An interior can be changed without renovation. Graphics printed on film, wallpaper and canvas cover a wall, a pane of glass or a cabinet front in a single day, and come off just as quickly once they are no longer wanted.
Below we describe the media used for this, what each of them suits, what printing with white ink adds, the real limitations of such decoration and how to prepare the artwork so that the pattern reaches the wall as intended.
Why latex printing in particular
Not every graphic can be carried straight into a room where people work or eat. A solvent print needs airing out, because it gives off fumes for a day or more. Latex ink is water based, so once the print leaves the machine it has no smell and is fit to install immediately.
That settles the matter in consulting rooms, classrooms, restaurants and everywhere the installation happens between one working day and the next. We write more about the technology itself in a separate article on latex printing.
Self adhesive films, from the floor to the glazing
Film is the most versatile medium for interior decoration, because it adapts to the surface and can be taken off:
- Wall film. Graphics across a whole wall or part of it, without joining widths as with wallpaper. It needs a smooth, degreased surface.
- Glass film. A pattern, a logo, privacy bands or an imitation of sandblasted glass on doors, partitions and shop windows.
- Floor film. Graphics on the floor, protected with an anti slip laminate. It works for campaigns and for guiding movement through a building.
- Furniture film. Cabinet fronts, worktops, doors and equipment housings. A change of appearance without replacing the furniture.
- Stair film. For risers, where from one direction the graphic forms a legible message or image.
- Static and magnetic film. It holds without adhesive, so it suits surfaces that must not be touched and seasonal decoration.
Graphics on glass
Glazing is the most frequent decorating job in office interiors, because a single film solves several matters at once:
- Privacy zone. A band of frosted film at the height of a seated person screens the desk without taking away light.
- Marking the pane. Large panes of glass can be invisible to someone walking past. A pattern at eye level reduces the risk of walking into the glass, and in public buildings such marking is sometimes required, so it is worth checking the rules for the specific building.
- Visual identity. A logo and name on the entrance door, room numbering, zone descriptions.
- Imitation of sandblasted glass. The look of an etched pane for a fraction of the cost, and it can be removed.
- One way graphics. Perforated film lets the image be seen from outside while the view from inside is kept.
Wallpaper made to measure
Printed wallpaper differs from film in that it is an absorbent medium and is hung with paste rather than a self adhesive layer. We print on vinyl, on non woven backing, on paper and on fabric, and the choice of base follows the place where the wallpaper has to work.
Two things decide the result. The first is the seams: a wide pattern is divided into widths joined edge to edge or with an overlap of 10 to 20 millimetres, so the point of division has to be planned so that it does not fall across the middle of a face or a logo. The second is the wall: fresh plaster and fresh paint need several weeks to cure before anything will stay on them.
Canvas pictures
Canvas gives a matt, slightly textured surface that does not reflect light and copes well with spot lighting. The print is stretched over a frame, so the artwork needs an allowance for wrapping the edge, usually 30 to 40 millimetres on each side.
It is worth deciding what happens on the side of the frame: an extension of the image, a plain colour or a mirrored edge. Without that decision the choice is made in production rather than in design.
White as a colour of its own
On white paper, white comes from leaving the base unprinted. On clear film and on dark material there is no such option, which is why white ink is printed like any other.
- A base under the colour. A layer of white beneath the graphic makes the colours on clear film opaque rather than translucent.
- White as part of the pattern. Lettering or a pattern in white on glass, on dark film and on a coloured base.
- The frosted glass effect. An area of white with controlled opacity replaces sandblasting.
- Double sided graphics. Colour, white and colour again make a print that looks different from each side of the pane.
Furniture and unusual surfaces
Beyond walls and glass, film goes onto anything smooth and clean:
- cabinet fronts and carcasses, including in kitchens and at reception,
- desk and table tops, provided a laminate resistant to abrasion is chosen,
- internal doors and lift doors,
- equipment housings, fridges, vending machines and appliances,
- columns, pillars and service enclosures,
- shop fittings: shelving, counters, light boxes.
Medium and application
| Medium | Where it works | Life indoors | What to remember |
|---|---|---|---|
| Wall film | smooth walls, parts of walls, a quick change of arrangement | several years | it will not hold on textured plaster or on paint with poor adhesion |
| Wallpaper | large areas, homes and hotels | several years | visible seams between widths, the wall must be cured and even |
| Canvas | pictures, wall decoration in the format of a frame | many years | allowance for the stretcher and a decision about the side |
| Glass film | glazing, doors, partitions, shop windows | several years | wet application, the key is a clean pane and no bubbles |
| Floor film | campaigns, guiding movement, events | from a few weeks to a few months | an anti slip laminate is obligatory, it wears out along walking routes |
What to expect and what not to
Printed decoration has its limits and it is better to know them before installation:
- The surface decides everything. Film needs a smooth, dry, degreased surface. Sprayed plaster, brick, chalk paint and dusty surfaces are out.
- A fresh renovation needs time. New paint and new plaster give off moisture for several weeks. Film applied too early comes away together with the coating.
- Floor graphics are a consumable. Along a walking route the laminate goes matt and scratches, so it is planned for a season, not for years.
- Removal can be a job in itself. After years the adhesive hardens. The film is taken off warm and the adhesive residue is washed away, which on large areas takes longer than the installation.
- Colour on a wall looks different from colour on a screen. A monitor emits light, a wall reflects the light around it, and the print moves to printing inks. It is worth checking brand colours in the CMYK simulation, and for critical colours ordering a sample on the final material.
- Lighting changes perception. The same graphic looks different in warm and cool light, and spot lighting brings out the texture of the medium.
How to prepare the artwork
- Measurements taken on site, not from a drawing. Walls are rarely even, and a design drawing does not account for skirting and sockets. Measure and take photographs.
- Scale and allowance. Artwork at 1:1 or with the scale clearly stated, with an allowance for trimming after installation, usually 20 to 50 millimetres per edge.
- Resolution matched to viewing distance. A graphic seen from a metre needs a higher density than a banner read from a dozen.
- Elements to work around. Mark sockets, switches, handles, skirting and thermostats on the artwork so they do not land on a face or a logo.
- Division into widths. On wide areas, state where a seam may run and where it certainly may not.
- Type converted to curves and brand colours stated plainly, ideally with a swatch reference.
What to prepare for a quotation
- The dimensions of the surface and photographs of it in daylight.
- The type of surface: skim coat, plaster, board, glass, furniture, floor.
- Whether the decoration is meant to last or to be seasonal.
- Installation conditions: height, access, the opening hours of the building.
- The artwork or a description of the idea together with brand colours.
- The deadline, because it decides whether we can make a sample first.
Summary
Latex printing suits interiors for a simple reason: the print has no smell and can be installed at once. The rest depends on matching the medium to the place, not on the technology itself.
The short version: a smooth wall and a quick change of arrangement means film, a large area in a home or hotel means wallpaper, a framed view on the wall means canvas, glazing means window film, and a floor is a seasonal solution. Most disappointments come from a surface nobody checked before installation.
Planning to decorate an office, a venue or a home? Take a look at our offer of large format printing and at examples of our work. We print on films, wallpapers and canvas, including with white ink on clear and coloured materials. Tell us what the surface is and how long the decoration has to work, and we will match the medium and the protection.
