets most of the a ention, but the powder is what actually binds the ink layer to the garment during the curing. A good powder will have a strong wash durability, so hand feel, and support color and opacity.”

Without the adhesive powder, prints would simply sit on the ﬁlm and peel o a er transfer, adds Tim Check, senior product manager, Professional Imaging, Epson America, Inc.

Ryan Filip, business development manager AW Specialty Papers, believes adhesive powder is o en overlooked.

“Printers will test every new ink or ﬁlm that promises a so er feel or faster peel, but rarely stop to ask if they’re using the right powder. Suppliers aren’t much be er, offering a shelf full of inks and ﬁlms while carrying just one or two powders.”

“The choice of adhesive powder is critical. It bonds the ink to the fabric during heat transfer. Its quality a ects print durability, so ness, and wash resistance. Poor powder can lead to cracking, peeling, or uneven adhesion,” explains Sco Donovan, NA commercial lead, DuPont Artistri Digital Inks.

It’s about finding the right balance. “The operator should find a balance that creates a so , flexible feel that blends with the garment it is being applied to. Too much powder will feel thick and rubbery, and too li le will cause weak adhesion and fragile transfer,” notes Tipre.

“Not all adhesive powders are created equal. The right powder can mean the di erence between a transfer that lasts and one that cracks a er a few washes. The be er DTF printers know powders ma er just as much as inks and ﬁlms, and when possible it’s best to match the powder to the application for the best results,” a ests Filip.

Standard powder is TPU, which is used for co on and co on/polyester blends. These powders tend to have a be er elasticity and stretch, notes Lin.

Filip says for users concerned about TPU exposure and possible long-term health e ects, an alternative is TPE or co-polyester powders. “TPE powders o er similar stretch and so ness, with decades of screen printing history behind them.”

Polyester or PES powders are another option. These are more rigid, points out Lin, but are also wash resistant with a stronger adhesion.

Two critical factors that determine the success of the powder are adhesion and cost, states Chien-Yu Lin, senior segment manager, Mimaki USA, Inc. “Too li le powder, or a powder that is not compatible with the inks, can result in a less e cient transfer of the printed image from the carrier ﬁlm or may not work at all. The adhesive powder is another consumable that needs to be matched to the application. Some powders work exceptionally well, but may result in a higher-than-expected ﬁnal goods cost.”

POWDER TYPE

Types of available powder include thermoplastic polyurethane (TPU), polyester, low-temperature adhesives, high opacity, stretch or elastics, and water resistant powders. Why and when they are used depends on the ﬁnal product.

Low-temperature adhesive powders are formulated to melt at a lower temperature. These are also referred to as dye-blocking powders. “They can be used to prevent dye migration when transferring to some polyester fabrics,” explains Mike Davis, application specialist, Roland DGA Corporation.

High-opacity powder is used for dark garments and thicker fabrics like ﬂeece, shares Tipre. It is designed to ensure a brighter white.

Stretch and elastic powders add ﬂexibility once the print is cured. “This is popular for items like leggings and activewear that tends to be stretchy,” says Tipre.

While all DTF powders are water resistant, Filip says options are available with enhanced formulas that make them ideal for use with technical or coated fabrics like umbrellas and raincoats. “They outperform basic powders on challenging surfaces where adhesion is tougher and the typical powder fails.”

Rob Super, founder/CEO, American Print and Supply, says the real di erence between powder types is particle size and material composition. “You’ll see super-ﬁne, ﬁne, blend, and coarse options that are measured in microns. The microns impact how smoothly powder melts, how it feels on the garment, and how durable the bond is.”

smooth ﬁnishes and sharp detail, ideal for lightweight fabrics, but may lack durability. Medium powder provides balanced performance across various textiles, while coarse powder ensures strong adhesion and durability on heavy or dark garments, though it sacriﬁces detail.”

“The ﬁner the particle size, the ﬁner detail can be held in the print transfer. Larger particles are more ideal for heavy solid ink coverage,” adds Lin.

For example, coarse grain sizes “are ideal for rugged fabrics like denim, canvases, or Carhar jackets. Larger granules penetrate deeper into these loose weave fabrics, creating strong, durable bonds. The trade o , ﬁne details may not transfer perfectly, so avoid intricate designs,” advises Fillip.

