The Production Process: what happens after I submit my artwork?

1. We will prepare your artwork (CD's, DVD's, photo prints, etc.) for the production process. This might include scanning and retouching your film or print originals, or sizing and cropping your digital files. If we find any problems, we will offer suggestions on how to get the project back on track as soon as possible.

2. Depending on your requirements, we will either send you a digitally-generated paper proof, post a proof on the Internet, or send you a full-scale test panel for approval. This is the time to make any changes, then it's on to final production. You can elect to skip this proofing process and move directly into production, in which case we will match your artwork on a best-effort basis. 

3. Your order will be packed for shipment and forwarded to any location you specify.

4. At the close of production, your artwork will be returned to you if requested.

How Do I Get Printed Samples?

Just call us or send a request by e-mail. We will advise you on the most appropriate materials for your project and send them to you. 

To help you find the best material, we will need to know . . .

• The intended use of the prints—commercial display, mural, building wrap, banner?
• What aesthetic effect are you trying to achieve—transparent, opaque, vibrant, muted, soft, rigid?
  
• What is the expected display life—permanent installation, temporary exhibit, re-mountable trade show?
• Is it an interior or exterior installation?

When will I receive my prints?

This depends entirely on normally ship within 10 days after we receive your artwork. It may be possible to ship your order in as little as 3 days if our production schedule permits.

For fastest service, please send approved color targets (comps) with your digital files. This greatly streamlines the production process. Without color targets, we must run proofs or test panels for your approval before proceeding, which can result in delays.

We will not schedule any project until all artwork (files, prints, transparencies, fonts, etc.), specifications, and a signed quotation / production agreement are in hand. Late submittal of a portion of the artwork will delay completion a like amount.

Special order materials, or large complex projects may take longer.

How are prints shipped?

Prints are normally rolled on a core and shipped inside a heavy-gauge paperboard tube. Tubes under 120 inches long are shipped via FedEx or UPS. Longer tubes are shipped air or ground freight. 

Since charges vary considerably with level of service (ground, three-day air freight, priority overnight, etc.), please tell us how quickly you need your order so we can choose the most economical method. If you request a more expensive shipping option (faster service) after you approve our quotation, you will be billed for the additional cost. 

Stretched artist's canvas prints are normally crated and shipped by truck. Allow 4-7 days for delivery in the U.S.

For destinations outside the U.S. . . .

Security Alert: Due to increased security, unpredictable delays may occur at some points of entryplease allow at least 3 days for transit and up to 7 days for customs clearance. 

Customs duties and taxes are paid by the recipient at the time of delivery, or they can be billed to the recipient's Federal Express account. 

We recommend that you engage a local freight broker to expedite delivery.

Dimensional restrictions of certain carriers and the availability of cargo aircraft at the time of shipment may affect the delivery schedule.

Where Can I Find Art for my Project?

There is a good chance you can find what you want among the enormous selection of digital images now available from the providers listed in our Image Resources page.

Zinc's publishing operation offers a limited selection of images directly through special arrangement with our fine art clients. If you are interested in either participating in Zinc's publishing program, or using any of these images for a project (some can be seen on this site), please call us.

Do I need permission to reproduce an image?

You get permission by licensing the use of the image from the copyright owner. Copyright-restricted images fall into two broad categories: royalty-free images that permit a broad range of use as part of a one-time licensing fee, and traditionally-licensed images that require a fee based on the proposed use of the image. See Image Resources for links to searchable sites that collectively contain millions of both types of images.

Certain other images that are considered to be in the public domain can be freely used for any purpose (although you should not assume this). In any case, it's wise to investigate copyright ownership and licensing restrictions before submitting artwork.

Keep in mind that images in books or magazines are almost certainly copyrighted, and usually make poor sources because the halftone screen present in the image will reproduce very noticeably in your print (although this could be a desirable special effect.) See How do I Scan My Artwork.

Unless you expressly tell us not to, we may retain strikes, printer's proofs, and use installation photographs for promotional purposes. Proper credit is always given. Original artwork and media are returned at the close of production.

Get more information about copyright issues from the U.S. Copyright Office

What type of film or prints should I send? 

