Tips and Tricks for Installing Cut Vinyl Vehicle
Graphics
Proper Cleaning - an Important First Step
A clean substrate is essential for a
quality vinyl application. Consider the
substrate your foundation: If it is not
prepared properly, you cannot be
sure that anything that is placed on
top of it will be secure. If you are
applying film to a dirty vehicle, the
adhesive from the graphic will
adhere to the dirt and not the vehicle
itself, which will result in failure down
the road.
Most material manufacturers have
technical bulletins that provide
instructions on how to prepare
substrates for graphics applications.
These bulletins generally can be obtained from the manufacturer's Web site or by
contacting its technical support department. While the instructions below will
serve as a good guide on how to clean your vehicle before applying graphics, it is
always a good idea to check with the material manufacturer to make sure you are
following its recommendations.
Begin cleaning by removing all dirt
and grime with a commercial
detergent solution and water. (Note:
If you take the vehicle to the car
wash for this portion of the cleaning,
it is important to make sure the
vehicle is completely dry before
applying the graphics; this may
mean allowing the vehicle to sit
indoors overnight.) If grease, oil, wax
or other contaminates are present,
wipe the substrate with a solvent that
comes with your equipment called
“rapid tac solvent.” It is
recommended to do final cleaning
with isopropyl alcohol (IPA) to make sure that no oily residue from the other
solvents is being left behind. Before using any solvent on a vehicle, test it in an
inconspicuous area to ensure the solvent won't harm the vehicle's paint.
As you clean the vehicle with IPA, it is recommended using two lint-free towels.
One towel should be soaked with the IPA and used to clean contaminants off
(dust, dirt, wax, etc). The second towel should be dry and used to wipe away the
excess IPA before it has a chance to evaporate. Also, be sure to thoroughly
clean in all the cracks and crevices of the vehicle. It is also recommended
wrapping an IPA- soaked towel around a squeegee to get down into the crevices,
as shown above.
Measure Twice, Apply Once
Once the vehicle is clean; it is time to start positioning your graphics. It is always
a good idea to take a few extra minutes to position the graphics on the vehicle
before you actually begin to install. Remember that once you take the liner off
the graphic, you have one shot to get it right. So the time spent on positioning
the graphic will be well spent. This step also allows you to make sure you have
received everything you need and make any necessary adjustments to the
placement of the graphics. An example would be moving the position of a decal
to prevent text from being cut off or applied into a contour, which could make a
word difficult to read. Begin by taping the graphic in the general area you plan on
installing it. Then, using a tape measure, make sure the graphic is straight and
centered. In the examples below we use two different types of decals. In each of
these we use the body molding as my reference point for measuring.
With the graphics taped
into position, step back
and take a look at the
layout. Taking the
contours of the vehicle into
consideration, it is
important to develop a
plan on how you want to
apply the vinyl. Since
vehicles are not perfectly
flat like a wall, this step is
important. When doing
vehicle graphics, just
starting at the top of the
graphic and working down
isn't necessarily the best
approach. It is important to
spend a few minutes
finding the best place to
start. Once you have your plan, it is time to begin applying the graphics.
Tools and Techniques for a Seamless (and
Bubble less) Application
Vinyl manufacturers typically recommend
application in temperatures of 50º to 90º F,
with 70° to 80°F being the optimum range.
Whenever possible, apply graphics indoors in
a controlled environment, which will help
control temperatures as well as reduce the
amount of wind and dust you have to deal
with. The room and substrate temperature can
greatly impact your application. A high
temperature will make the film softer and more
pliable. The higher temperatures will also
make the adhesive more aggressive, which
can lead to pre-tack and increased stretching
if you try to reposition the film. Lower
temperatures will make the film more rigid and
reduce the tack of the adhesive. Applying in
either of these extremes can make your
application more difficult.
There are a few basic tools you will need to
apply graphics. They are:
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A tape measure - for positioning
An air release tool - for removing air
bubbles
Masking tape - for positioning
A squeegee - for applying the graphic
A razor-knife (preferably one with
break-off blades) - for trimming away
excess vinyl
A heat gun or propane torch - for
heating the vinyl on complicated
applications
At this point you should have decided on your
approach to applying the vinyl. If possible,
remove the liner (backing paper) a little at a
time to prevent the adhesive from prematurely
adhering to the substrate. In this first example,
we use a top hinge and pulled the liner down a
little at a time. First, we removed
approximately six inches of the liner. We also
kept tension in the film by holding the bottom
edge of the graphic. This tension on the film
will help prevent the graphic from touching the vehicle before you squeegee it
into place. As we squeegee the graphic down, we positioned the squeegee so
that the air pushed down and out, and we also made sure to overlap the
squeegee strokes. Both of these steps helped to avoid air bubbles.
The second graphic was a bit more
challenging, since it stretched
almost the entire length of the
vehicle. One of the primary
concerns with this graphic was to
keep it parallel to the body molding
we used as my guide. Instead of
using the top hinge method, we
chose to use an end hinge by
sliding back the liner a little at a
time underneath the positioned
graphic. By using this method I did
not lose my placement of the
graphic.
The method for squeegeeing the graphic is similar to above; we want to be sure
the air is being pushed away from the portion of the graphic that has already
been applied, and we want to overlap the squeegee strokes. Since this second
graphic runs the length of the vehicle, the graphic must be applied over the gap
between the front and rear doors. As you squeegee the graphic into place, ignore
the seam for now. After the entire graphic is applied, you can go back and trim
the graphic. In this situation we prefer to cut the film flush with the edges of the
front and back door, which requires two cuts.
After the graphics are applied, the next step is to remove the application tape by
pulling it back on itself at an 180º angle. Using this method to remove the
application tape will reduce the chances of pulling the graphic back up and
possibly causing air bubbles or edge lifting. Once you have removed the
premask, it is imperative to go back and re-squeegee the graphic. This extra step
will help to ensure that all of the edges of the graphic are in contact with the
vehicle.
