Aslan Schwarz has introduced UltraTack DFP 07, a high-tack, inkjet-media film that’s designed for installation on low-energy, rough, or uneven surfaces. The film is compatible with solvent-, eco-solvent, UV-cure, and latex inks, and its double-sided, polyethylene-coated liner ensures good lay-flat characteristics and high moisture stability, the company reports.
As part of a rebranding project, Red Robin restaurants enlisted bluemedia and its sister company Blind Society to come up with some ideas to complement their existing décor. The restaurants have a well-established Americana motif, featuring prints and items from pop-culture over the years (not to mention endless French fries), and the challenge was to stay within their current theme, but find some unique ways to implement the graphics so they’d stand out among the traditional wall prints.
Sunset by Fredrix Gloss Canvas SUV, jointly developed by Fredrix Print Canvas and LexJet, is an OBA-free gloss canvas with an acid-free, pH-neutral poly/cotton base.
Designed for gallery-wrapped and framed fine art and photographic and décor applications. It is compatible with solvent, low-solvent, latex, and UV-curable printers.
Available in 30-, 36-, 54-, 60-, and 64- in. widths.
Brand Management Group (BMG) has added two Kodak Canvas products designed for solvent, low-solvent, and UV-curable printers.
The 16-mil Kodak Canvas, Matte has a bright white base and is designed for production décor, point-of-purchase, and banner applications, and has a bright white base. The poly/cotton blend canvas with a traditional 2-over-1 weave has an acid-free base for long-lasting images indoors, and can also be used for short-term outdoor applications, according to BMG.
Nazdar Digital Ink has created a Digital Ink Overview video. The new video provides an overview of the company’s Digital Ink program, including UV, water- and solvent-based wide-format digital inks (as well as screen printing inks). It can be viewed on the company’s website and YouTube channel.
NAZDAR INK TECHNOLOGIES
Sometimes, it only takes a gentle nudge from serendipity to have great things happen.
Back in 2003, Jon Sherman was a private-equity and real-estate developer. He was contemplating an interior redesign of an apartment he hoped to flip, when a friend showed him a book filled with artfully crafted wallpapers. The friend had tried to track down the designer – an Oregon-based “Ted” – who happened to call back while Sherman was there.
How do you get teenagers and pre-teens – most of whom have their minds on just about anything but higher education – to think about what a college might offer them? One way is by installing marketing messages at their favorite “watering hole,” the local mall.
Print shops and installers all have the same goal in mind: create an eye-catching end product that will be durable, enhance its surrounding environment, and please the customer. Sometimes, however, the communication and working relationship between the shop and the installer breaks down – and the result is something less than ideal.
Cutting to size or shape is often a critical step in the finishing process. But what kind of machine is best for your particular operation and the types of jobs you typically take on?
Do you need equipment that can cut a wide range of substrates from standard rollfed media to rigid substrates like metal, foamboard, and wood – and perhaps fabrics as well? How important is contour cutting to you? What kind of speeds do you feel you must have in order to stay relevant with deadlines? And, of course, what substrate/media sizes are you typically dealing with?
RGB, CMYK, ICC profiles, linearization, ink limits, deltas, calibration, G7, neutral printing, gray balance, etc. Whatever happened to the good old days, when you could load in ink and paper, hit the print button, and everyone was happy? I might be exaggerating a bit here, but I do remember a time when it seemed less confusing when it came to thinking about color.