#1 Graphic Design and Installation in Dallas-Fort Worth
#1 Graphic Design and Installation in Dallas-Fort Worth
Anything too big for an office printer. In practice that starts around 24 inches wide and runs up to a sixty-foot building wrap assembled from matched panels.
It is a different discipline from commercial offset printing, not just a bigger version of it. Different inks, different substrates, different resolution expectations, different finishing. It is the backbone of our digital printing department and the process behind most products on this site.
Retail window and wall campaigns, often as a quarterly programme rather than one-off pieces.
Construction site hoardings and development boards, which in Collin County is steady work given how much is being built between Prosper, Celina and Anna.
Event signage packages, where a single client needs a coordinated set across banners, boards and displays.
Museum, exhibit and interpretive graphics.
Church stage backdrops and seasonal sanctuary graphics.
Restaurant menu walls and feature panels.
School hallway, gym and field house graphics.
Trade show and booth graphics. See Displays.
Anything over 10 feet gets split. The question is where.
Software will split a file wherever the arithmetic lands. That is how you end up with a seam running vertically through a face, a logo or the middle of a block of flat colour, all three of which are visible forever.
We plan the break at design stage. It goes on a dark region, a colour boundary, a natural vertical in the composition, or a point where the architecture itself already creates a line. Panels overlap by roughly half an inch so there is no risk of a hairline gap opening up if the substrate moves slightly.
From normal viewing distance, a well-planned seam is invisible. From six inches, you can find it if you look, and nobody looks at a mural from six inches.
A few things worth knowing before you finalise a design:
Matte substrates flatten saturated colours slightly. Deep reds and rich blacks lose a little punch compared to gloss. Where a brand colour has to be exact, we allow for this on press.
Mesh and perforated media need bolder type and higher contrast, because a third of the surface is not there.
Backlit film needs a heavier ink lay, since light passes through rather than reflecting off. See backlit film.
Textured surfaces soften fine detail, so hairline rules and small text do not survive on a brick wall graphic.
We will raise these at proof stage rather than printing a file that was designed for a different material.
2 to 3 business days for straight printing after proof approval. Lamination, contour cutting, mounting and panelling each add time, typically a day or two combined.
iCandy Grafix prints up to 10 feet wide in a single continuous piece. Larger graphics are produced as matched panels with a planned overlap, and we position the panel breaks so they fall on natural lines in the artwork rather than through faces or logos.
Large format printing uses wide-roll and flatbed machines built for outputs from 24 inches to 10 feet wide, on materials including vinyl, fabric, acrylic and rigid board. Standard commercial printing tops out around tabloid size on paper stock and uses entirely different inks and processes.
Most large format print jobs are complete in 2 to 3 business days after proof approval at iCandy Grafix, with lamination, cutting and mounting adding a day or two depending on the finishing required.
Yes. Roll media covers vinyl, fabric, canvas and film, while flatbed printing handles rigid substrates including acrylic, aluminium composite, PVC and foam board. See direct to substrate printing for how rigid printing differs from mounted vinyl.
Yes, with no minimum order. Digital printing has no plate setup, so a single piece is economical. Per-unit pricing improves with quantity but there is no penalty for ordering one.
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