To avoid air bubbles, it is important to remove any trapped air beneath the surface of the vinyl. Whether the vinyl is applied using a dry or wet application method, this is best achieved by carefully squeegeeing outwards from the centre of the graphic.

When removing the application tape, it is equally important not to do this too soon after the graphic has been applied, and not too quickly. For best results, work at a slow and steady pace and peel the application tape back at 180⁰, rather than lifting it upwards at 90⁰.

When applying vinyl to rougher surfaces, always use a soft squeegee or roller to help prevent air entrapment.

Newly painted vehicles should be left for at least 5–10 days after painting before graphics are applied. During this time, the paint continues to release solvents as it cures. If graphics are applied too quickly, these solvents can become trapped beneath the vinyl, causing bubbles and potentially affecting adhesive performance.

Some plastics, such as polycarbonates and acrylics, are prone to outgassing, which is the gradual release of trapped gases formed during the manufacturing process. These materials are often supplied with a protective surface film. If vinyl or film is applied immediately after this protective liner is removed, the released gases can become trapped beneath the vinyl, leading to bubbles or blistering. To minimise this risk, remove any protective film early in the sign‑making process and avoid exposing the material to high temperatures after application.

For a full compatibility list please visit the Application Advice

Some vinyl materials and polyester films can be susceptible to slight delamination when being unrolled from the core and laid flat on a workbench. This issue is often more noticeable with metallised vinyls and films, as these materials are generally less flexible.

This effect, often referred to as tunnelling, typically begins at the edge of the roll and can gradually work its way towards the centre. If a roll has been stored horizontally without adequate support, tunnelling may develop at pressure points and can be more pronounced if the material has been wound very tightly.

To minimise this risk, we strongly recommend storing vinyl rolls vertically to avoid pressure points. It is also important to ensure that storage areas are not exposed to temperature fluctuations or excessive humidity, as both can contribute to delamination and tunnelling issues.

This should be done by using a solvent based adhesive remover such as Right Off which will remove all traces in under 2 minutes.

It is then good practice to give the substrate a final wipe down using an Isopropyl alcohol. This will leave the surface ready for the new graphics to be applied.

The most important factor is selecting the most suitable film for the job. We have created two blogs to help explain this in more detail, but as as a general rule it's worth remembering that while cast vinyl can be worked into channels and recesses as well as around compound curves using heat, calendared vinyl should applied without putting the film under any stress.

Check out these blog posts for more detailed information Cast vs Calendered and Understanding Calendered Vinyl

It is also vital to promote good initial adhesive contact to prevent graphics from lifting or peeling. All surfaces should be thoroughly cleaned, dried, and wiped with Isopropyl alcohol before any graphics are applied.

In colder conditions, applying heat after installation can help to further enhance the adhesive bond.

For a full compatibility list please refer to our Application Advice page.

To prevent digitally printed vinyl from peeling after application, it is essential to allow a 72‑hour ‘gassing off’ period before lamination. During this time, solvents in the ink are able to fully evaporate; if trapped, they can migrate into the adhesive layer and weaken the bond to the substrate.

This issue is noticeable during printing, when a tunnel forms at the edge of the roll and gradually expands towards the centre.

It is typically caused by the printer temperature being set too high, often in an attempt to speed up ink drying. Excessive heat causes the face film to expand while the release liner remains stable, resulting in delamination.

The problem can be exacerbated if the roll is loaded into the printer after being stored in a cold environment, such as on a Monday morning following weekend storage. To help prevent this, we recommend loosening the material slightly on the core (this can be done by hand) and allowing the roll to acclimatise in the print room overnight before printing.

This effect is typically observed towards each end of the media roll and may occur if the roll has been left stationary while loaded in the printer for an extended period, such as overnight.

The weight of the roll resting on the support rollers over this time can create pressure points through the material. When printing resumes, these pressure marks can result in an uneven surface, producing this random visual effect.

In general, printers should operate at slower speeds for high‑quality output, where larger volumes of ink are applied, and at faster speeds for lower‑quality printing, where less ink is used.

Fine banding visible in the print can be caused by ink overspray resulting from incorrect media feed calibration, so it is important to ensure all setup parameters are correctly configured.

Wider banding may occur when printing with a low number of passes in high‑speed bi‑directional mode. Increasing the number of passes or switching to uni‑directional mode can help to minimise this effect.