B & W or color transparency film or prints are best. Color negative film is not recommended (if you are using color negative film, send an 8 x 10 or larger print instead). Check our Film Size Guide to make sure your film or prints are appropriate for your project. 

We can scan film or prints up to 20 x 24 inches.

Medium or large format transparencies are ideal, but sharp 35 mm slides are usually acceptable if your Zinc print is less than 10 feet. 

When sending film negatives of any type, please supply a positive print that can serve as a color reference. If you are concerned about sending your original film, have a reproduction-grade copy transparency made and send it instead. A commercial photo lab can do this for you.

Any portion of the film may be selected and printed independently—be sure to indicate cropping and color corrections. We can alter image contrast or color balance, edit selected areas, blend multiple images together, or introduce text and special effects.

Are you sending digital image files rather than film or prints? Find out how to setup an image file and determine what file format and media to send. You can also send files over the Internet.

How do I setup a new image file?

Pressed for time? Call us for help with technical issues.

Let's say you want to create an image from scratch. You will need to setup a blank file in Photoshop (or other program) of the correct pixel dimensions. Here's how to do it . . .

1. Determine the optimum file resolution with our File Resolution Guide. Let's say your result for a print on artist's canvas is 30 ppi. (30 ppi means 30 pixels per inch of the actual print surface).

2. Determine the size of your Zinc print in inches. For example, a 10 x 20 foot print would equal 120 x 240 inches. (10 feet x 12 inches per foot = 120, and 20 feet x 12 inches per foot  = 240).

3. Multiply the print size in inches (step 2) by the file resolution (step 1) to get the pixel dimensions of the print. For example, a 120 x 240 inch print would require a digital file that measures 3,600 x 7,200 pixels at 30 ppi. (120 inches x 30 pixels per inch = 3,600 pixels, and 240 inches x 30 pixels per inch = 7,200 pixels.)

4. Enter these pixel dimensions in Photoshop (or other application) to setup the empty file, then fill it with content (scans, text, vector art, etc.)

Are you sending Illustrator or other vector-based files? 

More information on image files . . .

When you send us your files, be sure to include some type of color reference; a transparency or print that we can use as a color target on press. If you do not send a reference, we will make a proof or test panels for you and ask you to approve it before final production.

If you set up a montage with several layers, do not flatten your files—send them with any layers and selection channels intact. This will help us correct the color of individual elements if necessary.

The information in this section only applies to image files created by pixel-based applications like Photoshop, Paint Shop, or Painter. 

Vector-based applications like Illustrator, Freehand, PageMaker, and QuarkXpress that do not contain images are resolution-independent, so there is no need for concern yourself with file resolution—just send these files as-is. 

Placed images within Illustrator, Freehand, PageMaker, and QuarkXpress follow the same resolution requirements as Photoshop files. Be sure to place any content that you want to print completely within the document window, not in the surrounding pasteboard area.

Image resolution and image size are inversely proportional—a file that measures 5 x 5 inches at 400 ppi has exactly the same content and detail as a file that measures 20 x 20 inches at 100 ppi. Both files have the same pixelare—and will yield the same results. So it doesn't matter if your Photoshop file is 300 ppi or 30, as long as the pixel dimensions of the file are with the correct range.

If you like, you can change your application's on-screen rulers to match the final print size (within limits) by changing the resolution of the image without resampling. In Photoshop, go to Image / Image Size with Resample Image unchecked. Choosing not to resample means the file content and pixel dimensions will remain the same, but the ruler will change to reflect the new resolution.

How do I scan my artwork?

You can scan transparencies (or prints) yourself using a desktop scanner, outsource them to a local digital production facility, or send them to the production facility. We recommend that you send your film to us because the quality of your Zinc print is dependent on the quality of the scan. The bottom line: Either way, you want the best scan possible. 

If we do your scans, we can return them to you for further work before final print production. 

Assuming you want to scan yourself, have access to a good quality scanner, and are familiar with its software, you'll need to know the target scanning resolution. Here's how to figure it out:

How to calculate scanning resolution . . .

