UV Printer

SBL7 features an award-winning coating that is compatible with UV printer technology. Unfortunately, sometimes this unique coating may experience application issues under certain situations. Printed images may peel in areas of high UV ink saturation or due to prolonged exposure to high curing temperatures. Please follow the tips below to minimize printing issues with the product and UV printers.


File Preparation

Files should be prepared in a way that reduces the amount of ink used in dark, solid areas. This recommendation specifically applies to areas of the image that feature solid black. It’s common practice in graphic design to intentionally create “rich black” using a combination of CMYK. This results in areas of black that are darker in appearance compared to areas printed using only 100% black ink.

Each RIP program will vary in how it renders black. Most RIPs will render black using the exact CMYK percentages specified in the file. This is the reason you should avoid creating a customized “rich black” within the original image file. For best results, use 100% black in the image source file. Check your program documentation for more detailed information.

RIP Configuration

The RIP server should be configured with color management settings that will process and print the image with the least amount of ink necessary to produce an acceptable image. The location of these settings will vary among manufacturer, but all of them will have controls to change how they render color and regulate total ink coverage. Please check within your RIP documentation or contact your software vendor for exact instructions on the process.

Printer Configuration

Printer profiles that utilize a high number of passes to create a print should be avoided when printing on SBL7. A higher number of passes may generate an excessive amount of heat on the media surface causing the coating or ink to peel after installation of the product. Sometimes the names of these profiles may contain the phrase “High Quality” or the letters “HQ”. It may be necessary for you to open the profile in your RIP software to discover the number of passes in the settings. Consult your software manual for detailed instructions on the process.

Lamp Power

Because SBL7 is more sensitive to heat than other standard rolled media, you may need to decrease the lamp power of your printer if applicable. Most UV lamps are configured to operate in medium or high power mode. Please check within your printer documentation or contact your printer vendor for exact instructions on switching the lamps to low power mode.


adhesive paper tips

1. It’s recommended to repair existing wall damage (peeling or chipped paint, loose or protruding wallboard joints and holes) to return it to a like new condition.
2. Clean the wall prior to priming and painting it.
3. The wall should be painted with a quality, semi-gloss paint.
• Matte paint, paint with silicone, graffiti-resistant or texturizing additives must be avoided to prevent failure of the adhesive.
• Allow the paint to cure for 30 days before applying the product.
4. The painted surface must be clean, dust-free and free of any oils and grease.
5. Use a soft, clean, lint-free cloth to remove all dust from freshly painted walls.
6. Wash existing walls with a mixture consisting of 1 ounce of synthetic detergent per one gallon of lukewarm water. Avoid soaps or cleaning agents that contain oils, lotions, conditioners or waxes. Wait at least one hour for the surface to dry thoroughly after cleaning before applying the print.
7. The product should be fully tested by you to ensure success prior to surface application. Avoid surfaces with a pronounced texture (orange peel, knockdown or bumpy walls) before applying the product.


color management

Professional inkjet printers are capable of expressing a wide range of color and detail. Any artist in pursuit of the best possible color for their images should implement color management in their workflow. The tools and methods used in the process will vary according to the amount of control desired and the artist’s budget. Let’s look at the basics of color management and some of the tools required to take your fine art printing to the next level.

ICC Profiles

An ICC profile is a mathematical representation of the color capabilities for an output device like your printer or monitor. These profiles are necessary because monitors and printers have limitations and varying ranges when producing image colors. A proper ICC profile allows you to accurately simulate the color capabilities of your printer on a computer monitor. It’s not a perfect simulation, but it will provide an approximate match between the final print and the image on your monitor.

Monitor Calibration

A monitor’s color accuracy fluctuates depending on the video card, age, make and model. It may be necessary to try different settings until you find the one that works best for your monitor. The key to creating a reproducible, consistent calibration on the monitor is using a quality calibration device. The i1 Display Pro made by X-Rite provides a high level of on-screen color accuracy and can be acquired for less than $300.

Colors on a monitor will shift over time and its color accuracy will diminish. It’s important to check the monitor calibration every month to ensure you are getting consistent color from it. You may need to calibrate it weekly if you have a particularly unstable monitor. Avoid issues by purchasing a quality monitor from reputable brands like Eizo, Apple, NEC or Samsung.

Soft Proofing

Soft proofing limits the monitor’s color output to try and match the reduced color range of your printer. Images that contain highly saturated, vibrant colors or designs like logos should be soft proofed before they reach the printer. It’s important to understand that soft proofing will not work on an uncalibrated monitor.

You can use Photoshop or similar software for soft proofing images before sending them to the printer. Choose the device to simulate by selecting the ICC profile of your printer. Then you pick a rendering intent and you can turn on Black Point Compensation if necessary. Finally, turn on Preview to see a more accurate representation of how the printer will output your image.

Rendering Intent

The rendering intent determines how colors that are out of gamut are handled when outputting an image. This means it decides which alternate color will be chosen if a certain color in the image can’t be reproduced by the printer, ink, and paper. There are four different rendering intents to choose from in color management and each one handles color differently. We’ll cover them briefly and let you determine which one is best for your image.

Absolute Colorimetric produces a tinted white to simulate the lightness and color of white from another source. It’s mainly used in proofing when you’re trying to match the output of one printer to another printer. This rendering intent works best when printing specific colors like logo colors or reproducing fabric colors.

Relative Colorimetric adjusts the original white point to the white point of the output source and produces color adjusted in relation to it. It’s useful if accurate reproduction of the paper white on the printer isn’t required when proofing. This rendering intent works best when the original image only contains a narrow range of colors.