If banding is only visible in a single colour, this is more likely to indicate an issue with the corresponding print head. Running a nozzle or swatch test is recommended to confirm whether the print head is performing correctly and to determine if replacement may be required. In some cases, mechanical factors such as worn or failing dampers may also contribute and should be checked. Trying an alternative print profile is also advised, as this can sometimes resolve banding related to ink laydown or environmental sensitivity.

Cyan ink, in particular, is highly sensitive to static, which is a common contributor to banding. Maintaining good temperature control and appropriate humidity levels in the print environment can significantly reduce this issue. When printing images with a high cyan ink content, the use of a humidifier positioned near the printer can be beneficial. Printing in uni‑directional mode can also help to reduce banding related to static interference.

Where the banding is significantly wider or more pronounced across all colours, the cause may be pressure marks or “flat spots” created by the roll being stored horizontally and unsupported at the core. Rolls should always be stored in their original packaging and kept upright, ideally on a suitable storage system

If the banner material doesn’t feed properly, the cause is usually a mix of alignment issues, roller grip, tension problems. One of the most common factors is the weight of the roll itself. A heavy roll can create too much resistance against the printer’s friction‑feed system, especially on older models, making it difficult for the printer to pull the material forward smoothly.

If the leading edge is curled, uneven, or wrinkled, the printer may struggle to grip it, so flattening or trimming the edge can help.

Inspect the feed path and clean the rollers with isopropyl alcohol to restore proper grip, remove any debris, and ensure the pinch rollers apply even pressure across the width.

When loading the roll, square the leading edge, align it carefully with the guides, and allow the printer to pre‑feed a small amount so it can establish a straight path.

If the roll’s weight is causing resistance, manually unwinding the required amount of material before printing allows the banner to feed without drag, which is often the simplest and most effective workaround.

This can be a problem on self adhesive materials if it is contour cut or die cut straight after printing, especially in darker coloured areas where there is the most ink output.

Fig. 1 shows how the cut line is visible on the unprinted area but the edge curl occurs on the printed (blue and red) areas only.

Freshly printed graphics should be left to dry before any cutting or laminating so that the residual solvents from the ink can evaporate.

The recommended time for this 'gassing off' is 24 hours but we would recommend 72 hours if possible. The printed media should be hung vertically in a dust free area with ventilation.

If the media needs to be cut before this time then allow a minimum of 6mm border around the image and always conduct a suitability test.

It should also be noted that if the contour cutting does cross into the printed area this can contribute to excessive shrinkage of the vinyl face film when applied.

If freshly printed vinyl is cut in the printed area too soon the vinyl might shrink. Laminating too early might, depending on the amount of ink used, affect the functionality of the film (adhesive power / service life) by preventing the residual solvents from evaporating.

If the drying process of the vinyl takes place after application to the substrate the vinyl will probably shrink and come away at the edges.

If tiny specks appear in the printed output, the most common cause is particulate contamination on the media surface. Dust or debris from the print room environment can settle on the substrate before printing, disrupting normal ink deposition. This may cause ink to pool around the particle, creating a dark spot, or prevent ink from adhering altogether, resulting in a small white void. To resolve this issue, thoroughly clean the surrounding print area to reduce airborne contaminants, then dry‑wipe the media roll with a clean, lint‑free cloth to remove any settled debris before reprinting. Ensuring the media path and handling surfaces remain clean will help prevent recurrence.

If your printed image appears pixelated, soft, or blurred, the issue is typically related to the quality or resolution of the original digital file rather than the printer itself. Low‑resolution images, excessive upscaling, or aggressive editing can reduce the amount of usable detail available for output, causing visible pixel structure or loss of sharpness once printed.

To achieve optimal results, ensure that the source file has a sufficiently high native resolution for the intended print size and that any editing preserves image clarity. When preparing artwork, always verify that the file meets recommended DPI specifications and avoid enlarging images beyond their effective resolution, as this will inevitably degrade print clarity.

If ink is pooling on the surface of the media or failing to dry during printing, the issue is typically related to excessive ink laydown combined with insufficient drying time, which becomes especially noticeable on areas of dense, dark colour. Gloss surfaces are particularly prone to this, as they offer minimal absorption and rely heavily on correct print speed and curing times.

This effect often occurs when the printer is operating too quickly to allow solid colours to build correctly, causing wet ink to accumulate rather than settle.