INK CHEMISTRY

More than one type of ink is used for DTF. However, the same adhesive powders can work between one ink set or the other.

“You don’t swap powders for every garment or job, as that would make a massive impact on your productivity. DTF is a recipe and good vendors pair inks, ﬁlms, and powder that are designed to work together as a system. If you source quality consumables and a complete recipe, you will achieve consistent results across a range of fabrics and applications,” says Super.

Check notes that the ink’s chemistry does inﬂuence its ability to absorb the powder and cure during the transfer process, so the powders must be compatible with the ink formulations to establish e ective bonds.

Of note, adhesive powder is more frequently used with textile DTF ink. Most UV DTF processes eliminate the adhesive powder from the equation completely. Instead of powder being the activating agent, the UV ink is set to the substrate via a curing process with light.

FUTURE OF DTF

The future of DTF adhesive powder is intriguing.

Fine, medium, and coarse grain sizes are the main options, notes Donovan. Each o ers unique beneﬁts based on the application. “Fine powder delivers

“Given the inherent limitations of powder in the DTF process, the next major innovation in DTF printing is a powder-less solution, o ering greater e ciency, consistency, and ease of use. Since no single powder o ers all desired qualities, print service providers must strategically choose the type that best aligns with the speciﬁc job requirements. New innovation the DTF space with liquid adhesive instead of powder may be the best solution to capture all values,” foresees Donovan.

are commonly used. Additionally, water-based ink can help provide a softer feel to a finished transfer.”

Being pigment based allows for the ink to adhere to the PET film surface while also remaining flexible and durable after transferring to fabric. “This is critical as the inks will need to move and stretch with the fabric so they don’t crack or peel,” notes Lin.

Offering both flexibility and durability when applied to fabrics, Tipre says standard CMYK and white ink sets are available as well as speciality ink sets with extra colors to extend the color gamut.

“The ink’s tackiness allows adhesive powder to stick before heat curing, creating a strong bond that lasts through repeated washes,” adds Filip.

UV

UV inks are primarily used for rigid and semi-rigid items, but emerging formulations can be used for soft goods like textiles.

“UV DTF uses UV-curable inks with a laminate film system. While flexible UV formulations are starting to appear, today the process is still best suited for semi-rigid substrates like tumblers, signage, or promotional hard goods rather than apparel,” says Rob Super, founder/CEO, American Print and Supply.

Tipre agrees that UV DTF inks are designed for hard goods and promotional products. “These inks are a resin cured by UV light. The

prints are scratch resistant, waterproof, and can be glossy with raised or textured finishes.”

“These inks cure instantly under UV light, which means no waiting to add the transfer sheet and no issues with cross contamination of colors. UV LED inks have the benefit of curing at a lower temperature as opposed to a standard UV lamp, which can generate more heat, and cause media to contract during printing,” explains Gonzalez.

The strength of UV ink in this scenario is versatility, according to Rangel. “You can print one design and apply it across a range of promotional products without reconfiguring your setup, while still getting all the benefits of UV ink—sharp detail, durability, and instant curing.”

Looking for Features

Specific characteristics are nice-tohave while others are necessary to ensure perfect adhesion between the film, ink, and surface.

“For either UV or textile DTF, users need to make sure the inks are safe, stable, and compatible with both the film and adhesives, as well as the final application,” agree Gonzalez and Lin.

Specific to textile DTF inks, aqueous pigment, they should have strong opacity, consistent pigment dispersion, and proven wash durability, according to Super.

Strong adhesion to film and fabric is a necessity, suggests Tipre. Additionally, a high level of white opacity to cover dark fabrics completely, ink chemistry that is compatible with the adhesive powder and film, and high pigment load for bright and vibrant colors on the finished product are also requirements.

The ink should be compatible with the PET film and adhesive powder being used—and ultimately designed for productivity, notes Donovan.

“Nice-to-haves for textile DTF include expanded gamuts like RGBO or specialty colors for more accurate branding and smoother gradients,” says Super.

Tipre agrees that additional colors to expand the color gamut like orange, green, metallics, and fluorescent are nice but not necessary.

In UV DTF, strong adhesion, reliable curing, durability, abrasion, cleaning, and handling resistance are required, states Rangel.