Perceptual Intent compresses the image colors to fit the limited range of colors available on the output device. It’s useful for producing prints with accurate hue and reducing artifacts like banding in the final print. This rendering intent works well for most images especially if you want to set it and forget it.

Saturation Intent expands the image color range to the maximum range available on the output device but sacrifices hue accuracy. It’s useful for producing screen captures, bar graphs, and vector graphics. This rendering intent works best when image “pop” is preferred over hue of the color.

Which intent should you choose for soft proofing fine art? Start with Perceptual Intent and the colors in your image will appear more natural to your eyes. Switch to Relative Colorimetric to preserve more of the original image colors.

Which intent should you choose for printing fine art? Choose Absolute Colorimetric for accurate image colors, but only if your printer has an ink set with more than ten colors. Otherwise, choose Perceptual Intent if you have a printer with less than ten colors and you would like satisfactory results.

Printer Calibration & Profiling

All printers experience device drift over time, even if you consistently use the same type of ink, toner, and paper. Calibrating the printer adjusts the device into an optimal, quantifiable and repeatable state which keeps your color output accurate. This step involves printing color targets, setting ink limits, scanning the targets and saving them in the computer. Printer calibration is the first step in the process of proper color management and printer profiling is the second step.

Printer profiling creates a record or map of how the device produces color and what it can produce. This step involves printing a color target with a high number of colored patches. The patches are scanned with a special device, processed in the computer and saved in a file. This process produces the final ICC profile reflected by the calibration process in the first step.

The key to creating an accurate calibration and profile on a printer is using a quality scanning device. The i1 Pro 2 made by X-Rite provides a high level of accuracy and is the industry standard for color measurement devices. The i1 Pro 2 typically sells for $1,419 by itself or can purchased as a part of a complete color management solution for an extra $240.

Calibration and profiling should be repeated if you notice a drift in color accuracy from the printer. How often you need to re-calibrate will be determined by the stability of the printer hardware. It will be easy to recognize when it’s time to re-calibrate because your image colors will shift. All you need to do is print re-calibration, scan the targets, save the results and your color will be accurate again.

We presented a lot of information in this guide, and we hope you are considering ways to implement color management in your workflow. Devices and print media rely on ICC profiles to work together and produce expected results for you. Now you have the knowledge to achieve vibrant colors, smooth gradients and enhanced detail in your fine art prints.


Fine Art Storage

Fine art prints present unique challenges to the artist when it is time to finish or store the final print. Pigment-based inks do offer better fade resistance over time than dye-based inks, but they are more susceptible to damage. A fine art print can be harmed by fingerprints, foreign substances, humidity and ozone just like an original piece of art. Fortunately, you can protect the print and extend its lifespan by following the tips below.

Surface Protection

Original canvas art has been protected for centuries using varnish, but it’s incompatible with canvas inkjet prints. The protective coating should be waterproof, flexible and non-yellowing to provide complete protection for the canvas print. A product like PremierArt’s Eco Print Shield is water-based and offers a complete protection solution for fine art canvas prints. It comes in a variety of finishes and it can be applied with a high-density foam roller or sprayed on with an HVLP gun.

Fine art paper prints are typically displayed under glass and do not require a protective coating. Archival prints with matte black ink on cotton paper are prone to scuffing during regular handling or during the framing process, though. Damage from fingerprints, moisture, and scuffing can be avoided by spraying a coating of PremierArt’s Print Shield on the print. It can double the life of your fine art prints and allow you to display them without a glass overlay.


Fine art paper prints can be mounted on archival mount board using acid-free spray adhesive. Optionally, you can purchase premade adhesive mounting boards to save a step and some time. All dust and debris should be eliminated from the work area to prevent bumps in the finished piece. You’ll then apply the print to the adhesive surface and use a brayer to smooth it out. It’s important, regardless of the option you choose, to make sure all products are labeled acid-free.


Traditionally, artists choose to display fine art paper prints in a frame under glass. The print should be mounted on an archival quality board with matting and UV glass or UV surface protectant. You should allow at least a 1/8” of overall extra space between the finished piece and the edge of the frame. The framed fine art print should be checked at least every three years to identify and correct any potential problems.

Fine art canvas prints can be stretched on a frame using the same methods as original canvas art. The canvas print should have 4” of extra canvas on all the sides. The canvas is stapled to stretcher bars, one edge at a time while keeping the canvas under tension until it is secured on all four sides. Cross braces should be added for larger prints to prevent the canvas from sagging while it is on display.


Fine art prints should be stored in a climate-controlled environment where temperature and humidity are closely monitored. The temperature should be set between 59ºF and 68ºF with a relative humidity level of 40-60%. Archival prints can be harmed by light and may fade faster than expected when exposed to it. Avoid storage in areas with direct sunlight or use a UV protectant to prevent damage if the prints may be exposed to UV rays.

Fine art prints can be enjoyed for centuries on display with proper finishing techniques and storage. The options we presented in this guide should ensure success in the final stages of your fine art printing project. Remember to always choose archival rated products when finishing your print and make sure you store it properly to protect it.


Digital Fine Art

Digital fine art prints can be produced in smaller numbers than offset printing and require less time and money. It’s a great way for artists to produce their own prints without relying on an outside print company. Fine art prints can be created ‘on-demand’ and sold within a short period of time to collectors. We’ve outlined the fine art printing process below and we’ve included some guidelines to ensure success with your prints.

