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• Easy to peel & stick, designed for temporary messaging

• Custom shapes and sizes up to 52″ available. Please contact us for a quote.

Located just north of Baltimore, we’re right around the corner. Let us help you create the signage you need to clearly convey your message to all of your staff and clients.

**Most surfaces. Always test a small area first. For newly paint walls, consult paint manufacturers drying recommendations.

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• No Lamination Required!

• Sticks to almost any surface. (tile, concrete, glass, carpet, wood, metal, stone, painted surfaces and more)

Available in standard sizes of 11″, 15″, or 23″, you can pick from our pre-made designs, submit your own art or let us take care of it for you with your custom text and logo!

Located just north of Baltimore, we’re right around the corner. Let us help you create the signage you need to clearly convey your message to all of your staff and clients.

*Our Floor Graphic Material Certifications:
- Slip resistant (ASTM D-2047, ASTM C 1028-07 & R12 certified)
- B1, M1, ASTM E-84, ASTM E-648 & ASTM E-662 fire certificates
- ASTM E-84, ASTM E-648 & ASTM E-662

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What is canvas? Canvas is a very strong, durable fabric created with cotton or linen along with PVC that replaced the traditional hemp textile. It has commonly been utilized for things like bags, tarps, sails, tents and shoes because of it’s durability. Of course, many painters have used canvas for centuries because of it’s light weight and ability to hold paint without distortion.

Painting on a fabric can be tricky though. Being so lightweight and easy to roll or fold, it needs to be stretched to give the artist a more rigid surface to apply the brush. From this necessity, stretching bars were created. As canvas is stretched over a frame to keep it taut, the blank surface becomes perfect for painters to build their works of art.

These days, canvas is used just as much if not more, for printed décor as for traditional painting. Modern prints can include recreation of paintings for a fraction of the cost of their traditional, replicated counterparts. And now photographs can be printed with an ease and beautiful color reproduction that was never more possible. While painters’ canvases are often stretched before they begin, printed canvas is stretched after completion to offer exact sizing while maintaining the traditional beauty.

Prints are most often stretched over a wooden frame, a technique known as a gallery wrap. This method allowed the image to continue from the front of the canvas around the side and partially onto the back so that none of the blank canvas, stretcher bars or hanging hardware can be seen after it’s hung.

The finished look is both elegant and rustic, hearkening back to the days of traditional painting. Mixed into décor that utilizes framed prints as well, images pop in a way that can’t be easily achieved in any other way.

The benefits of canvas printing are clear. In addition to a unique look that reduces glare and increases visibility, canvas gallery wraps are lightweight compared to heavy framed prints. Often cheaper too! Having a print professionally framed can be surprisingly expensive depending on the number of matte layers, type of clear surface (glass or acrylic) and build of the frame itself. Once completed, it’s usually very heavy, mandating sturdy anchoring for safety when hung. In addition, the texture of the surface of canvas often helps minimize imperfections in digital files.

That’s not to say canvas is ideal for every application. While canvas is very durable, the print itself is more prone to damage than prints that are protected by glass. The latex ink, being resistant to scuffing and fading is durable in its own right, but on canvas is more susceptible to scratching from rigid objects. With enough force, the canvas can even be punctured or cut. High traffic areas prone to vandalization or frequent contact may not be the best place for canvas prints.

Located just north of Baltimore, Bay Imagery is right around the corner and we can advise the best use for all the types of prints we offer. From canvas to backlit to paper printing, we will gladly share our expertise to give you the results you expect. Give us a call at 410.687.7703 to talk more about your printing needs.

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There are basically three different types of stands available: retractable, telescopic and tension-back.

Retractable stands are our best sellers due to their durability and convenience. The stand consists of a base unit and folding pole assembly. The graphic is retracted into the base unit and attached to a tensioned roller mechanism. After placing the base on the floor, the graphic is simply pulled outward high enough to attach to the expandable support pole which, in turn, is secured to the base. The entire process, from start to finish, takes just seconds! When not in use, the graphic easily retracts back into the base unit for storage and protection, then placed in a supplied carrying case along with the support pole. Retractable stands come in a variety of widths and heights to fit virtually any application; small footprint and low height table-top versions are also available.

Telescopic stands are the most versatile for using graphics of different sizes. Horizontal bars hold the graphic in place while vertical poles telescope up and down to adjust the height. In this way, several different graphics can be easily switched out using the same hardware. Some telescopic stands also feature the option of adjusting the width of your graphic with horizontal telescopic poles. Unlike retractable stands, graphics are not housed within a base unit, thus they need to be hung during setup, removed afterwards and stored carefully.

Tension back stands are typically best for price conscious applications where durability and convenience are not paramount. These stands are available in a variety of sizes, although the width and height are fixed. The graphic is attached to rails at the top and bottom and are supported by a tensioned pole (or poles) allowing it to stand upright. As with telescopic stands, graphics are not housed within a base unit, thus they need to be hung during setup, removed afterwards and stored carefully.

