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Print ideas

Every idea, with its specification attached.

Browse by the occasion, by the object or by the material. Whichever way in you take, the entry tells you what it is made of, how it behaves in the hand and what goes wrong with it.

  • Application
  • Format
  • Material and effect

What the EZ Print ideas section covers

EZ Print is a printing company in Singapore, trading since 2017 and working in the Central Business District. This section lists printed objects — display stands, large-format graphics, signage, collateral, packaging and apparel — and states the specification of each one rather than only showing it. Every entry answers the same six questions: what it is, what it is printed on, how it feels in the hand, what it suits, its lead time — the one standard window, stated identically on every entry — and the mistake made with it most often. Entries are indexed three ways, by application, by format and by material and effect, because a buyer arrives knowing one of those three. EZ Print quotes from the specification and does not publish prices.

48entries


Each one a real commercial print product, described by what it is made of rather than by what it looks like.

6fields


What it is, what it is printed on, how it feels, what it suits, the lead time and the common mistake. Every entry answers all six.

Three ways in

Start from what you already know.

A marketing manager knows there is an exhibition. A designer knows they have drawn a pull-up. A procurement officer knows the line item says fabric. Those are three different questions about the same shelf, so the shelf is catalogued three ways and every entry sits on all three.

The occasion decides more than the object does. An exhibition graphic and a retail graphic can be the same material and still be different jobs, because one is seen at six metres and the other from arm’s length.

By application.

What the print is for. Start here when the date is fixed and the object is not.

Exhibition stand

A shell scheme or a custom build, seen from six metres and then from sixty centimetres.

Retail

Window, shelf and floor. Everything competes with the product it is selling.

Roadshow

It has to travel, be put up by whoever is on shift, and survive being put up again.

Conference

Stage, registration desk and delegate bag, usually against a fixed run-of-show.

Launch

One evening, photographed heavily, and judged on how it reads in the hand.

Office fit-out

Wayfinding, glass manifestation and wall graphics that have to live with the lease.

Food and beverage

Handled wet, handled constantly, and replaced on a menu cycle rather than a campaign one.

By format.

The shape of the thing. Start here when the object is already decided and the question is what it should be made of.

Stands and display systems

Frames, backdrops and pull-ups — a printed graphic plus the hardware that holds it flat.

Fabric and tension Woven panel at finished proportion, 3000 × 2250 mm, in woven display cloth, with the 25 mm the standard silicone-edge profile swallows off every edge drawn at the panel's own scale.

Stands and display systems · Large format

Tensioned fabric backdrop

A woven polyester graphic sewn with a silicone bead and tensioned into an aluminium frame, so the printed surface is flat, seamless across its width and free of glare under a camera.

Standard turnaround is 7–14 working days.

Fabric and tension Woven panel at finished proportion, 1200 × 2400 mm, in backlit stretch knit, with the 25 mm the standard silicone-edge profile swallows off every edge drawn at the panel's own scale. Drawn lit from behind.

Stands and display systems · Large format

SEG fabric lightbox

A backlit aluminium frame with a woven polyester graphic tensioned into it by a sewn silicone edge, so the panel glows evenly, the fixings vanish and the frame outlives every graphic it carries.

Standard turnaround is 7–14 working days.

No plateEvery fact that would tell this drawing apart — panel count, overlap width, curve radius, magnetic bar pitch — is hardware geometry the estate holds no figure for, and the printed panel itself is a plain laminated drop with no layer order or edge specific to it. Blank space is the honest answer until there is a photograph of the frame.

Stands and display systems · Large format

Curved and straight pop-up display

A folding lattice frame that opens into a wall without tools, with graphic panels hung across it on magnetic bars. Curved and straight are the same hardware set differently.

Standard turnaround is 7–14 working days.

All 19 in stands and display systems

Large format

Anything printed on a roll: banners, backdrops, wall graphics, floor and window vinyl.