Convert the Artwork

Creating a fine art print requires the original artwork to be converted to a digital image file. A high-quality scanner can be used to convert negatives, slides or even hardcopy photos. Scanners with these capabilities can be purchased for less than $200 at most office supply or electronic stores. Make sure you scan the artwork at a high resolution of 300ppi to create a clear, high-quality image.

Larger works of art may be digitized using a couple of different methods. Artwork can be photographed with a digital SLR camera mounted on a tripod under consistent, full spectrum light. A large format scanner can also be used instead of a camera to create a more accurate image file for print. The digitizing method used will be determined by the type of original artwork and the file required for the printer.

Correct Image Color

Artwork photographed or scanned should be color corrected to ensure accurate reproduction. Avoid basing the print colors on the inaccurate image colors viewed on your computer screen. You’ll need to invest in a monitor calibration device and software to correct the colors on the screen. Then you can use Photoshop to soft proof the image and adjust the colors before sending it to the printer.

Choose Media

It’s important to choose a media with archival properties when printing fine art. Archival media will have a longer lifespan and reproduce color more accurately than standard media. The media will usually indicate if it is archival quality on the package or in its sales literature. You will want to look for terms such as archival, acid-free, cotton or rag base.

Print the Image

The type of printer and ink used for the fine art print are the final choices to be made in the process. Avoid using dye-based inks found in lower-cost inkjet printers and choose pigment-based inks instead. The lifespan of pigment-based inks can last anywhere from 100 to 200 years without significant fading. Select a large format printer that contains around eight to twelve different color ink cartridges. It will provide a more sophisticated color range on the final print.

Fine art printing can be a rewarding process that elevates your artwork to the highest level. A high-quality image reproduced with a proper color setup, media and ink will make all the difference in the final output. Follow the guide above and enjoy limitless artistic potential reproducing your artwork.


Paper manufacturers have implemented the use of Optical Brightening Agents (OBAs) in their products. OBAs increase the perceived “whiteness” of the paper by absorbing UV light and emitting visible light in the blue/white range of the color spectrum. This makes the paper look incredibly white through a process called fluorescence. OBAs can pose a threat to the integrity and longevity of the fine art print due to a couple of factors.


Metamerism occurs when two different color objects have the same color appearance under one light source, but look different under another light source. It’s a result of OBAs in the paper becoming more active under UV light in the daytime and less active without UV light in the evening. This means fine art colors will shift for prints displayed with exposure to daylight and appear much different at night under incandescent lighting.


Paper manufactured with OBAs are known to decompose over time. This decomposition becomes apparent when yellow stains begin to appear on the print. The use of UV inhibiting products and overcoats on the print have not proven successful in stopping OBA decomposition. As a result, it’s safe to say that any fine art print made on paper manufactured with OBAs is a print risk.

It’s a surprise that OBA-Free paper is not used more frequently than paper manufactured with OBAs. Especially in an industry concerned with color accuracy and long-term print stability. There’s no room for error in the fine art industry since art sells because of how it looks. Any business selling printed art has a genuine incentive to make longevity and color integrity top priorities.


fine art paper

One of the most overlooked parts of fine art printing is proper handling of the print media. Fine art media is damaged or compromised frequently during the production process. Proper handling protects the integrity of the media and ensures success from start to finish. Here are some tips to improve print quality by handling fine art media properly.

Avoid Contamination

Elements in the print environment, such as dust and debris, can affect the media when it is stored uncovered for long periods of time. Dusty AC vents, fan blades or ceilings, and dirty floors only make the problem worse. It’s best practice to keep media inside the protective plastic sleeve and stored back inside the box until your ready to print on it.

It only takes one smudge on a print and you must throw it away. It’s easy for oil and dirt to transfer from your hands onto the fine art media. Avoid using your bare hands to handle a print. Wear white cotton gloves to handle the print and remove them if you need to do anything else. You could contaminate the gloves if you keep them on while touching other things in the print environment.

Avoid Damage

Damage can occur to the media when it is mishandled during printer loading or carrying the final print. Thinner media types and larger prints are more susceptible to this issue. Improper handling can crease or leave small dents on the surface and result in a reprint. Take special care when loading or carrying fine art media by holding it along the edge and avoiding anything that could damage the surface.

Fine art paper, canvas and other fine are media are more susceptible to abrasions and scuffing than standard media. This is attributed to the delicate coating on the media and the fragile nature of aqueous ink. A high-quality protective coating like a liquid laminate will protect the print and prevent scuffs or abrasions.

Control Climate

Fine art media exposed to changes in temperature and humidity may curl. The amount of curl that occurs will vary depending on the print environment and the type of media. Curl can happen relatively fast and may cause expensive head-strikes if left unattended. It’s best practice to store fine art media in the print environment around 68ºF at 50-60% relative humidity to prevent media curl.

Handling fine art media properly results in less damaged and wasted material. It helps improve print quality and keep your costs under control. The examples provided here may seem small, but they add up and affect print quality and profit.


You can fix most common print quality issues yourself before calling for technical support. The following information will help you troubleshoot the problem.

print quality issues

Print is Blurry or Smeared

• Make sure the media is acclimated to the printer environment for at least 48 hours.
• Check the Media Type setting. Make sure it is correct for the media you are using in the printer.
If the exact media type is not available in the printer driver, choose a media setting with a similar material type and thickness.
• Make sure the printable side is face-up when loaded in the printer. Also, make sure the media is compatible with your ink type.
• Check for an ink leak inside the printer. Clean up excess ink inside the printer using a soft, clean cloth.
• Clean the printheads. Use the printer’s Head Cleaning utility or manually clean the print heads.
Print has Smears on the Leading Edge
• If the edge of the media is curled in the direction of the printable side, flatten it or curl it toward the opposite side.
Also, try spooling out one or two feet of media past the platen. It will prevent the print heads from striking the curled edge.
• Check the Media Type setting. Make sure it is correct for the media you are using in the printer.
• Adjust the PLATEN GAP or HEAD HEIGHT to the proper distance for the loaded media.