Making the Cut
The steps discussed here are for the
dry application method, which is
recommended by most material
manufacturers. While the dry
application method does require
more skill and experience, you will
find that once you learn how to apply
using this method you will reduce
your application time. When applying
dry, there is no need to allow the
adhesion of the graphic to adhere for
several minutes, or in some cases
hours, before removing the
application tape, and you eliminate
the mess of using wet application.
Applying Vinyl to Glass
Some glass is exposed to direct sunlight for long periods of time. Some is coated
with a substrate, like silicon, that makes long-term adhesion difficult to achieve.
And some is topped with anti-reflection or scratch resistance films that make
removing the graphic without damaging the tint nearly impossible.
Likewise, all vinyl is not created equal. Windows require cast instead of
calendared film, for example. More specifically, perforated films designed for flat,
transparent surfaces are ideal for glass applications. This cast vinyl has a
continuous hole pattern perforated into the film to provide a graphic visible from
the outside that can be seen through from the inside.
Keep in mind that many different factors influence the performance life of window
graphics, including the correct combination of film, ink, over laminate, ink
formulation, drying methods, exposure conditions, and cleaning methods and
maintenance. In this article, we will discuss the preparation of the substrate and
application methods.
Preventing Problems
There are several pre-application steps you can take to prevent potential
problems during and after installation. One of the most basic tips is to use an
over laminate or clear coat for durability. This will protect the film from
environmental factors like dust, water and dirt that can collect in the perforated
areas.
One thing you cannot accommodate for is sunlight. For that reason, you should
steer clear of using dark graphics and vinyl’s on window fronts, according to Jeff
Stadelman, technical marketing manager for the graphics product group at
MACtac, a manufacturer of pressure sensitive adhesive. “If you cover window
fronts with dark vinyl, then the vinyl will absorb more heat. It will also hinder the
ability of the glass to give that heat off,” he says. “Eventually, the glass could
actually explode because of the prolonged intensity of the heat.”
Cold weather also plays a role in vinyl application to glass. Manufacturers do not
recommend attempting to apply vinyl to glass when the air surface temperature is
less than 40 degrees Fahrenheit because the adhesion will not stick.
Preparing for Installation
Now that you have skirted some potentially troubling issues, it is time to prepare
the glass for application.
“Some people tend to use ammonia-based cleaners to clean glass, but that
leaves a film on the window and can affect adhesive on the film,” says Oracal
product specialist Lindsay Howard. “It can cause bubbles, which is a sign of
outgassing, or the life of the adhesion may be shortened. It is best to use
isopropyl alcohol instead.”
Before you begin applying the vinyl it is important to size the window. The idea is
to cut the film to the approximate shape of the window before squeegeeing it.
Avery advises to measure the decal to make sure the graphic fits in the window
with a clearance around any rubber gasket. At no time should the graphic touch
or overlay any window moldings or you could lose adhesion.
Applying the Vinyl
Manufacturers do not recommend wet applications for perforated film graphics
because water will get trapped in the holes and cause the vision to be obscured
when you look through the graphics. Dry application is the only warranted
method.
The first step to successful application is to tack down the film in the center of the
window and cut the graphic to shape. It is recommended flipping the graphic up
using the low tack tape (masking tape) as a hinge and then, start removing the
liner from the graphic. If you apply the graphic and then cut away a margin of 1/8
inch to 1/4 inch, then you will eliminate the need for edge sealing on full window
coverage.
The next step is to flip the graphic back down and start applying pressure on the
film to create adhesive contact to the window, removing the liner as you go.
Experts recommend using a low-friction sleeve or the Expo Dry Eraser that come
with your equipment to prevent scratching the graphic.
Now, start a squeegee action in the middle of the image and squeegee from one
side to the other, continuing the process from the top of the decal down using
overlapping strokes and removing the liner as you go. If needed, Avery
recommends carefully
adjusting the graphic to realign
the material or take out
wrinkles. Re-squeegeeing
should always follow this
action.
If you encounter two panels
designed to meet side by side
on a window, 3M has some
good advice. The manufacturer
recommends carefully trimming
the images so that the panels
meet and form a butt seam.
But do not overlap panels and
always trim before starting the
application. If you cut the film while it is on the window, then you may
permanently scratch the glass.
If there are any edges and seams, then you’ll have to use an edge sealer to
prevent water and contaminants from getting under the film and obstructing the
interior view or contaminating the adhesive. The sealer should be applied
carefully to completely seal the edges and also minimize the distortion caused by
sealer from the viewing side of the graphic.
Removing the Vinyl
Manufacturers also has specific recommendations for removing the vinyl without
damaging the glass. There are two methods: heat and chemical.
The heat method employs a heat gun, lamp or propane torch. Begin by heating
one corner of the marking, using caution to prevent the material or window from
getting too hot, which could cause the glass to shatter. Then, we recommend
using a razor blade or knife under the corner to loosen the marking, being
cautious not to damage the glass. Next, grasp the lifted edge up and pull it up
and away from the glass with a slow even rate at an angle less than 90 degree’s.
Always keep even pressure and heat the area of film immediately ahead of the
area being removed.
If the film has been clear coated, then
you can use the chemical removal
system, but experts say this process is
not as effective on over laminated
materials. Vinyl film manufacturers
recommend following instructions of the
chemical suppliers.
We recommend using adhesive or edge
sealer remains after the film is
removed. Let the Rapid Tac Solution or
Goo-Gone soak into the adhesive or
edge sealer, and then use a plastic squeegee to scrape off the residue. You can
repeat this process as necessary until the glass is clean. Non-flammable citrusbased removers are also ideal for this task.