1. Determine the optimum file resolution with our File Resolution Guide.

Let's say you want to make a print on scrim; your result would be 30 ppi.

(30 ppi means 30 pixels per inch of the actual print surface).

2. Determine the size of your Zinc print in inches. For example, a 10 x 20 foot print would equal 120 x 240 inches. (10 feet x 12 inches per foot = 120, and 20 feet x 12 inches per foot  = 240).

3. Multiply the print size in inches (step 2) by the file resolution (step 1) to get the pixel dimensions of the print. For example, a 120 x 240 inch print would require a digital file that measures 3,600 x 7,200 pixels at 30 ppi. (120 inches x 30 pixels per inch = 3,600 pixels, and 240 inches x 30 pixels per inch = 7,200 pixels.)

4. Divide the pixel dimensions (step 3) of your final print by the actual size of the artwork you're scanning—the result is the scanning resolution, which you enter in your scanning software. 

Let's say you're working with a some film that measures 5 inches across. If the 5 inch dimension corresponds to the 240 inch final print dimension in the previous example, then the scanning resolution is 7,200 pixels / 5 inches = 1,440 ppi.  Set your scanner to 1,440 ppi at 100% scale (same size).

Your scanner software may figure out most of this for you interactively. The idea is to end up with enough pixels to optimally render the image by avoiding under-scanning, which results in a soft print, or over-scanning, which increases processing time and does not provide noticeably better results. You can check your work by opening your scan in Photoshop and confirming that the pixel dimensions you calculated in Step 3 are close to what Photoshop shows in the Image Size dialog box. 

More information on scanning and image files . . .

Remember that your original image can come from any source—video, mixed-media construction, sculpture—if you can get the image on film, we can make the print.

You can build up a montage of several elements within a larger overall image by applying Step 2 to each element. In the example, if you want an element to print 3 x 6 feet, you would need pixel dimensions of 1,080 x 2,160. And, if that element came from a  1 x 2 inch section of film, then your scanning resolution setting would be 1,080 / 1 = 1,080 ppi. When you drop this element into the larger overall file, it will come in at the right size without further adjustment.

If you set up a montage with several layers, do not flatten your files—send them with any layers and selection channels intact. This will help us correct the color of individual elements if necessary.

Image resolution and image size are inversely proportional. A file that measures 5 x 5 inches at 400 dpi has exactly the same content and detail as a file that measures 20 x 20 inches at 100 dpi. Both have the same pixel count—2,000 pixels sqare—and will yield the same results. So, it doesn't matter if your Photoshop file is 300 dpi or 30 dpi, as long as the pixel dimensions of the file are correct (or nearly so)..

If you like, you can change your image application's on-screen rulers to match the final print size (within limits) by changing the resolution of the image without resampling. In Photoshop, go to Image / Image Size with Resample Image unchecked. Choosing not to resample means the file content and pixel dimensions will remain the same, but the ruler will change to reflect the new resolution. 

Keep in mind that books or magazines usually make poor image sources because of copyright restrictions and the fact that the halftone screen present in the image may reproduce very noticeably in your print (although this could be a desirable special effect.)

This 300% enlargement of a printed page shows the halftone pattern of CMYK dots found in most books, magazines, and other traditionally printed media. If you scan from these sources, your final print is likely to include some artifacts of this pattern.		A same-size section from 4 x 5 transparency film has no visible grain or patterning, making it an excellent image source.

What file format & media should I send?

We support most digital image formats, but Photoshop or TIFF files in RGB mode are preferred.  Do not flatten your files in Photoshop—send them with all layers and channels intact. 

We also accept Illustrator, QuarkXpress, PageMaker, and Freehand vector-based formats. These are resolution-independent files—send them as-is with your fonts. Scans embedded in these types of files follow the same file resolution guidelines as Photoshop files.

Please send your images on CD-ROM (Macintosh or PC), or Zip cartridges (100 MB or 250 MB, Macintosh or PC). You can fit most projects on a Zip disks by compressing the files. You can also send us files over the Internet. If you are sending images from outside the U.S., CD-ROM or Internet transfer are the best choices. 

Be sure to include all fonts and any unusual extensions or utilities.