Poor Ink Adhesion

All Printers

• Make sure the media is acclimated to the printer environment for at least 48 hours.
• Check the Media Type setting. Make sure it is correct for the media you are using in the printer.
If the exact media type is not available in the printer driver, choose a media setting with a similar material type and thickness.
If there is too much ink on the media, choose a media setting with a lower ink limit.
• If applicable to your printer, set the printer to the correct temperature for the media. Thicker media may require a higher temperature than thin media.
• Make sure the printable side is face-up when loaded in the printer.
• Set the printer to the correct speed for the media. Inkjet printers may require the number of passes to be increased or decrease for the media. Also, try to print in uni-direction mode.
• Older media (two years past the manufactured date) may be unprintable due to changes in its composition. Discard expired media and replace it with fresh product.

UV Printers

• Increase the intensity of the UV lamps.
• Increase the number passes for the media.
• Print in uni-direction mode.
• If there is too much ink on the media, choose a media setting with a lower ink limit.

Horizontal Banding

• Make sure the media is acclimated to the printer environment for at least 48 hours.
• Check the Media Type setting. Make sure it is correct for the media you are using in the printer.
If the exact media type is not available in the printer driver, choose a media setting with a similar material type and thickness.
• Make sure the printable side is face-up when loaded in the printer. Also, make sure the media is compatible with your ink type.
• Clean the print heads. Use the printer’s Head Cleaning utility or manually clean the print heads.
• Decrease the media compensation or feed rate for white banding. Increase the media compensation or feed rate for dark banding.
• Check the levels of the ink cartridges. Replace ink cartridges if they are low or empty.

Vertical Banding or Misalignment

• Make sure the media is acclimated to the printer environment for at least 48 hours.
• Check the Media Type setting. Make sure it is correct for the media you are using in the printer.
If the exact media type is not available in the printer driver, choose a media setting with a similar material type and thickness.
• Print in uni-direction mode.
• Adjust the PLATEN GAP or HEAD HEIGHT to the proper distance for the loaded media.
• Run the printer’s Print Head Alignment utility for the loaded media.

Print is Light or it Looks Faded

• Check that the ink cartridges have not exceeded their expiration date. The expiration date is on the cartridge label.
• Check the Media Type setting. Make sure it is correct for the media you are using in the printer.
If the exact media type is not available in the printer driver, choose a media setting with a similar material type and thickness.
• Clean the print heads. Use the printer’s Head Cleaning utility or manually clean the print heads.
• Check the levels of the ink cartridges. Replace ink cartridges if they are low or empty


stretching canvas

Horizontal Sag

The most common issue where the sag occurs across the canvas weave. Example: a printed 24”x36” canvas from a 36”roll, with the weave going across (horizontal), will tend to sag in the 36” direction. So take note of the direction of the weave when framing. Rotate the print 90 degrees and print the short edge across the roll.

Staple the Long Side First

Staple a clean line on the longest side and then move directly across to the other parallel side and staple a clean line. Example: for a 24”x36” print, start with the 36” side, then move to the OPPOSITE 36” side, not around the edge of the frame.

Add Cross Bars After Wrapping

A good way to avoid sag is adding crossbars after the frame is fully wrapped, stapled, and glued. Also, adding corner braces after framing will add more tension.

Use Archival Glue

Put a bead of archival glue on the stretcher bars as you set the edge on the frame. This technique works for stretcher bars with an inset lip.

Work in a High Humidity Environment

Working in a high humidity environment allows the canvas to absorb this humidity and relax more. This will give a tighter stretch when the canvas is moved to a drier environment and shrinks again.

Consider Making Your Own Stretcher Bars

Most commercially made stretcher bars have very poor corner joints. These joints tend to move and cause dips in the corner of the canvas. If you insist on using store bought bars, only buy the heavy-duty bars and glue them together first. Sand the corners well and make sure you do not round them. Avoid using keys in the corner slots.

Here is a suggestion to correct the sag after the print is stretched on the frame.

Wet the Back and Let It Dry

Dampen a sponge and rub it across the back of the canvas or use a spray bottle to moisten the back. Allow it to dry on its own and it should tighten up on the frame. You can also try a hair dryer blowing on the damp back of the canvas to speed up the process and tighten it.


1. Open Browser on PC connected to printer
2. In the address bar type in the IP of the Printer
3. Click on the Setup Tab
4. Click Substrate Presets Management
5. Click Choose File
6. Browse to the .OMS profile you downloaded and select it (Note: if the OMS file is Zipped or compressed please extract before selecting)
7. Click Update

hp latex


alternative profiles

Magic products are developed with OEM (Original Equipment Manufacturer) printers and printer settings as a key benchmark. Developing our products to this specification allows a wider range of compatibility and excellent results with generic OEM printer settings. We strive to have dedicated ICC profiles for every material / printer / ink / RIP combination. If Magic does not have a profile for your setup, you can use the following procedure.

  1. Search the OEM’s profile library for the closest media match. Use media type finish thickness.
  2. Print a small test image, approximately 8.5” x 11”, using the OEM profile.
  3. Evaluate the printed test image to determine if it is acceptable.