Fabric and tension Woven panel at finished proportion, 3000 × 2250 mm, in woven display cloth, with the 25 mm the standard silicone-edge profile swallows off every edge drawn at the panel's own scale.

Stands and display systems · Large format

Tensioned fabric backdrop

A woven polyester graphic sewn with a silicone bead and tensioned into an aluminium frame, so the printed surface is flat, seamless across its width and free of glare under a camera.

Standard turnaround is 7–14 working days.

Film, in section, on its surface Section through a 5-layer film applied to the near face of glass: the ink on the face. Layer order and count, not layer thickness.

Large format · Signage

Window and floor graphics

Printed self-adhesive film applied to glass or to a hard floor. The film is chosen for the surface it has to leave cleanly, and the laminate over it is chosen for what walks on it.

Standard turnaround is 7–14 working days.

Fabric and tension Woven panel at finished proportion, 1200 × 2400 mm, in backlit stretch knit, with the 25 mm the standard silicone-edge profile swallows off every edge drawn at the panel's own scale. Drawn lit from behind.

Stands and display systems · Large format

SEG fabric lightbox

A backlit aluminium frame with a woven polyester graphic tensioned into it by a sewn silicone edge, so the panel glows evenly, the fixings vanish and the frame outlives every graphic it carries.

Standard turnaround is 7–14 working days.

All 28 in large format

Signage

Panels, plates and directories, mounted to something and expected to stay there.

Film, in section, on its surface Section through a 5-layer film applied to the near face of glass: the ink on the face. Layer order and count, not layer thickness.

Large format · Signage

Window and floor graphics

Printed self-adhesive film applied to glass or to a hard floor. The film is chosen for the surface it has to leave cleanly, and the laminate over it is chosen for what walks on it.

Standard turnaround is 7–14 working days.

Fabric and tension Woven panel at finished proportion, 4000 × 1000 mm, in woven display cloth, with the 40 mm the deep silicone-edge profile swallows off every edge drawn at the panel's own scale. One seam is drawn, from the 3200 mm the material is made in.

Stands and display systems · Large format · Signage

Entrance gantry

An overhead frame spanning an entrance or a walkway, carrying a printed header above the crowd and a wrap on each leg. It is the element at an event that everybody walks under and most people photograph.

Standard turnaround is 7–14 working days.

A printed drop Printed drop at finished proportion, 1000 × 2800 mm, with the 250 mm allowance the sewn pole pocket takes drawn at the same proportion.

Stands and display systems · Large format · Signage

Teardrop and feather flags

A printed sail sleeved onto a flexible pole and held by a spike or a weighted base. It is read as a shape and a colour long before anybody reads a word on it.

Standard turnaround is 7–14 working days.

All 18 in signage

Collateral

Sheet-fed print a person picks up: cards, invitations, folders, brochures, booklets.

Relief and gloss on a sheet Cotton soft white at 450 gsm, at finished proportion, 148 × 105 mm, carrying a block strike, drawn as relief because foil colour is not simulated, shallow, with the 3 mm keep-out from the trim drawn at the same proportion.

Collateral

Foil-blocked invitation

A single heavy card struck with a heated brass block, so the mark is a mirror set slightly below the surface of the sheet. It reads by reflection and by touch rather than by colour.

Standard turnaround is 7–14 working days.

No plateThe entry says in its own words that the rack is hardware and is not printed, so half of it cannot be drawn at all; the other half is a die-cut net, and the estate holds no die line for it. A drawing of one panel of a folded holder would assert a specification that does not exist.

Stands and display systems · Collateral

Literature rack and brochure stand

Two answers to one problem: a folding rack that is hardware and outlives every campaign, and a die-cut folded board that is print and carries a message of its own on the way to the brochure.

Standard turnaround is 7–14 working days.

Relief and gloss on a sheet Matt art card at 400 gsm, at finished proportion, 90 × 54 mm, carrying a spot varnish with a hard edge, standing proud of the sheet, at a standard depth, with the 3 mm keep-out from the trim drawn at the same proportion.