Strong adhesion is must, especially since UV ink works with non-porous surfaces such as glass, metal, and plastics, concurs Tipre. He also believes UV resistance to avoid fading in sunlight and scratch and chemical resistance to endure rubbing and cleaning are also must haves for a UV DTF ink.

“UV DTF ink must be rigid enough to handle the separation from the

2) Epson offers the SureColor G6070 35-inch DTF printer equipped with UltraChrome DF ink.

film without tearing, but flexible enough to not crack when the final print is applied to a small or sharp curve,” adds Gonzalez.

Super says varnish or foil effects are desirable for UV DTF ink.

These effects include glitter or holographic overlays, as examples, adds Tipre. He also feels flexible inks would be beneficial to prevent cracking on items like leather.

For all DTF ink, a general key feature is ink safety. “Ink safety is of utmost importance for both your employees and your customers, and some retailers require proof of safety by using Oeko-Tex certified inks. It’s also important to be aware of the ink’s shelf life, as some inks may need to be used within 30 days of purchase, while others may have a shelf life of up to two years,” advises Check.

Thoughts on Pricing

Ink is a consumable, and it’s one of the more cost-prohibitive parts of the DTF process. It’s important to have a solid understanding of pricing before engaging in a new service. CMYK, white, and any other specialty options vary in price.

Check says aqueous pigment DTF inks typically range from $60 to $120 per liter, while white ink may cost more, around $80 to $150 per liter, due to the higher pigment load required for opacity. The actual cost can vary depending on the reliability of the supplier, the packaging used, and the region of distribution.

Meanwhile, UV DTF inks average $85 to $95 per liter, depending on whether you’re purchasing CMYK, white, or varnish channels, says Super.

Tipre cautions that DTF ink can be looked at from many different perspectives. While the easiest answer is to look at the cost of the ink per liter from your supplier, an important question to ask is, “how much of the ink you purchase ends up on the film?”

“Many printers utilize bulk ink delivery systems. Because these systems expose the ink to air, the white ink channels require more frequent cleaning. Therefore, much of the ink ends up in the waste tank. It is prudent to choose a printer that reduces

waste by delivering the ink with a cartridge-based system, which eliminates air exposure. These printers tend to require less maintenance and significantly reduced waste,” states Tipre.

Based on Tipre’s explanation, the average cost of water-based DTF textile ink by volume is $80 to $120 per liter. The average cost of UV DTF ink is $100 to $150 per liter.

Another cost factor when looking at the overall picture is the adhesive powder, which if printing with UV ink is probably not required. Rangel points out that with some UV DTF printers, like Mutoh’s, ink costs are straightforward. “You’re mainly factoring in the DTF film and adhesive sheets, since no powder or extra steps are needed. Our standard 220 ml UV cartridges MSRP at $99. White ink costs the same, so you don’t have to juggle specialty pricing, just stock what you need and run with it.”

Beware of Scams

It’s the wild west on ink choices for DTF as more vendors debut products to take advantage of the spike in popularity. Sifting through mediocre products to find the quality ones requires some work.

The biggest concern is inconsistency. “Low-grade or re-bottled inks can cause clogs, color shifts, or wash failures. Cheap ink might save dollars up front, but a single ruined printhead can cost thousands,” cautions Super.

“Not all DTF inks are manufactured with the same quality standards. Inexpensive, imported ink tends to differ from batch to batch.

This will result in color variance and inconsistent durability. It can also lead to maintenance issues or printer failure,” agrees Tipre.

Unverified suppliers lack quality control, so Donovan recommends choosing reputable brands to ensure consistent performance and reliability.

“PSPs should seek Oeko-Tex certified, batch-tested inks from vendors who provide technical support, not just a bottle on a shelf,” suggests Super.

Turn to reliable vendors. “Certainly, buying from a reputable source is a main consideration. When shopping for a DTF printer, consider if the ink is part of a full system where the ink is produced by the same company that makes the printer. Be sure the manufacturer provides a lot number so the ink stability can be tracked to ensure color and product stability.

Also consider if there are multiple manufacturing sources and local warehousing of the inks,” share Gonzalez and Lin.

“The manufacturing process is a key part in making a good ink product. Some inks can be made in less-than-clean environments. They can also have issues with chemistry and pigments. These factors can reduce the performance of an ink or cause issues with the print device or finished product,” says Davis.