Always check with the vinyl manufacturer before applying the film to glass. Some do not
recommend, and usually will not warranty, applications to surfaces other than vertical
windows, to windows that have built-in heating, to windows with defrosting elements or
wipers, to substrates with special coatings, to regulated vehicle windows, to windows that
crank or roll down, or to emergency window exits.
Avoiding Bubbles and Wrinkles During Vinyl
Applications
Your graphic is picture perfect. Your substrate is squeaky clean and your tools
are top of the trade. But you still wind up with those frustrating bubbles and
wrinkles that diminish the look of the finished product.
What’s a vinyl installer to do? Beginners often use a wet application with
translucent or clear vinyl to eliminate bubbles and wrinkles, but experts say wet
applications can actually create bubbles and wrinkles if not done properly.
Avoiding bubbles and wrinkles is a matter of tender loving care from the moment
you handle the vinyl until it is applied on the substrate.
Before you begin
To rid yourself of those blasted bubbles and worrisome wrinkles, you first need to
understand what causes them. For starters, if you don’t store your vinyl properly,
then you can’t expect it to perform to its maximum capacity.
You’ll also want to avoid applying pre-mask on the same table on which you cut
the graphics because your material could pick up contaminants. Of course, if
your substrate is not clean, then you can potentially run into all sorts of problems.
Get the water out
In most cases, squeegeeing the vinyl at a 45-degree angle with overlapping, firm
strokes will rid the vinyl of most of the bubbles and prevent wrinkles. Don’t be
concerned about pressing too hard. So long as the squeegee glides across the
vinyl smoothly then you should attain good results. That said, be sure to check
your equipment before squeegeeing. The edges of your squeegee should be
smooth and even the slightest knick can cause streaks or bubbles during
the application process.
Pulling the pre-mask off prematurely can also leave you with unsightly bubbles in
your beautiful creation. When you are using pre-mask you need to wait a little
while before you pull it off because if the adhesive hasn’t had time to bite into the
substrate, then as soon as you pull the pre-mask off you can pull the graphic
back up and create bubbles.
Water left between the surface and the adhesive can also cause bubbles and
wrinkles. Make sure the film is properly squeegeed to get all the excess water
out from between the surface and the film adhesive so there’s no bubbles. Then
you will have a really good bond between the media and the substrate. It is also
noted that the use of ammonia-based cleaners to prepare the surface leaves a
film on the window and can affect vinyl adhesion and cause bubbles.
Help! I still have bubbles.
So what do you do if, despite your best efforts, you still have bubbles? Stay calm,
know that it happens even to the best installers from time to time, and pull out
your air release tool, or use a straight pin or sewing needle, to pop those
aggravating air pockets. Do not use a knife or a razor blade because you will do
more damage to the vinyl.
Unless your installation is purely riddled with bubbles, once you pop them there
will be no sign that they were ever there because quality vinyl are self-healing
when it comes to a few minor pin pricks. The trick is to press around the air
bubble to gather the air in a single point. For example, if you have two air
bubbles very close to one another, then the goal is to get those bubbles to merge
into one larger bubble so that you only have to make one prick.
Puncture any air bubbles with a straight pin. You’ll want to poke a small hole at
the bubble’s edge, rather than in the center and then re-squeegee from the edge
of the bubble towards the puncture.
What about wrinkles?
Many of the same squeegeeing techniques will help you avoid wrinkles in the first
place. Of course, mishandling the vinyl can cause wrinkles before the film ever
gets installed. If you wind up with wrinkles, however, don’t worry. Removing small
wrinkles is typically as easy as pushing from the center of the wrinkle toward the
edge of the graphic with your fingernail to even out the bunched up materials.
Removing larger wrinkles is an altogether different story. That requires slitting the
material and then overlapping the vinyl. While this is far from a perfect world
scenario, it is much better than leaving an air pocket in the vinyl because that air
pocket will cause premature failure that is not covered under the vinyl
manufacturer’s guarantee. You may be off the hook, though, if a large wrinkle is
at the edge of the graphic because you can use a little heat to soften the film, lift
it up, stretch the vinyl out until the wrinkle is gone, and then reapply the film.
With a little experience, bubbles and wrinkles will be a thing of the past or at
least nothing to hit the roof about. If you can’t eliminate them from the get go,
then at least you are equipped to make quick repairs that leave you satisfied and
make your customer happy.
Vinyl Graphic Removal Made Easy
Vinyl removal can be a pain…that's a fact, but there's a new kid on the block that
can help to make your vinyl removal projects less labor intensive and quicker to
complete. And that's worth reading about.
While this task may be quite challenging with some installations, it is even more
so with projects that require the removal of vinyl. Many sign companies have
come up with their own solutions for removing vinyl. According to the substrate
used, products such as Goof Off, Goo Gone, and even WD-40 have been used
to assist with removing that work that may have been applied years ago.
Along with heating and steaming the vinyl off, some hand tools such as the Little
Chiseler can come in handy for vinyl removal. These have all worked well in the
past for most sign professionals. However, some of the problems associated with
using a heat gun and other creative tools are the bubbling of the vinyl that might
occur during heating and the patience and man-hours required to complete these
tedious projects.
Challenges
Depending on the substrate, there are many challenges in removing vinyl and
most sign businesses focus on creating and installing new signage rather than
taking off vinyl.
It is quite a challenge to accurately estimate vinyl removal unless you have the
history of the vinyl application as well as the particulars of the substrate used.
There are so many variables that lots of really experienced businesses struggle
on this one. The cost of putting it on is so much easier to estimate.
Problem vinyl can cause your labor estimate to be wrong by as much as a factor
of 10. That’s hard to overcome with any profit left at all. Most customers won’t go
with an hourly charge; most customers don’t think pulling the vinyl off should be
costly. Also, it’s a hard, dirty, three-stage job. You have to remove the vinyl layer,
and then remove the adhesive layer, and then you have to clean up. Each has its
own challenges depending on the method chosen to do the job.