To correct the problem, verify that the appropriate media profile and settings have been selected, reduce the carriage speed, increase the number of passes, or switch to Uni‑Directional printing to improve ink control and drying consistency.

If the issue continues, consider reprinting the job on a matt vinyl or paper stock, which naturally absorbs more ink, and then apply a gloss laminate if a high‑sheen finish is required. This approach provides a faster‑drying alternative while maintaining the desired final finish.

When printing onto transparent or translucent materials, the colours can appear washed out. This is because they lack the white base that normally supports and brightens printed colours, so the ink appears more see‑through. In addition, whatever sits behind the graphic—such as a window, wall, or bright daylight—can influence how the colours appear, often making them look weaker or uneven.

To counter this, we would recommend overprinting the artwork again to double the amount of ink and colour depth. Overprinting simply means running the same design through the printer a second time so an additional layer of ink is applied directly on top of the first to give a more opaque colour.

Uneven colour across the width of the roll is usually more noticeable when printing light or pastel tones because these colours rely on very subtle, low‑density ink coverage. Any small variation in how the print head lays down ink can show up as faint banding or shifts in colour from one side of the print to the other. This can happen when the print head moves too quickly or when bi‑directional printing introduces slight alignment differences between left‑to‑right and right‑to‑left passes.

To minimise this happening, it is recommended to switch printing to uni‑directional mode or reducing the print head speed.

The amount of time you should wait before laminating large‑format prints depends mainly on the type of ink your printer uses. For solvent and eco‑solvent printers, a full 48 hours is generally the safest drying period. These inks release solvents as they cure, and laminating too soon can trap those vapours, leading to problems like bubbling, silvering, or poor adhesive bonding.

Aqueous (water‑based) inkjet prints dry through evaporation, so the wait time can vary more. Lightly saturated prints may be ready in as little as six hours, while heavily inked or photo‑quality prints often benefit from waiting closer to a full day or even longer. Allowing the moisture to dissipate fully helps prevent cloudiness or adhesion issues once the laminate is applied.

Latex prints are much more forgiving because the ink is cured inside the printer. In most cases, they can be laminated almost immediately. It would be recommended to still give them an hour to settle, which helps ensure the surface is fully stable and the laminate bonds cleanly.

UV‑cured prints also cure instantly, but because the ink sits on top of the media, laminating too quickly can sometimes cause silvering. They can be laminated right away, but waiting an hour tends to give better results, especially with laminates designed specifically for UV prints.

Overall, the key reason for waiting is to avoid trapping uncured solvents or moisture beneath the laminate. Doing so can cause long‑term issues like tunnelling, delamination, or colour shifts. Giving the print the right amount of time to stabilise ensures a cleaner finish and a more durable final product.

This effect is called silvering and appears as a faint metallic sheen in darker areas of a laminated print. It happens when tiny air pockets become trapped between the print surface and the adhesive layer of the laminate. These micro‑bubbles scatter light, which is why the effect is far more noticeable in deep blacks and rich colours rather than in lighter tones. The most common cause is laminating at too low a temperature—either because the laminator hasn’t fully warmed up or because the film itself is running cooler than it needs to be. When the adhesive isn’t warm enough to flow and bond properly, it can’t displace the air, so the bubbles remain suspended beneath the film.

Applying heat to the rollers during application, typically around 40 °C, allows the adhesive to soften and activate. As it warms, it flows more evenly across the print surface, pushing out the trapped air.

If the film is applied with heat, the effect may diminish slightly over time as the adhesive slowly settles, but it usually won’t disappear completely.

Ensuring the laminator reaches the correct operating temperature before starting, and maintaining consistent heat throughout the run, is the most reliable way to prevent silvering from occurring in the first place.

Electrostatic charge is an unavoidable part of working with self‑adhesive films, and it’s mainly generated when the release liner is peeled away from the adhesive. The friction created during this separation builds static electricity, and the faster the liner is removed, the stronger that charge becomes. This static can attract dust, interfere with how smoothly the film lays down, and even affect the person applying it.