  • Adjust printer temperature, adjust speed (pass count & delay) or switch to uni-directional mode. These adjustments will improve ink adhesion, coalescence and print quality.


hp latex

A dedicated ICC profile is currently unavailable for HP latex printers. You can use the following procedure to ensure success when printing on Magic SCF7.

  1. Load the HP White Satin Poster Paper profile.
  2. Open the Color Correction tab. Increase the saturation levels by +10 for all the ink colors.
  3. Select Edit Printer Settings on the Print Page.
  4. Turn on High Ink Level by placing a checkmark in the box.
  5. Decrease the vacuum level to 5.
  6. Proceed with your print job.



  • Print side is the smoother side. Rolls are wound print side out.
  • Increase the heat to facilitate ink cure if needed, but if the material ripples you’ll need to decrease the heat until they disappear. Suggested heater starting points: 77°F pre-heat, 95°F post-heat.
  • If the low heat settings cause curing issues, add a small inter-pass delay offset of about 0.5-1 second.
  • Scratches in the film are a result of HP’s excessive loading and print finishing sequence. The sequence will forward and reverse the film repeatedly until it starts the print. We recommend adding a 6”-12” border at the start and end of the print to prevent scratches in the graphic.


how to

Meeting high-quality standards is our priority at Magic. Achieving perfect printing results, however, requires a blend of expertise, material and an accurate profile of the printer. We provide many ICC profiles to help you create high-quality prints. Follow the procedure below to download the ICC profile for your printer.

  1. Click the resources tab located on the Home page navigation menu.
  2. Click the pink “ICC PROFILE SEARCH” box on the Resources page.
  3. Select Product, Printer Make, RIP or Printer Driver and Printer Model in the drop-down menus (all fields not required) and click the “SEARCH” button.
  4. Click on the blue file link that appears for your printer to download the file.
  5. If the file is zipped, unzip it and read the “How To” PDF for instructions. The PDF will tell you how to import the profile into your RIP software or setup proper color management settings.


printing enivironment

The levels of heat and humidity in the printing environment can have a negative impact on image quality. It’s important to always keep the levels stable and within the recommended guidelines of the printer manufacturer. It’s lucky for us that digital printers work best in the same environmental conditions preferred by people.

The optimum levels of temperature and relative humidity (rH) in a print environment is 68°F (20°C) at 50-60% rH. A thermometer can be used to measure the temperature and a hygrometer can be used to measure the relative humidity. A hygrometer is an instrument used for measuring the amount of humidity in the atmosphere (or print environment).

Prints produced in high rH printing environments take much longer to dry and exhibit poor ink adhesion. High relative humidity also increases the amount of dot gain, image bleed, and coating/image tack. Prints produced in lower rH printing environments will dry faster and will exhibit better ink adhesion. The prints will also have less dot gain, image bleed, and coating/image tack.

Temperature in the print environment can be controlled properly with a high-quality HVAC system. A programmable thermostat is recommended to keep the temperature stable within +/-  1°F. An evaporative humidifier can be used to increase the relative humidity in the print environment. A dehumidifier can be used to decrease the relative humidity in the print environment.


product curl


Many specialty media products develop “roll set curl” from being wound onto cores.  Allowing the material to equilibrate to the printing environment for 24hrs before printing can help reduce the excessive curl and minimize the impact on media loading and printing.

Media exposed to high humidity will be more susceptible to curling when loaded on the printer. It’s best practice to keep the print environment at 50% relative humidity and the air temperature at 70˚F. Also, adjusting the platen heater to extreme temperatures may result in buckling of the loaded media. Best practice suggests heater settings between 40˚C – 45˚C.

There are two methods for properly loading media on a printer that reduce the risk of a head strike.


Advance the edge of the media 6” past the platen when loading it to avoid head strikes. This method is good for media with a slight curl.


Advance the edge of the media at least 12” past the platen when loading it. Secure the end of the media to the printer take up reel with masking tape. One piece of tape in the center, one piece on the left and one piece on the right. Adjust the take-up reel to a sufficient degree of tension (if applicable) before starting the printer. Check to make sure the tape does not break free after starting the printer. This method is best for media with a moderate curl.



ink drying tips

Four factors contribute to ink drying time during the printing process. Ink Compatibility, Print Speed, Time and ICC profiles determine how fast the ink dries. The time it takes the ink to properly dry affects the quality of the final print.

Ink Compatibility must be determined before purchasing a Magic product. Common signs of ink compatibility issues include ink bleeding, drying issues, saturation of colors and persistent banding. Refer to the compatibility bubbles which can be found on every product page to prevent compatibility issues.

Print Speed is often overlooked as the cause of an ink drying issue. Printing too fast may cause ink to be applied during a following head pass before the preceding head pass can dry. Try decreasing the speed of the printer by increasing the print quality dpi and/or increasing the number of print head passes.

Time may be required to allow the ink to dry and properly cure. Ink may feel dry immediately after printing, but it’s best practice to allow prints to dry for 24 hours. This extended time allows the ink to cure properly on the media surface.

ICC Profiles contain settings for the printer to accurately reproduce an image. The profile controls printer speed, heater temperature, ink limits and color accuracy. Make sure that you are using the correct profile for the Magic product loaded in the printer. Instructions for downloading the correct ICC Profile can be found here.



fab6 tips

Fab6 is a 100% polyester woven fabric with our proprietary matte coating that creates vibrant, long-lasting prints. It can be used in applications such as wall décor, banners, rollup banners and retail advertising. Here are some FAB6 tips to ensure your print project is a success.

