Find out why photographers and artists turn to Epson Signature Worthy® Papers for smooth or textured finishes and long-lasting results — now available at a reduced price. Signature Worthy prints adorn galleries and exhibitions worldwide and represent the very best of Epson’s professional papers. Regardless of the intended look and feel of your final print, the Signature Worthy line accommodates varying output needs.
Choose from more than 70 products at LexJet offered at up to 70% off, now through December 31.
Products on sale include fine art papers, photo papers, display films, laminates, backers, banner material, canvas, and other specialty inkjet materials for any application imaginable, including…
- Up to 60% off solvent/low-solvent/UV-curable/latex inkjet media
- Up to 70% off aqueous inkjet media
- Up to 80% on a variety of inventory reduction products not included in the list below
Call a LexJet printing expert at 800-453-9538 to find the YES product that’s right for you and stock up for 2015. This sale ends December 31, and is available by phone and at lexjet.com.
Here’s the list of products on sale until December 31 (not all sizes may be on sale for a given product). Click on the product name below for sales pricing and more information, where applicable…
Aqueous Inkjet Media
LexJet 7 Mil Ultra Photo Gloss (call for more information)
LexJet Econo PolyGloss Banner (call for more information)
LexJet Poly Select Blockout Fabric DS (call for more information)
LexJet Window & Wall Décor (call for more information)
Ivivid Glossy Vinyl with PSA (call for more information)
Ivivid Translucent Adhesive Vinyl (call for more information)
Ivivid Water Resistant Matte Vinyl w/PSA (call for more information)
Solvent/Low-Solvent/UV-Curable/Latex Inkjet Media
LexJet Sunset Select Satin Canvas SUV (call for more information)
LexJet Metallic Polyester 245g (call for more information)
LexJet Metallic Polyester w/ PSA 195g (call for more information)
3686 Sihl TriSolv PrimeArt Paper 200 Gloss (call for more information)
FLEXcon JETbond® 44138 3.5 Mil Luster UV PSA Over Laminate (call for more information)
FLEXcon LITEcal® 5200 Translucent Backlit Vinyl for Bus Posters & Taxi Tops (call for more information)
FLEXcon White Static Cling (call for more information)
Ivivid 8 Mil Semi-Matte Translucent Display Film (call for more information)
Adhesives, Coatings & Backers
LexJet 10 Mil DisplayGuard Ti (call for more information)
10 Mil DisplayFlex UV (call for more information)
D&K Thermal Low Temp UV 5 Mil Gloss (call for more information)
GBC 1.7 Mil Octiva Write Erase- 51in x 250ft (call for more information)
As in real estate, the three most important aspects of storing substrates, whether they’re roll or rigid media and materials, are location, location, location.
Materials should be isolated from changing temperature and humidity as much as possible. The best way to do this is to store substrates in a climate-controlled area. Variations in temperature and humidity will cause materials to expand and contract, making them susceptible to failure at the most inconvenient times, like after you’ve delivered a large job to the customer.
Plastic/PVC board materials are especially vulnerable to temperature fluctuations. Wood- and foam-based boards are most vulnerable to changes in humidity. With either type of substrate the key is to strike an environmental balance.
Moreover, if you don’t have to inventory a lot of substrates for an extended time period, don’t. Most manufacturers can ship what you need quickly on an as-needed basis.
Stack rigid board materials horizontally so that less air circulates between them, and support them evenly underneath. Very often, a pallet of board is unloaded with a fork lift and supported only on the ends with 2x4s. Put a 2×4 or a piece of plywood in the middle, or use a pallet so the board doesn’t warp in the middle. Once that bottom board bows out, the rest are sure to follow. If you have to stack them vertically, pack them together tightly.
Because roll media is susceptible to the same ravages of temperature and humidity, you should follow the same basic guidelines. Plus, unused media should be wrapped back up in the plastic in which it was delivered.
For media that’s designed for aqueous-based printing, it’s especially important to keep out water and humidity. The primary job of an inkjet coating is to absorb water. The more humidity it absorbs before printing diminishes its ability to accept moderate or heavy ink saturation.
Humidity fluctuations and exposure to the air will also affect adhesives. Especially low humidity will tend to dry out the adhesive. Too much air exposure will cause the adhesive to cure prematurely. Once again, the ideal is a climate-controlled storage area, plus bagging the media after every use.
Unlike board materials, vinyl rolls should be stacked vertically. If vinyl rolls are stacked horizontally on top of each other, the pressure can cause plasticizer migration, which will result in lines across the width of the material as you print.
Try to combine like materials together, such as a vinyl substrate with a vinyl laminate, so that they expand and contract in the same basic pattern. This is not as crucial for short-term applications of a month or less, but longer-term applications require closer attention to material compatibilities.
For instance, if you use a monomeric, economy vinyl with a foam board, the laminate will tend to come off the board rather quickly since a monomeric vinyl contracts in one direction, causing edge creep and delamination, particularly as the board begins taking on water and expanding and contracting with temperature fluctuations. An intermediate, polymeric vinyl laminate, on the other hand, expands and contracts in many directions, allowing it to “keep up” with the substrate underneath, extending the life of the graphic.