“Here’s a crucial point to consider—a single liter of ink can potentially produce approximately 200 full-size t-shirt prints. If you sell each print for $20, you could earn a substantial profit of $4,000. However, saving $10 on the cheapest ink available could have detrimental consequences. It may damage your printer and result in zero prints being produced,” advises Check.

Smart Thinking

Be aware of all the variables when printing DTF. While the process isn’t overly complicated, education on the best inks to use and why can help achieve a final product that is worthy of selling to a customer and earning their repeat business.

“For wide format sign shops and PSPs, DTF is a fast track into a booming market. It’s a natural extension of what they already do, leveraging workflow, artwork prep, and color management to move seamlessly into on demand apparel and transfer printing. Meanwhile, many small and startup businesses that rushed into DTF are struggling to maintain their printers. By offering quick turnarounds, even same day with local pickup options, PSPs can step in as the reliable partner, serving businesses that already have customers but need dependable supply,” explains Filip. D

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uccessfully installing a wallcovering graphic is much easier than it used to be. Thanks to advancements in pressuresensitive adhesives (PSAs) in particular, any novice is able to install a graphic to a wall. But does that mean they should?

Education is paramount to a successful application. Understanding which adhesives and base materials are best for the surface the graphic will ultimately adhere

by Digital Output Staﬀ

to is an important part of the equation. Not every wallcovering material is able to apply to a brick wall for example.

Part of learning how to achieve a successful installation is educating yourself on wall cleanliness/preparation. A dirty wall, or one with a paint or other type of coating that negates adhesion, can ruin the install process even if the correct media, adhesive, and surface are paired together.

This article looks at what to be aware of when choosing the right media for an upcoming wallcovering project.

Advancements

Print service providers (PSPs) look for ease of use in their installation tactics, Above) GF 285 RoughMark is a 3.5-mil matte white opaque polymeric vinyl film coated with a solvent acrylic high-tack removable PSA on a 90# layﬂat liner from General Formulations. This film conforms with controlled heat and features clean removability from a variety of moderately textured substrates including brick, block, and concrete surfaces.

whether they are actually performing the installation or their customer. Recent advancements in materials make wallcoverings easier to install.

“Wallcoverings have gotten smarter. This includes PVC films with air-egress liners for bubble-free application, improved adhesives that are more reliable on different paint and surface types, and PET fabricbased options with repositionable adhesives that give installers more forgiveness. Both the experience and performance have gotten better by adapting and scaling to the needs of the market,” summarizes Jay Kroll, director of product education, General Formulations.

Microsphere adhesive is changing the game, especially for doit-yourself (DIY) type projects, “PVC-free, peel-and-stick nonwovens with microsphere adhesive are a game changer. Just peel, press, and admire for an elegant and easy update to any surface,” notes Jamie Riley, technical director, Faze 3 Sustainable Media Solutions (SMS).

“Now more than ever the PSA or adhesive-back options have increased. Whether it be a more traditional wallcovering to the fabric woven types, and just regular smooth or textured vinyl options,” admits Angel Georgiou, senior product planning specialist, imaging supplies, Canon U.S.A., Inc.

Roy Ritchie, president, DreamScape, also cites microsphere adhesive as influential in today’s wallcovering media in addition to material construction. For example, the Wallwrap series of products from DreamScape

1) GF 885AE RoughMark Cast is a 2-mil high gloss white cast film coated with a solvent acrylic high-tack removable PSA from General Formulations. The

utilize a high-end microsphere adhesive in addition to a threeply construction that minimizes or even eliminates tearing during installation.

“The combination here means that installers don’t have to be as fearful as when applying Wallwrap material since it is not as fragile as a single-ply vinyl,” notes Ritchie.

Another innovation that presents ease of install is water-activated processes. Erica Wilton, channel marketing and training specialist, Sihl Inc., explains water-activated installation, like that found in Sihl’s 2502 WallBliss Spray & Stick, does not require any paste for installation.

“You spray the designated area with water, align the product, and then smooth into place. This advancement matters because it reduces installation time by 60 percent, ensures a cleaner process, is easily repositionable, and is 100 percent PVC-free,” notes Wilton.

Eco-friendly sustainability is a topic often overlooked when it comes to ease of installation, says David Hawkes, media product manager, Roland DGA Corporation. “However, when using inks that are water-based—and/ or GREENGUARD Certified, in combination with media offerings that are PVC-free, it takes away the concerns of harmful odors, and volatile chemicals. This is important, as environmental requirements seem to be constantly increasing when dealing with commercial as well as public renovations.”