  • Use minimum vacuum pressure during the printing process.
  • Cut the material with a hot fabric knife to eliminate fraying of the material.
  • Cut the material on a glass surface to prevent fraying of the material.
  • Standard high-tack banner tape can be used to hem the edge of the material.
  • FAB6 should not be folded, washed or ironed because the inks and coating are likely to crack.
  • Liquid laminates such as ClearShield Classic can be applied to FAB6 for additional protection. Use a paintbrush, short-nap or high-density foam roller to apply a thin coating of the laminate. Allow the first coat to dry completely for an hour before applying a second coat. Spray laminates are also suitable.




The Lamination Process


  • Heat Activated – The adhesive requires high levels of heat to be activated before it will adhere to the media.
  • Pressure Sensitive – The adhesive is aggressive and requires pressure to adhere to the print. Heat is not required with this laminate.
  • Liquid – Applied by hand using a brush, roller or a spray gun applicator. It can be used with a roll-to-roll liquid laminator.


Laminates are designed to be used in a variety of applications. A quality laminate protects the ink or toner from environmental conditions such as water and dirt. Some products offer additional UV protection to increase print durability and lifespan. Laminates can also be used to change the appearance or finish of the graphic. Changing a print from a matte to a gloss finish or adding texture are good application examples.


It’s important to pick a laminate that is compatible with your media. Vinyl laminate should be used to laminate vinyl media and polyester laminate should be used to laminate polyester. Choosing an incompatible laminate can result in a product failure. This could result in a costly reprint of the entire project.


Allow the print to dry completely before applying an over laminate. Refer to the OEM’s drying instructions for your ink set. It’s best practice in our industry to allow the print to dry for 24 hours. This additional time will ensure the ink has cured and prevent lamination issues. Wipe the print with a clean, lint free cloth to remove dust and debris before applying the over laminate.


  1. Make sure the rollers in the laminator are clean.
  2. Feed the laminate into the laminator following the manufacturer’s instructions.
    1. Use tape to secure the laminate liner to the upper wind-up shaft.
    2. Pull the laminate through the area where the upper and lower roller meet (nip) until it is about 1 foot past the rollers.
  3. Set the laminator pressure at the OEM’s recommended setting to avoid wrinkles.
  4. Lower the upper laminator roller.
  5. Set the motor to run in the FORWARD direction. The speed should be set at approximately 2 feet per minute.
  6. Slowly start the laminator. Make sure there are no wrinkles in the laminate as it passes through the rollers.

Note: If wrinkles occur, increase or decrease the pressure setting until the laminate smooths out.

  1. Increase the motor speed to about 15 feet per minute.
  2. Slide the printed media through the in-feed table alongside the guide bar.
  3. Release the finished print from the machine using a safety knife.
  4. Trim the finished print.



Set the laminator to the proper settings before starting your project. Settings include temperature, tension, and pressure. The temperature may have to be increased due to laminator heating coil age or the size of the rollers. Limit the amount of tension during the application of the laminate through the laminator. After application, allow the laminate adhesive to cure overnight if possible.

If possible, design your graphic with a non-imaged border around the edges. The laminate will bond more aggressively to the non-imaged border. It is also recommended to leave some unprinted media in front of your print. This will allow you to check for wrinkles or problems with your laminator beforehand. Follow the recommended ink saturation levels. Failure to do so may result in laminate adhesion failure.

Various environmental factors will impact the effectiveness of the adhesion. It is important to limit the amount of stress that causes adhesive failure. Since laminated graphics are comprised of several components it is likely that at least one layer will fail. Whether it be the coating to substrate or bond coat layer, coating or ink to laminate adhesive layer, the coating layer itself or the adhesive itself.

Encapsulating your graphics will produce better results than laminating the front and back. Encapsulation provides adhesive to adhesive bond and seals the graphic ensuring complete water fastness. Encapsulate with a ¼”- ½” border around the edges of the print.

Trimming the edges will promote stress and can decrease the effectiveness of the adhesion. If trimming is necessary, wait at least 1 hour before doing so and use a sharp blade. When transporting, wrap the laminated media loosely, wrapping it tightly may affect the adhesion as well.


Laminating takes practice, you may experience a variety of issues the first few times you laminate. Common issues that may arise are listed below:

  • Cloudy lamination is a result of insufficient heat.
  • Bubbles in the laminate is a result of the temperature being too high or the image not being completely dry.
  • Silvering is caused when the adhesive does not wet out. Silvering can be eliminated by either increasing the temperature or slowing down the speed. It may be necessary to do both.
  • Over laminating one side with too much tension can cause the product to curl toward the laminated side and the edges to lift.


window film tips


Clean your printer thoroughly of dust and debris that could stick to the product.  The adhesive side of the window perf is the print side. Do not use the take-up reel with this type of product. For large projects or overnight runs, lay a piece of non-stick backer on the floor for the product to lay on.


When printing of NEWVUE, the media sensor detector may see through the perforation holes causing the print job to delete or result is a “media out” error. Cover the media sensor detector with masking tape to prevent this from happening. Remove the masking tape after the print job is complete.


When your image is done printing carefully cut the image off the printer and lay it flat on a table or wind it loosely with the image size out and stand it on one end. Perforated window films should be cut by hand.


When shipping sheets, place a piece of silicone lined paper over the printed/adhesive side of the product to protect it from dust and debris. When shipping tubes, place a piece of silicone lined paper over the printed/adhesive side of the product to protect it from dust and debris. Wind image side out on a 3”+ core. If the product is being stored in anything other than its original packaging do not stack it.