We would also like to point out that there is another area most installers fail to
consider, and that is their own safety. Many commonly used products are
poisonous and carcinogenic to the people using them. If you are handling vinyl all
of the time, this should be a serious concern for yourself and your employees.
Removal Solution
The breakthrough in vinyl removal came about when scientists decided that they
had enough of the potentially harmful products that may work over time and with
extensive labor so they developed Vinyl-Off 10-4. It is a one-step vinyl remover
that is safe for human use and for the environment.
Vinyl-Off is applied to the vinyl to be removed and allowed to penetrate (this
usually takes less than 15 minutes). Then a corner of the vinyl is lifted and pulled
and the vinyl and adhesive come off at the same time.
If the temperature drops to below 50 degrees Fahrenheit, it is recommended that
the vinyl be warmed just before pulling it off. Warming can be done with a torch,
heat gun, or by putting the surface in sunlight. Sometimes a small amount of
adhesive is left and is removed by reapplying (using a cloth) to the adhesive and
wiping it off.
Remember that most signage in the past was heat removed. The vinyl may come
off in small or large pieces, but either way, you still have to use an adhesive
remover to take off the adhesive. There are several very good, safe adhesive
removers on the market. These products are applied and then the jelly-like globs
are scraped or pressure-washed off. Clean up is then after that.
Of course there are other, mechanical or chemical methods on the market. They
all still require the three-stage effort of vinyl removal, adhesive removal and then
cleanup. Most of the vinyl-removal chemicals are bad for your health and the
environment.
Vinyl-Off is about as safe as bath soap and one gallon typically covers
approximately 1500 square feet of vinyl.
Can I Apply Vinyl to This?
Vinyl is a profitable trend, but attempting to apply film to certain substrates is a
money-losing proposition.
While becoming an expert installer means cash money in today’s sign market,
there are some substrates that the most elite vinyl pros even stay away from —
and for good reason. Despite the temptation of extra income, attempting to apply
to substrates that are not clean, smooth or non-porous is an ultimate waste of
time and money.
What substrates are completely unsuitable for vinyl application?
There are a few substrates to which you should never attempt to apply. Cement
and bricks, for example, are too porous and rough to accept adhesion. Leather,
on the other hand, tends to absorb the adhesive deep into itself, leaving nothing
on the surface to hold the film. You should also stay away from oxidized, faded or
peeling paint, and raw metals because you cannot get a good bond on these
surfaces.
What substrates are most vinyl-friendly?
Experts say glass is very vinyl-friendly, but you may find bubbles cropping up
underneath the surface due to outgassing, or the vaporization of a solid or liquid.
Outgassing can occur in glass, some plastics, and insufficiently dried paints,
resulting in adhesive failure of films applied over them. Vinyl banners, canopies
and flags are also good candidates for vinyl application. Metals and fiberglass
are suitable substrates so long as they are painted with glossy enamel.
Can I apply vinyl to plastics?
Plastics are challenging, according to experts. Some are friendly and some are
not. Outgassing is a possibility much of the time. So when you encounter a
plastic substrate, you need to know its chemical composition.
Polycarbonates, for example, which are frequently used for equipment housings,
exterior automotive components, outdoor lighting fixtures, and non-automotive
vehicle windows, contain just enough water to yield bubbles in the film.
Poly (methyl methacrylate), commonly called PMMA, is a clear plastic typically
used as shatterproof replacement for glass. Most standard adhesives will adhere
readily to PMMA, but, again, you may wind up with bubbles if you try to apply
vinyl using the dry installation method. Pros admit plastics are a suitable
substrate for wet application.
Polyethylene is the most popular plastic in the world. Plastic bags, shampoo
bottles and tarps are made of this material. But applying vinyl to this substrate is
not a popular option. Installing vinyl on this type of plastic requires special
adhesives, high temperatures and a dry application method to ensure a solid
bond.
Polystyrene is a hard plastic. The housing of computers is typically made from
this material. Styrofoam is also made from this material. This is a tricky substrate
because it can change adhesive properties and result in the film actually
shrinking away from the surface.
Polyvinylchloride (PVC) is adhesion friendly — maybe a little too much so.
Applying to rigid PVC could result in vinyl that is difficult if not impossible to
remove. Softer PVC’s have an almost opposite problem of vinyl shrinking away
from the substrate unless special adhesives are used.
Can I apply to wood?
Most experts agree that you can apply to wood, with an added “if.” You can apply
to wood if it has been painted with high quality paint or glossy enamel that
attracts the adhesion. Failure to paint or gloss the wood — or not paint it
thoroughly — will result in low adhesion values or short-term adhesion.
Can I apply vinyl to rubber?
Experts don’t recommend it. Look no further than vehicle wrapping for your
answer. Most installers do not apply vinyl to vehicle bumpers that are made of
rubber or plastic. Rubber is a very low energy surface that makes long-term
adhesion unlikely. However, new paints are coming to market for vehicle
bumpers that could make bumper application more realistic.
Can I apply to lacquered surfaces?
Experts don’t recommend it. It is important to understand the compatibility
between the adhesive and the lacquer. To be on the safe side, contact the
lacquer manufacturer to make sure the lacquer won’t attack the adhesive and
cause it to peel up before attempting to apply to this substrate.
Can I use reflective films on stainless steel substrates?
Experts don’t recommend it. The vinyl manufacturer reasons that reflective films
on stainless steel will gradually exhibit dull spots in the film. The phenomenon
that causes dull spots in reflective film can be explained by the interaction of the
metallized layer of the reflective film with the stainless steel substrate. The
inherent differences between the two metals, specifically in the property termed
“electronegativity,” cause the establishment of a galvanic corrosion cell. The
difference in electronegativity between these two metals creates a voltage or
potential difference, which is the driving force for an electric current to flow
between these two metals. As a result of this reaction, the metallizing in the
reflective film will begin to oxidize and degrade with time.