Ease of install includes repositioning, leaving room for error is essential for all levels of experience. For example, Walter Gierlach Jr., president, Photo Tex Group Inc., says products like Photo Tex self-adhesive polyester fabric and its recently upgraded adhesive allow for repositioning multiple times without losing adhesion or leaving residue.

Wayne Connelly, co-founder, Innova Art Ltd., agrees that advancements in repositionable adhesives for temporary applications are really making their mark in the industry.

Installation Differences

The base material, adhesive type, and surface all play a role in installation. This drives home the importance of conducting due diligence prior to tackling a wallcovering job—match the media to the environment.

Base Material

Installation differs based on the base material. Each material has its quirks, admits Riley. Here we touch on vinyl, PET, fabric, nonPVC, and nonwoven products.

Popular vinyl or PVC-based wallcoverings can stretch and distort if overhandled or overheated, requiring installers to be more mindful during application to avoid warping, notes Dennis Leblanc, senior product and business development manager, Drytac.

Traditional self-adhesive vinyl wallcoverings are known for their tendency to shrink and lack dimensional stability over time, adds Wilton.

PVC films are conformable and better suited for textured or uneven walls but usually require overlapping seams to account for movement over time, says Kroll.

“PET is durable but can be heavy or drapey, stiff, and water repellant, so it requires more adhesive volume and longer booking time for proper tack,” suggests Riley.

Another thing to be aware of, “PET films do not stretch nor do they shrink—therefore, they require exact application when matching seams,” adds Hawkes.

Fabric wallcoverings are typically thicker and more dimensionally stable, which makes them easier to handle and allows panels to be butted without concern of shrinkage, suggests Kroll.

Hawkes says fabric-based media can be more forgiving than typical vinyl, allowing some stretch.

Fabrics add texture and character but can be tricky to cut cleanly, admits Riley.

Meanwhile, non-PVC nonwoven products also offer dimensional stability, which Leblanc says makes them easier to align panel to panel “since they don’t expand or contract as easily during install.”

In addition, newer non-PVC, nonwoven composites “blend easy installation with breathability, reducing trapped moisture that can lead to mold or mildew,” shares Riley.

Another important part of the material is the liner, this plays a role in the install due to its

weight and makeup. The material might be more rigid with a heavier liner, or the material might be rigid and have a fairly thin liner, explains Georgiou.

Adhesive

Peel-and-stick or PSA products, no matter what you call them, open

up wallcovering installation to a wide range of people—not just professionals. More traditional paste-applied materials are also an option.

“The concept of peel-and-stick products is simple and many compare it to applying a label or sticker but that is where the similarities dramatically diverge as it is dry apply, minimal tools, and DIY-friendly,” says Riley.

PSA products are quicker to install compared to paste-applied wallcoverings, but Ritchie advises that they work best on very smooth, clean walls and are ideal for short-term or removable installs.

“Pressure-sensitive films install like giant decals—clean, dry, and squeegee driven—whereas pasteapplied materials demand preparation, mixing, and more labor to ensure even coverage. The choice impacts speed—pressure-sensitive films go up quickly, while paste systems can be slower but sometimes give longer term stability,” shares Kroll.

Products with a paste require someone with a more experienced background to apply. “Adhesive-applied products are reliable and proven but can be messy if you are not experienced because they require paste application, and more skill, making them ideal for professionals, but a potential challenge for beginners or DIY. For larger projects, hiring a certified installer is often worth it,” suggests Riley.

“Paste-applied wallcoverings take more preparation and time, but they are more forgiving of wall imperfections and provide stronger, longer lasting results,” notes Ritchie. He adds that “the choice—between peel-and-stick and paste—comes down to whether speed or permanence is more important for the project.”

however they also feature an overall stronger adhesion.

The type of adhesive found on the film differs depending on the material, and which material you might use depends on the surface it will ultimately apply to. “Adhesives can be high tack or lower tack, depending on the surface it is going on,” notes Laura Antenucci, marketing director, Continental Grafix USA, Inc.

Adhesive type needs to perform well with the intended surface in question, but also the duration of the installation. “Whether the application is temporary or permanent, selecting the right adhesive ensures reliable performance and prevents premature failure,” states Gierlach.