Clean windows thoroughly with soap and water. Isopropyl alcohol can be used to remove any additional residue. Do not use ammonia or glass cleaner such as Windex. Dry the glass completely with a lint-free cloth. The glass should be between 40º F and 80º F. Smaller panels can be applied dry. Unlaminated larger panels can be applied using a small amount of application fluid such as Rapid Tac. The fluid should completely evaporate after the panel is applied to the window.


Allow the window film to lay flat for at least 1 hour before installing. Peel the edge of the liner off the vinyl and fold it back 3 to 6 inches. Align the graphic to the window and gently press the top corners down. Press the film against the window using a soft plastic squeegee. Continue peeling the liner and gently pressing the film down until the liner is removed. Trim any excess film with a utility knife. Squeegee the film starting in the center to the edges. Be sure that the edges and corners are firmly against the windows. If your graphic is on more than one panel, carefully align the graphics with the previous panel so the edges butt against each other with the holes aligned. Do not overlap the film




stretcher canvas


Allow images to dry for at least 24 hours before handling. Desired surface treatments should be applied and completely dry prior to stretching onto a frame. It is recommended to allow canvas to rest in room temperature for several hours before stretching. Canvas should not be stretched in temperatures below 65˚F as canvas is more susceptible to cracking in cold environments. The ideal environment for stretching canvas is 50% RH/70˚F. For best results, line a table with felt to help protect the print during the stretching process.


ClearShield Canvas Guard or similar products are recommended to protect and prolong the life of Magic’s TORINO canvases. Use a high-density foam roller or a 3/16″ short-nap roller. Immerse the roller in the liquid. The roller should be completely covered but not dripping. Blot excess liquid with a piece of paper.  Roll a thin layer of the liquid laminate onto the canvas starting on one side working your way to the other. Let this first coat dry for 30 to 60 minutes. Roll another thin to medium layer onto the canvas.


Stretcher bars with rounded edges are preferable verses stretcher bars with sharp edges. Ensure the frame is square by measuring across the diagonal corners, the measurements should be equal. Add a cross brace if desired. Cross braces are recommended for stretcher frames 24”x36” and larger.


Cut the canvas 4” longer than the assembled stretcher frame on all four sides. Canvas should be snug but not overstretched across the frame.


  1. Staple one side of the canvas to the frame starting in the center. Insert 3 staples 1.5” to 2” apart.
  2. Rotate frame to opposite side and be careful not to drag the canvas across the table.
  3. Use stretching pliers to grasp the edge of the canvas in the center and pull taut.
  4. Staple the canvas to the frame starting in the center as you did on the opposite side.
  5. Repeat this process on the two unattached sides.
  6. Add 2 staples to each side of the first staples. Ensure the canvas is secured on all edges with staples.


  1. Double fold the canvas at the corners. The final fold should line up with the edge of the frame.
  2. Staple the folded canvas to the back of the frame.
  3. Fold any excess canvas to the back of the frame and staple.

Note: To reduce canvas bulk at the corners of the frame, consider using wedge corner cuts.


Stretched canvas should be stored in the vertical position. Avoid leaning canvas prints against each other. If you cannot avoid this, place glassine or craft paper between the canvases.



Vinyl Print


Before installation, thoroughly clean the application surface.

  • Remove any additional residual residue such as tape with a razor blade.
  • Plastics and glass surfaces should be cleaned with window cleaner such as Windex. Wipe the surface with a lint-free cloth until dry.
  • Painted metals and base metals should be cleaned with solvent cleaners such as Xylol Xylene or lacquer thinner.  Wipe the surface with a lint-free cloth until dry.
  • Allow newly painted surfaces to dry for at least 72 hours before installing vinyl graphics.
  • Painted surfaces should be cleaned with household cleaners such as Fantastic or 409. Wipe the surface with a lint-free cloth until dry.


The optimum temperature range to install vinyl is 60°F (16°C) – 90°F (32°C).


Vinyl graphics have three components, the pre-mask which is the top surface, the vinyl graphic and the wax paper liner which is the bottom surface.

  1. Attach the vinyl graphic to the application surface with small pieces of masking tape.
  2. Place a strip of masking tape across the top of the graphic. Half of the tape should be on the graphic and the other half should be on the application surface.  The tape will act as a “hinge” which will keep the graphic in place during application.
  3. Hold the bottom edge of the vinyl graphic away from the application surface and carefully remove the wax paper liner. Do not let the adhesive side of the graphic touch the surface yet.
  4. Hold the vinyl graphic away from the application surface. Starting from the top working your way to the bottom, firmly squeegee the vinyl to the surface working from the center out. Do not let the entire graphic fall onto the surface. If creases develop, carefully lift and adjust the graphic as needed.
  5. Carefully peel the pre-mask from the graphic at a 180-degree angle back over itself.
  6. If there are any remaining air bubbles in the vinyl, put a piece of leftover liner over the graphic with the shiny side facing outwards and press down firmly with a squeegee to remove the bubbles


renew banner tips

MAGIC RENEW is manufactured in New Hampshire USA. The nonwoven material is 100% fiber. There are no chemical ingredients used in its manufacture. However, 50% of the fiber is a low melt polyester which does not come from bottle flake to produce. The other 50% of the fiber uses bottle flake.