File Size Guide

Use this guide to find the RGB image file size that is appropriate for your backdrop.  Find the approximate area of your backdrop in the left column (in square feet or square meters), then read across for the recommended RGB file size in megabytes—anything in the colored range is fine. Files sizes at the higher-end of the range will give the best results.

For multiple backdrops, look up each backdrop individually, do not add their square footages together. For CMYK files, add 25% to the file sizes in the table. If you like numbers, and especially if your are creating a new image file, you can also calculate the file size yourself.

You do not need to concern yourself with file resolution or size ("11 x 17 inches at 300 dpi") if you use this guide--we have already integrated all the variables into this simple table. But if you want more technical information, see How do I setup a new image file? and What is resolution?

How do I send image files over
the Internet?

Sending your files by browser, ftp, or e-mail is easy—just pick the method below that best matches your current setup. 

Keep in mind that for most projects, we will still need some type of hardcopy color reference, like a transparency or print.

If you don't have a fast Internet connection, it may be less bother to send your files via FedEx or mail on a CD or DVD. 

Choose one of these methods . . .

1. FTP Method: This is the best way files. If don't already have it, download ftp software such as Cyberduck for Mac, or Filezilla for Windows. Ask you representative for a Host, User Name, and Password. Enter that informaiton into the fpt software, select the files you want to upload and start the transfer.

2. Browser Method: This works for almost everyone—all you need is Microsoft Internet Explorer. (This method won't work if you access the Internet through America Online.) For Internet Explorer users . . .

1. Contact your representative for a ftp server name, user name, and password. Go online with Internet Explorer, and then select Open from the File menu.

Type the server name in the address bar. When prompted, enter the user name and the password. 

If you don't see a window that asks for the User Name and Password, change your browser settings as follows: Go to Tools / Internet Options / Advanced and select Enable Folder View for FTP sites, then try again.

2. Locate the files you want to send in Windows Explorer or the Macintosh Finder.

3. Drag and drop your files into the ftp browser window to start the transfer. You should see a progress bar indicating that the transfer is taking place.

3. E-mail Attachment Method: This method is simple, but we don't recommend it—it's not forgiving and may not work at all if your file is over a few megabytes in size (due to mail server limitations), or if you use America Online for your mail. This method assumes you are using a standard Internet mail application like Outlook, Outlook Express, Netscape Messenger, or Eudora, and that your files are small (less than 10 MB ). Most mail systems won't transfer large image files. If your files are large, or you are sending many files, use the ftp method.

1. Send a message to Contact, using the file attachment command in your e-mail application to select the files you want to send.  

Tips on sending files over the Internet . . .

If you send files electronically be sure to alert us by e-mail or telephone.

Try to keep your file names explanatory and avoid spaces in file names. Something like "acme.project.12345.version.1.cmyk.tif" tells the whole story. 

Be sure to include all fonts and any unusual extensions or utilities. Zipping or Stuffing your files together is highly recommended—it speeds the transfer process and preserves file-type information, which streamlines our work.

Do not "flatten" your files—send them with all layers and channels intact.

How do I Zip or Stuff (compress) files?

 * The Zip compression scheme is not related to Zip disks, although the two are frequently used together.

Zip* and Stuffit are the most common compression schemes for computer files. Compression saves time when transferring files over the Internet, fits big projects onto small media, and preserves file-type information which streamlines our work. 

We recommend Alladin's Stuffit Standard Edition, which supports Zip, Stuffit, and other formats on both Macintosh and Windows. It includes Aladdin's Expandera universal opener for compressed files. If you work with image files on a regular basis, this is software you will want to have in your toolbox. 

1. Download Stuffit at http://www.stuffit.com/downloads.html. (Free for 30-day trial. Be sure to pick the right version, either Mac or Windows). 

2. Double click to install the self-extracting installation file, then launch Dropstuff. 

3. Find the files you want to work with in either your Windows Explorer window or Macintosh Finder window, then drag and drop those files into the main window of Dropstuff to start the compression process. 

4. Copy the resulting .zip, .sit, or .sea file to media or send it to us over the Internet. 

Does Zinc Keep a Copy of My Files?