Can I apply pressure sensitive films over latex painted surfaces?
Experts don’t recommend it. Latex paints contain surfactants (soap-like
chemicals) that leach onto the surface throughout its life causing adhesive
failure. Latex paints also contain plasticizers that can migrate to the adhesives in
many pressure sensitive films, also causing failure.
What about other painted surfaces?
There are many different varieties of paint, so, like plastic, it is important to
understand the properties of the paint that you are dealing with. Experts say most
factory paint jobs on vehicles are ideal for vinyl application according to film
manufacturer guidelines. The paint should be allowed to dry for three weeks
before applying vinyl. Regardless of the paint type, the surface must be clean
and all of the cleaning agent residue must be wiped away.
While this is not an exhaustive list of every possible surface, these are among
the most common substrates you will encounter. If you run into something not on
this list, then don’t panic. Just keep a few basic vinyl truths at hand and you can
make proper decisions no matter what a customer throws at you. And don’t be
afraid to contact the vinyl manufacturer.
As a general rule of thumb, you should never apply to rough, dull, porous or dirty
surfaces. The object is always to apply to smooth, clean substrates for long-term
adhesion and fewer bubbles. Even if you are relatively sure of the outcome,
conventional wisdom says to test the substrate with a small piece of vinyl in an
inconspicuous place before attempting a lengthy, expensive installation. Your
customers and your bank accounts will thank you for it.
Vinyl Techniques: Preparing the Surface
Neglecting to properly prepare the surface of a substrate could cause vinyl
failure. Don’t make this mistake! If you ask any vinyl manufacturer or application
expert what is the most common mistake people make in the vinyl installation
process, then you will get the same answer every time: inadequate preparation of
the substrate’s surface.
No matter the substrate glass or paint and no matter the installation method
wet or dry - if you do not clean the substrate properly then you will end up with a
contaminated surface that hinders the performance of the adhesive. In fact,
experts say wetting solutions could cause even greater problems on unclean
surfaces because the liquid will loosen up contaminates and make it more of an
issue.
Preparing the surface may seem like an obvious part of the vinyl installation
process, but often time it is the most obvious steps that people miss. Whether it
is hurried installers working by the job or inexperienced applicators that don’t
understand the process, contaminated substrates are one of the leading causes
of vinyl failure.
Choosing a Cleaning Solution
Experts recommend using isopropyl alcohol on the surface and wiping it with a
clean cloth. Other cleaning agents could attack the paint or reduce the adhesive
strength of the film.
Some people tend to use ammonia-based cleaners to clean glass, but that
leaves a residue on the window and can affect adhesive on the film. It can either
cause bubbles, which is a sign of outgassing occurring, or it can shorten the life
of the adhesion itself.
Outgassing is the vaporization of a solid or liquid. Outgassing can also occur in
some plastics and insufficiently dried paints, resulting in adhesive failure of vinyl
films applied over them. Fresh paint can also cause problems. Experts
recommend allowing at least three weeks to pass before adhering film to paint
that has been oven-dried or baked.
Likewise, if you use soap and water and do not clean it off adequately, then you
could be leaving a thick layer of soap residue on the substrate. Unless the
manufacturer specifies some incompatibility, isopropyl alcohol ensures a
contaminant-free surface. It is strong enough to clean away any left over
impurities that could hinder the adhesive, but not so strong that it will damage the
paint.
Still, experts recommend testing the cleaning solvent on an inconspicuous area
of the application surface first to check for potential damage. Experts recommend
letting vehicles sit for 24 hours to ensure they are completely dry. Other
substrates do not require this length of waiting time.
Special Considerations or Vehicles
When it comes to vehicles, there are additional issues to consider that you may
not find with other substrates that are not exposed to the grit and grime of
highway exposure. Many vinyl manufacturers recommend cleaning the vehicle
with a commercial detergent and water. This is the best way to remove silicone
substances and residues.
Heavy road grime or tar should be scrubbed with a solvent such as acetone. But
take caution because if this solvent is used repeatedly it can cause damage to
the paint. Always test for a negative reaction on an inconspicuous portion before
using acetone.
If grease, oil, wax or any other grime is present, then the substrate must be
scrubbed with a solvent and wiped with a soft, lint-free cloth before it dries.
Isopropyl alcohol could be used afterward to ensure no residues from the
detergent or acetone remain.
Wiping Down the Surface
Of course, it does little good to clean the surface with isopropyl alcohol if you are
going to wipe it off with a dirty shop rag. Most experts do not recommend cloth
towels for the final drying, either, because they often carry lint, which is a
contaminant.
Domestic paper towels are often the best means of wiping down the surface
because even clean shop rags can accumulate contaminates like wetting
solutions or cleaning products. Moreover, it is best to use standard paper towels
not super absorbent or those with absorption pockets because they may also
carry contaminants that will get left behind on the surface.
Testing the Substrate
Just as you test the cleaning solution, it is also wise to test the materials on the
substrate. When using materials that tend to outgas, such as polycarbonate or
polystyrene products, we recommend the following steps:
1. Clean the surface
2. Mount a piece of film to it
3. Store at 140 degrees Fahrenheit for 24 hours.
If bubbles formed after 24 hours, outgassing is still occurring. So, either treat the
plastic with a heat source or store it for an extended period at room conditions.
Cleaning the Tools
While it seems elementary to work with clean tools, installers will often move
from one job to the next quickly and not clean their tools. It is important to make
sure there is no residue on the squeegees and other tools you are using that
could be wiped onto the vinyl. Finally, all tools should be completely dry before
you begin installation.
Once your surface is clean and dry you may proceed to the actual installation
with assurance that the vinyl will adhere for its recommended lifetime.