Surface Type

Surface type is incredibly important in regards to installation. The adhesive chosen will differ based on the surface as well as the installation technique.

There are many variables to consider. A wall with oil- versus water-based latex paint, which might be matte or high gloss finish; the walls might be smooth or repaired; it could be painted gypsum wallboard, cement block, or concrete, lists Riley.

155

156 Innova Art Ltd. innovaart.com

157 Photo Tex Group Inc. phototexgroup.com

158

159 Sihl Inc. sihlinc.com

Wilton agrees that products requiring standard wallpaper paste may call for more tools and knowledge of the installation process,

The actual process of installing varies between surfaces. “For example, brick and concrete surfaces are rough and textured, requiring a smoothing or priming process before installation,” explains Wilton.

“When installing a film on a textured wall like brick, the

3) Photo Tex self-adhesive polyester fabric and its recently upgraded adhesive allow for the product to be repositioned multiple times without losing adhesion or leaving residue.

installation can require the film to conform to the bricks. Continental Grafix has a product that conforms to brick that is like aluminum foil, FoilScape. It requires no heat for conforming, but additional tools like a bristle brush to push the film into the texture. Contrast this type of installation on a textured surface with a flat surface like drywall or plastic, the installation process can look very different based on the desired end result,” says Antenucci.

Conversely, smooth surfaces, namely painted drywall, lack texture so their biggest challenge is the paint chemistry. “Low-volatile organic compound, anti-stain, or washable paints often resist adhesion. If adhesion is uncertain, use adhesion promoters or primers available from paint suppliers to create a suitable bonding surface,” says Leblanc.

Plastic and wood are other smooth surface options, but present their own challenges. “Plastics often need extra cleaning or specialty primers to help the adhesive grip. Wood can work well if painted and sealed, but raw or uneven panels should be prepped to avoid absorption or warping,” recommends Richie.

“Plastics and wood introduce low surface energy or porosity challenges, often requiring higher tack adhesives to achieve a lasting bond,” adds Kroll.

“Different applications demand a bit of upfront research to determine which media performs best on specific surfaces. The most effective approach is to collect

samples and conduct hands-on testing beforehand to ensure compatibility and optimal results,” recommends Gierlach.

Common Errors

We polled the experts on some of the most common mistakes made in the field when it comes to wallcovering installation—and more importantly how to combat them.

When working with peel-and-stick products, Riley says the most common mistakes are not cleaning the wall correctly and not applying enough pressure for the adhesive to maximize adhesion to the wall.

“A felt-lined squeegee often works, but textured or knockdown walls, as well as some paints, can be tougher. For a foolproof finish, run a three-inch J-handle rubber roller from the center out to the edges. Doing so ensures strong contact and eliminates air bubbles. It’s a quick extra step that makes a big difference,” suggests Riley.

Gierlach says the most common installation issue for wallcoverings in general is inadequate wall preparation. “With today’s advanced paints and additives—such as anti-stain, mold and mildew resistance, splatterproof coatings, and antimicrobial agents—many surfaces now behave like silicone barriers. Proper wall preparation is essential to ensure optimal adhesion and long-term performance,” he advises.

“The number one mistake is poor surface preparation, installing on dirty, unprimed, or porous walls.

This leads to bubbling, peeling, or seam failure,” agrees Ritchie.

When adhesion failure occurs or improper alignment happens, Wilton says it is usually caused by poor wall preparation, rushed application, or inexperience.

To prevent failure, Leblanc says education is key—teaching installers to always test adhesion in advance, ensure walls are properly cured and cleaned, and use primers or adhesion promoters when needed.

“The most common mistake is skipping surface preparation. Installing over uncured paint, dust, or texture can prevent the adhesive from fully bonding. The solution is education. Test panels, make checklists, and reinforce

the knowledge that no adhesive can save a poorly prepped wall,” adds Kroll.

Another typical mistake is building out the design correctly. “How much bleed you give yourself on the sides or top and bottom, for example. If you aren’t paying attention you might make the panels too wide,” explains Georgiou.

“Anticipating overlap to avoid seam spaces is another common mistake—although this isn’t a difficult task, it’s something end users, especially less experienced installers, may overlook,” cautions Hawkes.