Collateral · Packaging

Raised spot UV

A clear varnish screened onto chosen areas of a matt sheet and cured hard, so a mark stands proud of the ground. It is found by a fingertip before it is read by an eye.

Standard turnaround is 7–14 working days.

All 17 in collateral

Packaging

Boxes, sleeves, tags and labels — printed flat, cut to a net, and folded into a shape.

Relief and gloss on a sheet Matt art card at 400 gsm, at finished proportion, 90 × 54 mm, carrying a spot varnish with a hard edge, standing proud of the sheet, at a standard depth, with the 3 mm keep-out from the trim drawn at the same proportion.

Collateral · Packaging

Raised spot UV

A clear varnish screened onto chosen areas of a matt sheet and cured hard, so a mark stands proud of the ground. It is found by a fingertip before it is read by an eye.

Standard turnaround is 7–14 working days.

Relief and gloss on a sheet Kraft board at 350 gsm, at finished proportion, 90 × 45 mm, carrying a block strike, drawn as relief because foil colour is not simulated, at a standard depth, with the 3 mm keep-out from the trim drawn at the same proportion.

Collateral · Packaging

Foil blocking on kraft and dark board

A heated brass block releases an opaque metallic or pigment layer onto a brown or dark sheet. It is the one mark that reads cleanly on a stock with no white in it, and it needs no underprint to do it.

Standard turnaround is 7–14 working days.

A sheet, at the cut edge Cut edge of bonded triplex at 900 gsm bonded, drawn at the estate scale of 1 mm = 22 px: 1.24 mm. The middle ply is a colour, drawn as the stripe it makes around the whole silhouette. 3 sheets bonded, with 2 seams drawn.

Packaging · Collateral

Coloured-core swing tag

A tag cut from bonded board with a coloured middle ply, so the only colour on an otherwise plain piece is the stripe running round its edge and ringing the cord hole.

Standard turnaround is 7–14 working days.

All 9 in packaging

A material and a finish are one decision, not two. Most of what goes wrong in production is a pairing rather than a part.

The materials library states what each sheet measures and which finishes leave tooling behind for the reorder. This column says which of them the jobs in this section are actually made of.

The materials library

The plates

Drawn, not photographed.

A photograph of a printed panel tells you that print exists. A plate tells you what the thing will do: the proportion it is made at, the order and count of its layers, the structure of its core, the thickness of its cut edge, the part of it that disappears into the hardware. Seven treatments cover this section, each one states what it is drawing and what it is not — and where an entry’s distinguishing facts belong to hardware that is not printed, it carries no plate at all rather than a drawing that would say nothing.