When to Use Wet
While most professionals and manufacturers prefer to install vinyl dry, there are
occasions when wet is the way to go. While it’s true that the dry installation
method of vinyl application saves time and money, let’s face it, not every graphic
installer has the necessary skills or experience.
The wet application method applies a vinyl graphic to a substrate by using a fluid
to assist with positioning. The dry method, as its name indicates, does not use
fluid but rather depends on the skill of the installer to correctly position the film.
Those who are still learning need the flexibility that wetting solutions can offer.
Moreover, experts admit that there are some unique applications and conditions
that require wetting solutions to achieve a long-lasting adhesion.
“The Advantages of Wet Applications
One thing is sure, if there weren’t benefits to applying vinyl wet, then there
wouldn’t be profitable companies peddling wetting solutions.
Perhaps the most compelling advantage of wet applications is the ability to
reposition the graphic with ease. In dry applications, if the graphic touches the
substrate before you have it in a set position, then you have to snap it back up.
Without wetting solutions, the vinyl is a little more difficult to handle because it is
sticky.
Boosting Adhesion in Dry Applications
Dry applications can be more challenging for beginners. Learn how to get the
best adhesion with this installation method. There’s a great debate in the sign
industry over vinyl installation: Is it better to apply wet or dry? The wet application
method applies a vinyl graphic to a substrate by using a fluid to assist with
positioning. The dry method, as its name indicates, does not use fluid but rather
depends on the skill of the installer to correctly position the film.
The line is seemingly split right down the middle between accomplished,
professional installers and less experienced applicators. The bottom line is your
choice of wet or dry application will depend on the application situation and your
skill level. While beginners often start off with wet applications, abandoning the
solutions and installing dry offers many advantages.
Doing It Dry
There is no question that dry applications offer many advantages for professional
installers and this is the preferred method most of the time. Fleet applications, for
example, demand dry installations.
A lot of sign shops are still putting vinyl on wet. Professional fleet vinyl installers
never use application fluids. If you use the wet method of application, you are
going to have problems no matter what.”
Experts insist that installers need to learn about the characteristics of different
vinyl media and how to apply the film dry, and for good reason. There is an
admitted learning curve with dry applications and the old adage that practice
makes perfect certainly applies. Dry applications, however, will increase you
productivity and save you money spent on wetting solutions.
Applying the vinyl dry will save the time of having to purchase the fluids, apply
the fluid, wipe up and clean up the mess from the fluid. With wet application, you
have to squeegee four to five times to try and drive out the fluid.
Dry-Only Media
Experts use premium vinyl because they cut and install with more ease and last
longer. While earlier generations of vinyl lent themselves to wet applications, the
latest lines of premium media from major manufacturers are designed to boost
adhesion without wetting solutions.
Most installers that are using wetting solutions are using less premium vinyl.
There are degrees of vinyl premium and economy. The economy vinyl can be
somewhat aggressive and more difficult to install dry.
New technologies have allowed manufacturers to design films with channels in
the adhesive that allow air bubbles to be pushed down without leaving wrinkles in
the vinyl. Avery’s EZ films and 3M’s Comply are two good examples. These new
films are also more forgiving in terms of repositionability.
Most manufacturers do not recommend wetting solutions with next-generation
films that feature these channels and pockets. In some cases, wetting solutions
may even void the warranty on the film. Actually, wet adhesion is typically only
recommended for PVC films. PVC is a thermoplastic that is strong and especially
resistant to water, acids, and abrasion.
Preparing for Dry Application
Now that you have decided to apply dry, you’ll need to gather the appropriate
tools. You’ll need a squeegee and an air-release tool to address any bubbles that
many appear. Bubbles occur due to outgas, which is the vaporization of a solid or
liquid. Outgassing can occur in some plastics and insufficiently dried paints,
resulting in adhesive failure of films applied over them.
You’ll also need a low friction sleeve, a heat source, a razor knife, a rivet brush,
masking tape and a marking pencil. A chalk-like marking pencil is not
recommended.
If the vinyl graphic has been rolled up, be sure to flatten it out before attempting
to install it. It is also important to understand the appropriate temperatures and
other environmental conditions that produce the best adhesion. It is also critical
that the surface is thoroughly cleaned.
Dry Application
Remove the vinyl from the backing paper by peeling it back from one corner.
Baking paper is also known as a release liner or carrier and is the portion of the
pressure-sensitive construction that protects the film’s adhesive before it is
applied. The backing readily separates from the film immediately before it is
placed on the substrate or target surface. Be sure to leave the pre-mask
(application tape) on at this point. Pre-mask is the pressure-sensitive tape used
to transfer a cut graphic from its liner to the substrate or to protect a given
surface.
Next, locate where to position the graphics and mark the spot using small pieces
of masking tape. If the graphic is large, tape it into position securely with masking
tape. If the graphic is less than eight square feet, remove the entire liner. Position
the graphic on the marked points using light tacking pressure.
Once you are satisfied with the position, begin at the corner and press it down
using moderately firm, overlapping strokes, making sure the applicator is flat with
the substrate along the entire length of the stroke. Hold the squeegee at a 50-70
degree angle to the surface. Remember, the flatter the squeegee the better.
Overlap all strokes by about 50 percent.
Boosting Adhesion
Whatever the tools or technique, use enough pressure to make sure the graphic
firmly adheres to the substrate. Pre-masked graphics require additional pressure,
but it is important to use the application tape because it allows you to rub the
graphic without damaging it or the ink. Different films have different levels of
abrasion resistance.
Once the vinyl has been applied, you need to remove any air bubbles and tenting
around rivets by using the air release tool. Heat may also be necessary to work
out the bubbles, depending on the application.
Wait at least five to 10 minutes after the application to allow the adhesion to build
to the functional bond level. The idea is to get ultimate adhesion; the
characteristic of a pressure sensitive film that prevents it from being removed
after it adheres to a substrate for a period of time. Although the time needed for
ultimate adhesion typically occurs within about 24 hours after application, it can
vary based on the types of adhesive and substrate used and the conditions
under which the film was applied.