Several conditions influence how noticeable this charge becomes, and there are practical ways to minimise its impact. A dust‑free environment is essential, as static naturally pulls airborne particles toward the adhesive. Cleaning the workspace just before application helps reduce contamination. Humidity also plays a major role: dry air increases static buildup, while higher humidity suppresses it. Something as simple as placing a bowl of water in the room can help, as the evaporating moisture reduces airborne dust and lowers static levels. Lightly misting the air before removing the liner can have a similar effect by adding moisture and helping particles settle.

The person applying the film can also accumulate static, which may disrupt the application process. Touching a grounded metal object before handling the film helps discharge this buildup safely. When using a laminator—especially at higher speeds—static can accumulate even more quickly. In these cases, grounding the machine with anti‑static devices can prevent sudden shocks and reduce the likelihood of static‑related issues during lamination.

Cutter Blade Design

Below is a basic summary of cutter blade design including details about blade angle and offset value which have a big impact on how well your blade is cutting.

The offset value (0.5 +/- 0.05 as shown above) is the distance from the centre of the blade to the edge of the blade and is specified by the manufacturer of the blade. The offset determines the blade's turning radius and how it compensates for distance while turning corners.

The diagram above shows that the angle of the blade is 55^o. The standard angle blade for cutting regular sign making vinyl and heat press flex films is 45^o. if you are cutting lots of sandblast stencil films, reflective vinyl, floor graphics media and for other thicker films then it would be a better option to choose a 60^o blade. Click here to see our full range of our Plotter Cutter Blades

Blade Extension

Here is a brief overview of the optimal blade extension.

Regardless of the angle of blade it is important to make sure that the blade is set up correctly. Blade extension is adjusted by twisting the blade holder's cap. You should always use the minimum amount of extension that will still cut the material. One of the issues with poor cutting performance is that the blade is extended too far.

A good way of checking is to start with the blade extended to half the thickness of a credit card and then perform a test cut to determine if more force is needed or if more blade extension is required.

Troubleshooting

Problem: Vinyl not cutting all the way through

• The blade is dull or chipped
• Improper blade extension
• Cutting pressure is not high enough

Problem: Cut lines are not complete

• The cutting strip is damaged and needs replacing
• The blade is dull or chipped
• The cutting speed is set too slow
• The blade holder needs to be replaced

Problem: Not cutting circles correctly

• Incorrect blade offset (see Curved Corners below)
• Change the font to a Sans Serif font as Serif fonts have sharp angled corners

Problem: Vinyl lifting while cutting

• Increase blade extension as it may be dragging through the adhesive
• Replace the blade with a new sharp one to ensure that it can cut through cleanly
• Use a blade with a higher angle as low angle blades may not cut the adhesive effectively

Problem: Corners are not cutting square

• The offset setting has not been adjusted to match the blade (see diagram below)

• Image A shows optimal offset
• Image B demonstrates the curved corners associated with the offset value is too low
• Image C shows that the offset value is set too high and and there are flaps on the corners.

It is sometimes easy to assume that the application tape is too low tack to remove the cut and weeded text / graphics however this rarely the case.

More often than not the reason for this problem comes down to excessive cutting blade pressure (see Vinyl not Cutting Properly above) which scores into the backing liner. The best way of checking is by peeling back some cut graphics and checking that the blade has only just marked the backing liner and that there is no scoring into the liner. Now check the reverse of the backing liner to check there are no visible impressions of the cut path coming through. If this is visible you need to reduce the cutting pressure incrementally and produce a number of test cuts to achieve the optimum pressure. Once this has been done the graphics should lift away easily.

The best method of removal instead of pulling the application tape away from the surface of the graphics is to turn the graphics over and remove the backing liner away from the adhesive side.

Please note that each type of material will require you to perform this test cut routine to ensure optimum cutting pressure. Thicker materials such as fluorescents and reflectives as well as some polyester films generally require greater pressure than standard vinyls while thinner materials such as cast vinyls will require less pressure. It may also be necessary to change the cutting blade for one with a greater angle for sandblast vinyls, reflectives and fluorescents as well as flock materials.

The best way to remove self-adhesive vinyl is to use heat. Either a hairdryer or an heatgun can be used to create temperatures of at least 200^o but care must be taken not to actually melt the vinyl. It should be heated so that once softened the corner can be lifted enough to start gently peeling back at 180^o and slowly removed. Never pull the film towards yourself at 90^o, always peel flat along the substrate at 180^o to prevent damge to the surface underneath. Once the vinyl has been removed it will probably be neccesary to remove some residual adhesive.