  1. The panel, drawn to its finished proportion.
  2. The aperture — what is still visible once the frame is closed. The standard silicone-edge profile takes 25 mm off every edge, drawn at the panel’s own scale.
  3. The silicone bead, sewn around the whole perimeter.
  4. The frame channel, in section. The bead seats in it and the edge of the print disappears.
Fabric and tension Woven panel at finished proportion, 2400 × 2400 mm, in woven display cloth, with the 25 mm the standard silicone-edge profile swallows off every edge drawn at the panel's own scale.
  1. The printed face, drawn in this stock’s own shade and its own surface structure.
  2. The cut edge, drawn at the estate scale of 1 mm = 22 px.
  3. The bond seams — 2 of them, between 3 sheets. This is why a board this thick exists at all.
A sheet, at the cut edge Cut edge of bonded triplex at 900 gsm bonded, drawn at the estate scale of 1 mm = 22 px: 1.24 mm. The edge is left as the guillotine leaves it. 3 sheets bonded, with 2 seams drawn.
  1. The printed face.
  2. The core: Flutes standing between two skins. Far stiffer along them than across them, which is why the direction is a specification.
  3. The skin, drawn at its real share of the section — 8 per cent of it, which is why the drawing looks the way it does.
  4. The flutes, running across the panel — the direction that sags in the middle and folds in a gust.
  5. The batten. The machined edge is tucked behind it rather than left where people pass.
Rigid panel, at the core Section through twin-wall polypropylene — a twin-wall section with flutes standing between two skins, its core repeat drawn at the plate scale of 4 mm to 6 px. The depth is structure and is not to scale.
  1. The ink.
  2. The face film.
  3. The adhesive.
  4. The release liner, peeled away at the moment of application.
  5. The glass. The film is on the near face, so nothing protects the print but the laminate over it.
Film, in section, on its surface Section through a 4-layer film applied to the near face of glass: the ink on the face. Layer order and count, not layer thickness.
  1. The trim — where the guillotine falls.
  2. The keep-out, drawn inside the trim. Nothing struck may cross it.
  3. The strike, drawn at a standard depth and lit from one side.
Relief and gloss on a sheet Cotton soft white at 450 gsm, at finished proportion, 90 × 54 mm, carrying a blind emboss, raised out of the sheet and lit from above left, at a standard depth, with the 3 mm keep-out from the trim drawn at the same proportion.
  1. The finished drop.
  2. The visible area.
  3. The sewn pole pocket. The pole goes through it and the artwork inside it disappears.
A printed drop Printed drop at finished proportion, 1000 × 2400 mm, with the 90 mm allowance the sewn pole pocket takes drawn at the same proportion.
  1. The cut contour, at finished proportion.
  2. The scores. A channel pressed into the sheet, with the bead raised on the outside of the bend.
  3. The window, cut out of the face rather than printed on it.
  4. The caliper at the fold, drawn at the estate scale of 1 mm = 22 px. It is the reason the score exists: a sheet cannot bend around a radius smaller than its own thickness without splitting.
A flat net, scored and cut Flat net at finished proportion, 210 × 210 mm, in uncoated woodfree at 300 gsm: 3 scores, a windowed cut contour. The bead of every score is drawn on the outside of the bend, and the caliper at the fold is 0.42 mm.

Questions about this section.

How does EZ Print state a lead time?

Standard turnaround is 7–14 working days. Same-day printing available. Subject to artwork, stock and production capacity confirmation. Timing is agreed for each job. Send the product, quantity, materials, finishing and required date. We confirm the specification and production schedule in your quotation.

Why are there no prices in this section?

Because a printed price is only true for one exact specification, and it is almost never yours. Every job here is quoted from what it is made of — stock or substrate, quantity, sides, finish, size and the date it is needed. Send those and a written quotation comes back against your job rather than against an average one.

What is the difference between a fabric backdrop and a printed banner?

A fabric backdrop is woven polyester, printed by dye sublimation so the colour is in the fibre, and tensioned into a frame. It folds, it washes, and it photographs without a hot spot. A banner is printed on a coated substrate, hung or hemmed rather than tensioned, and it holds a crease where it was folded. For anything that will be photographed or repacked repeatedly, fabric is the better-behaved material.

Can the same artwork be used across every format here?

Rarely without work. A name card is read at arm’s length and a backdrop at six metres, a tensioned panel loses its perimeter into the frame, a roll-up loses its foot into the hardware, and anything struck or die-cut has to stay clear of the trim. The artwork usually survives; the layout has to be rebuilt for each object, and every entry here states what its own object takes away.

Are these drawings photographs of real jobs?

No. Every drawing in this section is a technical plate, drawn rather than photographed, and it states what it is drawing. A cut edge is drawn at the estate scale of one millimetre to twenty-two pixels, a panel is drawn at its finished proportion, and a section shows the order of the layers rather than their thickness. A photograph of a printed panel tells you that print exists; a plate tells you what it will do.

Describe the job. The specification comes back with the quotation.

Every job is quoted from its specification — stock, quantity, sides, finish, size and deadline.

  • Quantity
  • Stock — or the feel you want, if you do not know the stock
  • Sides printed
  • Finish
  • Flat and finished size
  • The deadline

Artwork is welcome but not required to start. Email sales@ezprint.com.sg if you would rather attach files.