Until a functional bond is achieved, it is risky to remove pre-mask or allow a
vehicle to be transported. Once you remove the pre-mask, re-squeegee all
graphics edges, overlaps and seams using firm pressure. Use a squeegee with a
low friction sleeve to prevent scratching or damage to the graphic. The resqueegee is an absolute must on all edges of the decal to ensure its ultimate
adhesion.
If the adhesion is not adequate and the graphic must be put into service right
away, then carefully re-squeegee the graphic (again, using a squeegee with a
friction sleeve). Re-squeegee the film using greater pressure, overlapping
strokes. This will help improve the adhesion of the graphic.
If you are still not comfortable with the dry method, or need to learn with wet
applications may be appropriate, check out our article entitled, “When to Use
Wet.”
Vinyl Sign Pricing
In this article I will address a segment of the industry that tends to be found in
almost all other types of sign companies - Vinyl Signs. Vinyl Sign companies are
plentiful by themselves, but because of the commonality of equipment it is normal
to find a certain amount of vinyl sign productions done by digital printers, screen
printers, and electric sign companies.
Question: What is the most common technique used in pricing vinyl signs?
Answer: In vinyl, the most common technique used is market pricing. Here we
diverge from most other sign segments, where production and sales costs are
the dominant factor in pricing. But before explaining what pricing is normally
used, we need to touch on why most vinyl sign companies do not use cost-based
approaches.
Compared to digital, electric, or screen-printing, the investment in a vinyl sign
company is relatively small. For example, a single large-format digital printer will
often cost more than all of the equipment in a vinyl sign company. So equipment
costs are not dominant factors in vinyl sign pricing.
Nor are material costs a major concern. The average vinyl sign company spends
between 18% and 24% of revenues on materials like vinyl, coroplast, and other
hard-costs. While this is not immaterial (no pun intended), there is less
correlation between costs and prices than you might expect. In most markets, for
instance, vinyl lettering usually commands a greater price than vinyl on
aluminum. Similarly, though banners may be cheaper than MDO signage, the
difference in price is not proportional to the difference in costs.
This leaves labor costs and overhead as the remaining costs, but these costs
vary widely between any two vinyl sign companies...yet pricing in a market
remains fairly consistent from shop to shop.
Question: Are you asserting that costs are not relevant in pricing?
Answer: No, only that your costs may not be relevant to the pricing in the
market. Ask yourself, could I do 10% more work without hiring additional people
or buying more machines? 20%? 40%? In most cases, the answer is "yes" (at
least to the first two) in vinyl, but "no" in electric, digital, and screen-printing
where equipment and other constraints are dominant.
From my experience and observation, in any market the labor costs and
overhead of the least efficient operators set the pricing. In most cases, this is a
vinyl sign company earning between $14,000 and $22,000 per month. Current
pricing supports this store's overhead and 2-3 employees and allows the owner
to stay in business paying he or she a comfortable salary.
With the same overhead and equipment and few additional employees, however,
it is usually possible for the same shop to double or triple their monthly revenue.
In a cost-based approach, the owner should lower their pricing to reflect the
reduced overhead burden. This has not happened (much) in the vinyl sign
industries. Instead, the more efficient producers have kept pricing the same and
pocketed or reinvested the money, allowing the less efficient producers to stay in
business.
Question: So how do you determine market pricing?
Answer: By definition, knowing your market pricing means sampling the market
place. Most people think of this as calling the competition and getting a price.
And that is a great tool and still not a bad idea (though caller ID makes it harder
today than it used to be). But you have many other sources of competitive pricing
information.
The most effective way to get this information is to ask for it directly. When
following up on estimates, especially those given to new prospects, ask for a
copy of the competitors' estimates. Explain you are simply trying to understand
where you stand in the market and it does not have anything to do with this
specific estimate. You'll be surprised how often they will share this information
with you and what you will learn. Do this for each estimate, whether you win or
lose the job. The customer will be more willing to share this information when you
win. Additionally, if you get this information only when you loose an estimate, you
will have a tendency to only move your prices downward!
Question: What is the actual form of pricing used by most stores?
Answer: The (obvious) answer is that almost everyone uses a square foot
approach to vinyl pricing (square meter approach for the international crowd).
There are, however, two significant variations. The first uses a variable price
based on size. A typical pricing scheme might look like this:
I would like to make a few points about this method. Why give a break at 3sf and
not at 4sf? In some cases, the material is available in different sizes that are
relevant, but primarily the size breaks are arbitrarily chosen to meet some predetermined market price. Additionally, it is very difficult to compare pricing
information between products. The information contained in the pricing is, at
best, difficult to grasp.
Question: How else is pricing approached?
Answer: A cost-plus model is still used, most commonly by companies that do
vinyl signage but not as the mainstay of their business. An electric sign company,
for instance, will commonly use cost-plus calculations for all pricing, including
vinyl signage.
Among "purer" vinyl sign companies, many analytical thinkers will often modify
the above pricing by adding a setup charge. This change typically produces
fewer breakpoints, which in turn makes pricing easier to compare between
products. For example, the above pricing is very close (though certainly not
identical) to the following pricing scheme:
The rationalist usually explains the logic of the setup in terms of representing the
physical "setup" involved in the order. While this might be true, this is irrelevant
when one considers that we are only trying to get at a market price and not
reflect our actual costs.
A graph of the price of a sign using these two pricing examples would look like
this:
Note: There is a big difference not shown on this graph involving the purchase of
multiple signs. When a customer purchases 2 or more of the same sign, you will
need to double (or more) the setup to achieve the comparable pricing. In this
sense, it is more of a per-piece setup instead of a fixed setup charge. Using both
a per-piece and fixed setup charges is an effective way to model complex pricing,
but this is beyond the scope of this article.