Generally speaking, no. If you wish to have all your materials returned (CDs, DVDs, color matches, etc.), please indicate so when you order.

Can I see a test before final production?

Yes. Zinc can supply test panels, but this may delay delivery of your final prints by a week or more. Test panel charges will appear on your quotation. Please indicate the specific area of your artwork that you would like to test. It is usually possible to select several smaller areas and combine them into a single test panel.

For small runs and fine art projects, we do not produce test panels. Rather, we match your color target as closely as possible under direct press supervision.

What materials are available?

Our Materials Guide shows our most common materials. If have a special need or would like advice, call us. Yes, but unless your material is known to print well, Zinc must evaluate and test it prior to final production. Please allow an additional 2 weeks for this process. Testing charges of $1,000 typically apply to each new material evaluated. 

If you are short on time, or your project budget is limited, we strongly recommended that you choose from our Materials Guide.

To help you find the best material, we will need to know . . .

The intended use of the prints—fine art, commercial display, mural, building wrap, banner?

What aesthetic effect are you trying to achieve—transparent, opaque, vibrant, soft?

What is the expected display life—permanent art, temporary exhibit, traveling trade show?

Is it an interior or exterior installation?

What are the minimum and maximum print sizes?

There are no minimum or maximum print sizes, but we specialize in "super-format" prints--seamless large-scale graphics that are produced with special equipment.

More information on print sizes . . .

Some materials, like voile, artist's canvas, Clear Focus film, and carpet cannot be seamed, so individual panels are limited to the dimensions of the material.

Our fabric press can produce seamless panels up to approximately 13 x 19.5 feet (4.0 x 6.0 m).

Our vinyl and artist's canvas press can produce seamless panels up to approximately 16 x 100 feet (5 x 30.5 m)

We can weld vinyl sheet and vinyl mesh into extremely large building-size prints. This is done with RF (radio frequency) seaming technology.

What is Zinc's printing Resolution?

Resolution varies depending on the printing technology used. We match your project to the viewing environment and the characteristics of the material to arrive at the optimum resolution. See our Materials Guide for actual size swatches. To setup a digital file in Photoshop, see our File Resolution Guide.

Prints on artist's canvas and vinyl are usually printed at either 300 or 360 dpi, but can be printed at 75 or 30 dpi for special effects.

Scrim, cotton cloth, voile, and other soft fabrics are printed at the equivalent of 20 dpi (2 mm pitch). Other fabrics such as Trevira Gauze, Trevira Canvas, DPI-tex are printed at 300 - 360 dpi. 

In the world of super-format printing, it is common to decrease resolution as the size of the print increases, both to keep costs in check and to speed up processing. High resolution is not required for large prints which are viewed from a distance.

At 300 dpi and higher, you will not be able to easily discern the individual CMYK color dots that make up the image. At lower resolutions, you may be able to see these colored dots, depending on your viewing distance. You might choose a low resolution to exaggerate this effect for aesthetic reasons.

Most super-format printing technologies use a semi-random dot pattern (a stochastic screen) that does not have an exact equivalent in terms of "dots-per-inch" (a carryover from traditional halftone printing), so in those cases, we talk about equivalent resolution.

How long do Zinc prints last?

Print longevity depends directly on environmental conditions and material used. Since Zinc uses pigmented solvent-based inks, we expect our prints to last a year or more in direct sun exposure. Ask about our guarantee for outdoor vinyl prints.Indoor prints should last indefinitely, but there are no specific guarantees of performance. Various types of vinyl and Clear Focus film are the best choices for outdoor use. Fabrics may be acceptable for short-term use, but are not as durable as vinyl.

Does Zinc produce backlighted
or day / night prints?

Yes. These prints are primarily used for TV and film sets (skylines, landscapes, urban settings, etc.) Zinc uses a special translucent vinyl to produce prints that look like giant transparencies. 

Day / night prints are produced by printing a normal daylight scene on the front of the vinyl, and a registered image of corresponding night scene on the back. By adjusting the lighting, you make a transition from one mode to the other. 