You can also create profiles using the on-board spectrophotometer if you’re using ONYX or any other RIP, though the process is a bit more complicated.
If you’re printing through the driver, following is a full video tutorial that shows, step by step, how you can create your own media preset and profile. Using this simple process there should be no need to use generic HP settings with LexJet or any other inkjet media…
LexJet’s new Sunset Production eSatin 250g is a high-quality photo paper designed for higher production runs. Save even more on this already-economical photo paper when you call in or purchase the new papers online with Promo Code: LJSPS20.
This offer is good through March 31, and the Promo Code can only be used once. There is no limit to your order, and you can purchase this product in any combination of sizes.
Manufactured to the high standards of the award-winning Sunset line of photo papers, fine art papers and canvas, Sunset Production eSatin provides the traditional satin e-surface that end-use customers demand.
“As a production coordinator I need to know my products and my output. I have been waiting for an answer for this type of photo paper, and this is it,” says Robert Dean of Great American Art, Stoughton, Mass. “On our initial trials it held its own when we did our side-by-side comparisons with a similar photo paper, and we like the Sunset Production eSatin better. The paper is brighter and just as durable and so far has proven to be a winner.”
Highly scratch-resistant and instant-dry, the new photo paper is perfect for production runs of posters, photography, corporate displays, retail graphics, décor and other applications where image quality at an economical price is crucial.
For more information about Sunset Production eSatin 250g and this promotion, or give us a call at 800-453-9538.
In Step 1 of the color management to-do list we discussed how the quality of your monitor impacts the precision of your output. In Step 2 of 3 we focused on understanding how printer and media choices affect color. The final step includes learning about ICC profiles and settings as well as some tips and tricks for viewing the print.
How do we get our monitor, which uses RGB values to project your image, to translate to our printer, which uses CMYK values? How do profiles work? And why is following the settings LexJet provides with the profiles so crucial to the accuracy of your results?
When LexJet creates a profile, we cover a wide range of specific printer models and LexJet media choices so our customers do not have to go through the time-consuming process of making their own profiles for each product/printer combination.
A Profile is Born
We first start by choosing a media type in the driver or plug-in, depending on which printer the profile is for. This lays down a platform for the rest of the profile to be built upon. If you get this wrong when using the profile your results will show a big discrepancy from the monitor to your print.
We give you this media type and settings to use with every profile we make and each will vary by printer and material type.
The process uses a chart of 1,728 patches, which are printed to that specific media choice with those specific settings. Each color patch has a mathematical color value set by the International Color Consortium (see Figure 1).
The patches are then run through a spectrophotometer, which then measures the actual values of those colors with that ink and media combination. The software creates a correction curve for that media to reach the closest color in CMYK language that the printer can produce. A profile is born!
To find out how to download and install ICC Profiles, check out the following videos:
Rendering Intent and Lighting
In the process of making profiles there are colors that are out of gamut since you are converting projected light values (RGB) to reflected light values (CMYK). The way the printer determines how to handle those colors is called a Rendering Intent. To read about the different rendering options and what they mean, visit our prior post: How to find the right rendering intent.
For the purposes of this article we’ll generalize by advising you to stick to just Perceptual or Relative Colorimetric. There is an overall theory that Perceptual is usually best for semi-matte, satin or glossy surfaces and Relative Colorimetric is best for matte surfaces. If you want to be specific to each image, use the soft proofing technique to see which looks best on that specific image.
Another point to be made here is that Perceptual tends to produce smoother gradations in color while Relative Colorimetric stays truer to the original color when rendering.
Now that you have your monitor correctly calibrated, you have an understanding of your printer and media you are using and you can comfortably say you are using the right profile, rendering intent and settings. We’re now ready to click print! So here are a few valuable pointers on viewing or presenting your print…
If you’ve come this far you are obviously concerned at the accuracy and quality of the print. How you display a print can be equally as important as all of the steps we just provided on the production side. Light temperature can add another wrench into the color management mix when viewing a print for accuracy.
The print will look different under a cooler light source (fluorescent) than a warmer light source (Tungsten). So, if you have calibrated for 5500 K on your monitor but are viewing it in a warmer light the colors on the print would look warmer than on your monitor.
Keeping lighting consistent will help you judge accuracy in fairness. In a perfect world your workspace would have daylight-balanced bulbs (5500 K) installed and you would block out any exterior light sources that would interfere with the temperature of the light around your work computer. Your monitor would be calibrated using the same daylight 5500 K setting.
It’s not often we find customers working under such tight constrictions but those that do are less likely to find discrepancies when comparing the soft proof to print.
This leads to the next question: “What if I don’t know what light my customer is displaying the final product under?” Well, that is subject that you can educate your customers about! Providing them with a document that underlines proper care of the print and proper lighting instructions will only back up the fact that you are their printing expert. That should be part of the reason they go to you and not the guy down the street.
Here’s an example of the lighting instructions you can provide your customer: Placing your print under daylight balanced bulbs with minimal varied light interference will give the audience the most accurate depiction of the original art/photo.