  • UV CURE suggested printer settings: Double Density / 5 pass
  • LATEX suggested printer settings: OEM’s “Backlit” Setting
  • Use outer edge pinch rollers only, set to ½ pressure
  • Turn cutters off


  • Cut with a utility knife.
  • Can be heat welded, sewn and grommeted. Heat weld at 425°-450°F.
  • For short term applications RENEW can be installed without hemming.
  • For long term applications RENEW can be heat welded or a hem can be sewn. Once welded or sewn, grommet should be placed a minimum of 1 inch in from the corners or edge of the material. Reinforce grommet area with a one to 2 inch patch of Renew under the backside grommet layer.
  • Grommets should be placed a minimum of 1 inch in from the corners or edge of material. Reinforce grommet area with a one to 2 inch patch of Renew under the backside grommet layer.


vinyl installation

Grommets being installed into a vinyl banner to get mounted


A thin pressure sensitive adhesive over laminate can be used to protect most banners except for vinyl. Applying laminates to one side of a banner may result in inwards curling and adhesion failure. It is recommended to pretest all protectants on a sample of the banner before applying to the final project. Spray or roll on protectants can also be used but may not provide uniform coverage.


In order to add durability, hem the edges of the banner by sewing or using banner tape. Hem the right and left sides first and finish with the top and bottom. If using rope, add it into the top and bottom hemline before the hem is secured.


If the banner is not laminated, stitch hem side up to avoid scratching the image. For maximum reinforcement, use a double stitched hem with a double lock stitch and a maximum of 5 stitches per inch.


Apply high tack banner tape to the back of the banner. Fold the edges over and press securely. It is recommended to pretest banner tape before applying to the final project.


Install grommets every 2’ in the hem line along the length of the banner so that the grommet goes through both layers of the banner. For added durability and strength, reinforcements can be made with 2” to 3” patches of nylon, adhesive grommet tabs or an additional piece of the banner. Grommets should go through all corner layers.


Cutting wind slits on scrim banners over 10’ is an option. Cut 6” wind slits in the shape of a half moon, in the direction of the letter U, approximately 2’ apart across the center of the banner.


Corners can be secured using the installed rope, bungee cords or zip ties. Apply equal tension on all 4 corners assuring the banner is taut but not tight. Too much tension can result in premature failure. The banner should not flap in the wind.

The most effective way to hang a banner from a ceiling is to use pole pockets. Pole pockets are sewn or welded into the top and bottom edges of the banner and rigid poles are inserted into these openings. Attach wire, cable or rope to the top pole and the fasten to the ceiling. Inserting a pole into the bottom pocket adds weight keeping the banner rigid and flat.




wall covers


Pigment, solvent, latex and UV inks provide a high level of water resistance. Higher ink saturation can affect the water fast properties and show ink bleed in heavily saturated areas. Liquid lamination is recommended for DMIBOP because dirt and stains cannot be cleaned from the inkjet surface. GFIOP, SLEEK, and POSTERMAX do not need overprotection. Vinyl and polyester laminates are not recommended for wallcoverings. Excessive folding or creasing of the media may cause damage.


Walls should be prepped to a smooth, clean and dry surface prior to installation. Wallcoverings will not hide imperfections such as nails, holes or bumps. Failure to remove old wallcovering(s) may result in adhesion failure of the newly installed wallcovering.

Acrylic primer should be used on unpainted drywall. This will provide a sound surface for the wallcovering to adhere to. Apply primer over surfaces that have glossy paint for best results. ROMAN PRO-977 Ultra Prime Wallcovering Primer/Sealer is recommended and it can be purchased at most home improvement stores.


PRO-880 Ultra Clear Premium Clear Strippable Wallcovering Adhesive and Golden Harvest GH-34 paste all provide good adhesion and allow for easier stripping in the removal process. Clay adhesives such as PRO-732 Extra Strength™ Clay Wallcovering Adhesive, PRO-774 Clay Strippable Wallcovering Adhesive can also be used. More aggressive adhesives such as ROMAN PRO-838 Heavy Duty Clear Wallcovering Adhesive should only be used for permanent applications.

The products listed above can be purchased at most home improvement stores. Apply a thin film of the adhesive using a 1/2” nap paint roller on the back of the paper. “Book” the wallpaper by folding the paste side on itself and make sure the side edges line up perfectly. Set the paper aside to allow the paste to soak in for 10 minutes.


Apply water on the back of each panel (strip) with a roller or submerse each panel in a wallpaper tray to activate the adhesive then “book” the wallpaper by folding the paste side on itself.


Do not use tape on the imaged surface. Align top and adjoining edges. Smooth panels into place with a smoothing brush, starting at the center of the panel working toward the edges. Use a plastic smoother to push air pockets to the edges. The low wet expansion of these products allows double cutting at the seams.


Edges of the panels touch instead of overlapping. If the edges do not align perfectly at first, peel the wallcovering back and reposition. Use a roller to seal the seam. Reroll any seams that lift.


Overlap one panel of the wallcovering over the another so that the image or pattern is lined up. Use a straight edge and sharp blade to cut through the center of the overlapping wallcovering then peel away the cut strips. Smooth the wallcovering and wipe away any remaining adhesive.



Use caution when applying wallcoverings around switch plates. It is recommended to turn off the power source leading to the switch. Smooth the wallcovering over switch plates and then make diagonal cuts from the center to each corner. Press the wallcovering down around the edge of the switch plate, then lightly mark the outer edge of the plate and trim the excess. For round objects, such as light fixtures, cut a star shape into the wallcovering. Press the wallcovering down around the edge of the object, lightly mark the outer edge of the object and trim the excess.


Start at the top of the wallpaper and carefully separate a full-width strip about 8” down from the top away from the surface. If you are not able to separate the paper from the wall, apply water with a damp sponge to moisten the paper surface. Slowly pull the paper at the downward angle with both hands. Any excess adhesive can be removed with a damp sponge.