Zinc can make arrangements for our photographer to shoot the matched transparency sets that are required for production.

How much dimensional variation
should I expect?

Dimensional variations depend on the technology used. We suggest printing the work slightly oversize or extending the image in anticipation of trimming or stretching to final dimensions (although doing so may slightly alter the desired cropping). If your project is dimensionally critical, please tell us so we can take steps to minimize discrepancies. 

Super-format format prints up to 20 feet may vary from your specified dimensions by as much as one inch. Larger prints may vary by several inches. 

Tips on accommodating dimensional variation . . .

We strongly recommend that stretcher bars, mounting panels, light boxes, or other installation systems not be constructed until the printed artwork is received and measured. We are only responsible for the work of vendors contracted by us.

What do I need to know about fire codes?

Codes vary from place to place, and are enforced by local officials, so specific requirements depend on your location and the installation environment. To avoid problems later, confirm what standards must be met for your installation, so we can help you choose acceptable materials.

A certificate of compliance with local codes may be required for prints installed in certain occupancy zones. Many, but not all of our materials meet U.S. or European flammability standards. Temporary installations and fine artwork are usually not required to meet the same standards as permanent installations, but this should be verified with local officials.

In some cases, materials (or assemblies of materials) may need to be tested for code conformance. Typical tests are for NFPA (National Fire Protection Association) 701, versions 1989 (window treatments), and 1996 (draperies), and NFPA 265 for wall coverings. Special tests may apply for projects installed in New York City. 


The following organizations can perform tests . . .

California Bureau of Home Furnishing & Thermal Insulation
3485 Orange Grove Avenue
North Highlands, CA 95660Diversified Testing Laboratory
336 W. Front Street
Burlington, NC 27215Southwest Research Department of Fire Technology
6220 Culebra Road
San Antonio, TX 78238The Govmark Organization
96D Allen Blvd.
Farmingdale, NY 11735Underwriters Laboratory
333 Pfingsten Road
Northbrook, IL 60062

Unites States Testing Corporation
291 Fairfield Ave.
Fairfield, NJ 07004

What level of color accuracy can I expect?

We strive to match the color of your artwork as closely as possible, but some variations in color may occur between your artwork and the final print due to limitations of the technology and variations in materials.

Absorbent fabrics cannot render a full color range that one could achieve on a hard surface material like vinyl. It may not be possible to match certain colors on fabrics.

If you send digital files, rather than film or print originals, be sure to include some type of color reference—a transparency or print that we can use as a color target on press. If you do not send a reference, then we will make a paper proof or full-scale test panel for you and ask you to approve it before final production.  

If full-scale test panels are not included in your quotation, then color is provided on a "best effort" basis relative to the approved proofs or your color reference, in which case no re-makes will be provided without additional charge.

More information on color . . .

Please tell us if certain design elements within your project are color-critical. Depending on the project, we may print full-scale test panels (strikes) for your review, ask you to approve them, and then proceed with final production. Some color variation can also be expected in prints run at different times. Fabrics cannot be accurately proofed on paper; they must be printed at full-scale for evaluation.

Materials with shiny, smooth surfaces like vinyl accommodate a larger color range than materials with matte, porous surfaces like artist's canvas. Fabrics such as scrim, voile,  cloth, Artex, and flag cloth also have a smaller color range because these materials absorb the printing ink which decreases contrast and saturation.

Our printing systems use CMYK (cyan, magenta, yellow, black) inks to produce colors. The inherent color range is similar to the process used in printing books and magazines. Certain colors cannot be printed because they fall beyond the inherent gamut (color range) of the inks. 

Fluorescent, metallic, some highly saturated colors, and some Pantone spot colors fall into this category. Virtually any art source may contain some colors that do not fall within the CMYK gamut. Such colors are approximated in CMYK and a reasonably close rendition can usually be achieved. Your proof or test panel will reveal these color changes, if any, prior to final production.

Can I specify Pantone colors?

Yes. Specifying Pantone colors for certain elements in your design is a good way to communicate your intentions. But since the Pantone system was originally designed for spot colors, not four-color (CMYK) press work, about 50% of Pantone spot colors fall beyond the printable gamut and can only be approximated, especially on absorbent fabrics such as voile, scrim, flag cloth, Artex, and cloth.