Question: How should I add in my overhead?
Answer: It is my (debatable) position that in a market based pricing scenario,
your overhead doesn't matter. What you can charge is not dictated by your costs,
so why should your overhead be included. Considerations of overhead are
important in strategic decisions such as what to sell, what you can sell profitably,
and where to invest. However, they do not affect what the market will pay for
your work.
Here are some of the lessons I have observed in pricing:
1.
2.
3.
4.
5.
There is not a single best way to price.
It is safest to price like everyone else.
"Everyone else" doesn't price the same way.
"Everyone else" doesn't always know why she/he prices like she/he does.
It costs to price accurately. Being precise is expensive (though automation
can lower these costs). Accuracy should be measured relative to the size
of the order.
The difference in the method you use should depend on (in their order of
significance):
1.
2.
3.
4.
The amount of competition you have.
The system you have in place for pricing (manual vs. automated).
The average size (in dollars) of your orders.
The skill level of the person pricing (or the person that should be doing the
pricing. In some shops the owner should not be doing the majority of the
daily pricing).
5. The industry standards.
Rather than tackle these items textbook style, what follows are the most common
questions shop owners ask about pricing. Since you probably have or have had
these same questions, let's get straight to it.
Question: How accurate should I try to be in my pricing?
Answer: To answer that, you need to know how much it costs you to get the
price and approximately what the size of the order will be. Using those numbers,
you can determine the relative cost of estimating. Let's look at an example.
Example: Let's say it takes you 15 minutes for a salesperson to estimate the
price for a $300 job. Assuming the salesperson makes $50,000 per year
(conservatively $25/hour for calculations), that quote cost you about $25/4 or
$6.25 to calculate. On a $300 job, this equates to 2.1% of the price. A 2% built in
cost may not seem too bad, but remember the true number is a lot higher when
you consider the ratio of jobs won and the opportunity costs involved.
Keeping it simple, though, here are the ballpark numbers for the relative cost of
estimating I like to see:
The difference between automated pricing and manual pricing is primarily a
function of technology and process. There are also many levels of semiautomated companies with values that fall in between these.
Question: What approach should I use to arrive at the best price?
Answer: That's a loaded question. My view is that the only way anyone could
answer that would be to know your operations, strategy, and goals intimately.
Barring that, here is my advice boiled down:
Focus on the areas you are better than average at. One of the biggest problems
we see is with companies that want to compete in every arena. It is great to sell
in every arena if you feel you have to, but you should try to price to win work in
your core areas. This is where you should really compete and make your money.
In areas that you are only average or worse, make sure you have lots of extra
margin in the job. That way, if you win it you will still be profitable.
In the next few articles we'll discuss different approaches for different industry
segments. These will answer this question more directly.
Question: Should I try and automate my pricing?
Answer: Often this question is asked by someone who really wants to ask the
last question and is looking for pricing control and consistency rather than
efficiency. While automation can impose a disciplined system, it is most effective
when it is used in shops with pricing disciplines already in place. You can't
automate what you don't know. So if your pricing is still out of your head (and
your head only), it is unlikely that someone else can bring order to your shop.
The owner has to be willing to work with the vendor to put the pricing expertise
into the system.
Here are some common reasons to automate, but you must personally assess
whether you are ready to automate.








Reduce the stress from current and future growth.
Reduce the cost of estimating.
Allow me to respond more rapidly with more accurate quotes.
Reduce the training to estimate so it is easy to add new salespeople.
Reduce errors caused by and time lost to redundant data entry.
Reduce the dependency on one or two key people with everything "in their
head".
Improve the completeness an accuracy of the information that sales
collects for production (integration of sales and operations).
Improve operations.
Here are some of the signs you are ready to automate:






You have a good manual system that is reaching or has reached its limit.
Things are stable now, but you are expecting 20% or greater growth in the
future.
You have good systems, but they are "islands of automation" for
production and sales.
You want even greater growth in the future.
You want to reduce the time spent on quotes and paperwork.
You are planning to sell or retire in the next 3 years.
Expecting automation to be the disciplinarian where there is no discipline is
usually not a good idea. In fact, it is likely that any automation project will be
abandoned or circumvented if installed in an undisciplined company.
Question: Why does the "size of the order" matter when I'm looking at my
pricing?
Answer: In the questions above, I identify the cost of estimating as a percentage
of the order size. It is fine to be within 5% of the price for $300 order. But would
you want to be 5% short on a $50,000 order? The accuracy you need to build
into your system depends a lot on the cost of being wrong. You won't loose too
many valued customers if you price a $300 order $15 (5%) too high, but you can
bet you'll loose a lot of the $50,000 orders with the same 5% hike ($2,500).
You should design your pricing so that 60-70% of your orders have the
acceptable accuracy level (80-95% for automated systems). Then, anything
outside this range should be checked a second time. For manual systems, we
used the rule:
If the selling price is more than 4 times your average price, double-check
the assumptions first.
For automated systems, this rule can be extended so that you are only doublechecking when the order is 10 times greater, but the idea is the same. At some
point, the accuracy you have designed into the system needs to be checked.
Though "the burned hand teaches best," try to learn this lesson before getting
burned!
So, what is the best way to price? As I tried to layout, my experience is that there
is no single best way to price. There are many factors to how you should price,
and those factors may be different for your competitor up the road. There is also
a cost associated with pricing that you should keep in mind, because accuracy
and precision in pricing are not free, though the costs will vary based on the level
of automation in your shop.
In the next few articles I'll explorer more deeply the "norms" of pricing in various
segments of the sign and graphics industry, with specific articles on pricing in
Vinyl, Digital, Screen Printing, and Electric Signage. And if one of the articles
doesn't directly apply to you, hopefully you'll still glean some knowledge from the
approach that others use.