More information on Pantone colors . . .

You can buy Pantone products directly from Pantone online, or through mail order houses like MacConnection.

No. Our presses use process colors onlycyan, yellow, magenta, and black. This is the same system that is used to print most books, magazines, and other publications so it is not a significant limitation. However, certain highly-saturated, metallic, and fluorescent colors fall beyond the printable range.

Duotones can not be produced. , but we can simulate the appearance of a monotone print (such as sepia). 

Black & white prints are produced with either black ink only, or by balancing the CMYK inks in such a way as to produce the appearance of a neutral gray (or sepia, or cool gray, etc).

Is a matte finish available?

Yes. Although a protective clear gloss finish is standard for vinyl prints, you can specify a matte finish. Matte is the best choice for backdrops where surface reflection could be a problem on the set.

For prints on artist's canvas, a water-soluble satin varnish is standard. If you want to manually paint over your canvas prints, please tell us—we will omit the final varnishing step. You can then apply varnish after your painting is complete. 

Varnishing is essential to physically protect the canvas surface. Varnishing also enhances tonal range, color saturation, resistance to fading, and consistency of surface reflectance.

Does Zinc offer installation services?

No, but we can provide custom hems, grommets, pockets or other finishing so that prints are ready to install at your site, and we will work with your installer to insure a smooth installation.

For a listing of wallpaper and mural installers in your area, see wallpaperinstaller.com

What finishing services are available?

We can provide custom hems, grommets, pockets, trimming, or other finishing so that prints are ready to install at your site. 

Hems and pockets in vinyls are bonded with RF (radio frequency) seams. Vinyls do not fray, and can be left un-hemmed for interior display.

Hems and pockets in fabrics are sewn. The exception is voile, which is heat-cut. 

Artist's canvas prints are either adhered directly to a wall or panel, or stretched like a painting.

Voile is finished with a clean heat-cut edge.	The back side of a vinyl hem, sealed with radio-frequency welding, and grommeted.	The back side of a scrim hem, heat-sealed with tape and sewn.

How do I mount prints to a wall or panel?

Prints on artist's canvas, wallcovering, and some fabrics can be adhered to interior surfaces like drywall, plywood, or to a mounting panel. Installing large prints is a job for the experienced—we recommend you contact a professional service for this work. For a listing of wallpaper and mural installers in your area, see wallpaperinstaller.com.

We have not tested specific brands of adhesives, and do not warrant their suitability, but the following recommendations came from experienced people in the field, or manufacturer's recommendations. As always, test first.

For artist's canvas murals:

Use Gibson-Homan's Shurstik 111 Heavy Duty Vinyl Wallcovering Adhesive. This is a clay-based product suited to heavy materials and is tolerant of high-humidity conditions. An alternative is Gibson-Homan's Dynamite #7234 Heavy Duty Clear Wallcovering Adhesive. It's similar to Shurstik 111, but is clear and is less tolerant of humid conditions. The wall surface should be clean and free of defects. Seal the surface first with Shurstik 221 (for non-porous surfaces) , 222 (for porous), or 235 (extra-tack, non-porous) Acrylic Wallcovering Primers. Call the manufacturer, Gibson-Homans (1-800-433-7293) for specifications, applications notes, and material safety data sheets.

Adhesives can stain, so avoid any contact between the face of the printed piece and the adhesive.

How do I mount and illuminate a backlighted print?

Backlighted prints are printed on special translucent vinyl and best way to mount these is to stretch them over (or within) a frame. We can provide grommets or pockets at the print edges that can be engaged with springs, cable, or metal bars.

The print could also be glued to a transparent backing, but we do not currently have any specific recommendations for an adhesive that is transparent, permanent, and capable of holding this relatively heavy material. Contact 3M for advice on your particular situation.

Notes on light box illumination . . . 

We recommend 60-watt cool white high-output (800 ma) lamps spaced at 12 inches on center across the print surface (running vertically or horizontally), and 12 inches behind the print surface. Hot spots may appear if the bulbs are 8 inches or less from the print. 

For a shallower light box, consider using a separate diffusion panel of white acrylic or polycarbonate. Painting the interior of the light box white will also improve light diffusion.

Mount ballasts and connecting cables well out of the way, so they do not cast a shadow on the print.

Provide easy access to the side, top, or back of the light box for changing bulbs without disturbing the image. This could also be accomplished with a light-tight front frame the holds the print, but swings out of the way for maintenance.

In the open environment like a trade show, you can achieve a partial backlit appearance without a light box by training flood lamps on the back side of the print.

How do I hang a print?

Scrim, fabric, and vinyl mesh prints are usually hung from pockets that are either sewn or seamed into the material. We can provide custom hems, grommets, pockets, trimming, or other finishing so that prints are ready to install at your site. You can also mount prints to a wall or panel.

Here are some common ways to support a print . . .

Run a steel or nylon cable through the pocket to supporting wall surfaces.

Run cable from the ceiling down through the top of the pocket and into a metal bar, wood rod, or metal tube within the pocket.

How do I retouch a print?

Retouch colors can be applied with a 00 (.3 mm) or 0-size technical pen, or, for large areas, an airbrush. Most fabric prints (scrim, voile, cotton cloth, etc) cannot be retouched.

The water-based retouch colors we recommend are FW Acrylic Artists Inks. These are typically available from art supply stores in 1 oz. or 8 oz. bottles. The colors are #120 Process Cyan, #412 Process Magenta, #675 Process Yellow, and #028 Process Black. They are water-resistant, non-clogging, and permanent.

How do I clean a print?

The print type determines the cleaning method. In all cases, avoid petroleum-based solvents or abrasive rubbing. Always test a small inconspicuous area first.Vinyl prints can be wiped down with plain water mixed with a small amount of mild household cleaner such as dishwashing liquid.

Varnished prints on artist's canvas can be brushed off with a soft brush, or if you are careful, wiped down with plain water. Commercial cleaning agents may remove the varnish or the ink.

Fabric prints (muslin, scrim, cotton cloth, etc) can be brushed or vacuumed. We do not recommended dry cleaning or laundering.

Most of our printing techniques use solvent-based inks that will not dissolve in water. The exception is 600 dpi inkjet prints that are not laminated. These use water soluble inks and should not be cleaned. Laminated prints can be cleaned just like vinyl.

How much do prints cost?

We quote each project individually. Prices vary with size of the project, complexity, resolution, material, and schedule. Our minimum production charge is U.S. $1,000 unless otherwise arranged. A 50% deposit is required to begin production.  Do Black & White prints cost the same as color prints?Yes. Printing costs depend on press time and materials used, rather than color or ink coverage.

Fees, including shipping charges, are payable prior to shipment, unless other arrangements are made in advance. Payment may be made by check, Visa, Mastercard, American Express, or wire transfer.

Quotations are given on a fixed-fee basis and are valid for 30 days. Additional charges may apply to rush orders or for extensive pre-press work that was not apparent at the time of order. 

Discounts apply to large orders and multiples.

Quoted prices include basic prepress, printing, materials, and archiving. Taxes, shipping, insurance, installation, scanning, and code conformance procedures are not included unless itemized on the quotation. 

Local customs duties and taxes for non-U.S. destinations are paid by the recipient. California sales tax applies to orders shipped within California unless you provide a California Resale Certificate prior to shipment. You can print out our California Resale Certificate and fax it to us before your order ships.

You can use your personal or corporate credit card for deposits or full payments.

What payment options are available?

• Business checks

• Personal checks

• Wire transfers

• VISA

• MasterCard

• American Express. 

Send checks and correspondence to this address . . .

Zinc Studio 
P.O. Box 190
Paradise, CA 95967-0190

For credit card payments . . .

Please call us at . We'll need the type of card, the name on the card, the card number, expiry date, and billing address including zip code. We can also email an invoice to you that provides for online payment.

For wire transfers . . .
 
New security measure: Contact Please send us a message to identify yourself and we will send you the necessary account infomation. You can also fax your request to 530-873-8111. Thank you.