Whatever the application, Bay Imagery has a solution to fit your needs. Call us today at 410-687-7703 and we will be happy to assist you in making the right selection.

Want to know what we recommend? Click here.

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Every time you take a picture with your phone or look at images through your television, you are utilizing the RGB color model. Red, green, and blue light combine in varying degrees to trick your eye into seeing a whole spectrum of color. Combining red and green light will create yellow; combining red and blue light will create magenta. All three in equal saturation will give you gray or white depending on the amount used and of course, black is a complete absence of light. Due to light being combined together to fill out the entire range of color, it is known as an Additive Model. It’s the mode used in graphics that are intended to be primarily viewed digitally.

Have you every wondered why graphic programs break RGB ranges in increments from 0 to 255 instead of percentages? This is due to the inherent way data is computed. You may have noticed options for “bit depth” for when selecting color mode (8 bits/channel, 16 bits/channel, 32 bits/channel). A “bit” in computer terminology–binary language–has only two opposing states: on (one) or off (zero). Stacking 8 bits in a row gives you 2 x 2 x 2 x 2 x 2 x 2 x 2 x 2 possible variations per channel (Red/Green/Blue). Not coincidentally, 2 to the 8th power gives a total of 256 possible states for each channel (or more precisely, 255 degrees of light plus 0 which equals no light).

That means higher bit depth yields a color gamut with more variations, right? Yes… technically. But it real world applications, the difference between using a bit depth higher than 8 bits per channel usually only means larger file sizes and more memory intensive work environments with results that are often identical to the human eye. Having 256 potential states each for red, green, and blue produces close to 16.8 million colors once those channels are combined. Creating degrees of difference between all those colors is impractical and almost always unnecessary.

While it makes sense to create digitally viewed graphics in RGB mode, printing companies will often ask for files in CMYK. This is a process color system using Cyan, Magenta, Yellow and blacK inks patterned together in different percentages to trick your eye into seeing a whole spectrum of color. Once light hits the ink, it bounces away, losing part of its brightness and displaying the color perceived by our eye. For this reason, it is known as a Subtractive Model. The values associated with each ink is a direct correlation of what will be printed, which can mean more predictable results if printed pieces are intended to be the final use of the digital files.

You may have noticed that CMY and RGB have a special relationship on the color wheel. Directly between any two colors from either model is one of the colors from the second model and the direct opposite of the third color from the first model. For example, cyan and magenta will make blue, the opposite of yellow. Green and blue will make cyan, the opposite of red. Since having RGB light values at full strength produces white and having no light produces black, it seems logical that the opposite should be true of CMY. Indeed, no ink produces white (or the color of the media) and printing all inks at 100% produces a dark color (black in theory but sometimes a very dark brown in practice). Black was added to the model to make printing cost effective and efficient as using only one ink instead of three to get dark blacks and neutral grays reduces both ink used and drying time.

So digital files intended for print should always converted to CMYK? Not necessarily. These days, software RIP’s (raster image processors) do a great job of converting RGB files for direct CMYK printing. And since files are often intended for print and the web, it can be convenient to create files in RGB mode which have the added benefits of larger color gamuts and smaller file sizes. Again, the downside is color that’s not consistent with expectations. One example is printing a file in RGB mode that has solid blue (Red = 0, Green = 0, Blue = 255). Instead of being the blue you may expect by viewing it on screen, it may print much warmer, a color some may call as much purple as blue. Because RGB has a larger color gamut, it must be clipped or altered to print and since vendors all use different combinations of software, printers, substrates, profiles, and rendering intents, results can vary greatly from print house to print house.

The most important factors when deciding in which mode to create your graphic masterpiece is intended use, comfort with each mode and which benefits are most important to you. RGB has a larger color gamut, smaller file sizes and generally more pleasing on-screen appearance while CMYK tends to more consistent between printers with printed color books providing references for expectations. The best news is that either can be converted and manipulated if color doesn’t look quite like you expect.

For a great printable reference about color theory, including terminology and information about color schemes, click here.

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Substrates like Dibond, an aluminum composite material, can be used to create fantastic designs blending color, white, and the eye-catching natural surface of the shimmering silver or gold-colored metal. Since white can print in half-tone just like regular ink, white (or color) can fade into the surface of the board creating amazing illusions and designs.

It works perfectly on clear plexiglass too, creating a dense white that looks great by itself or as an opaque surface for other colors. Need a print that can be used for frontlit and backlit viewing? No problem. Using a white layer in between two colored layers on clear plexiglass creates a print that looks vibrant when viewed either way. Two sided printing on clear material? We can do that too. We can even create partially illuminated areas on backlit prints by creating a black mask layer to block out areas that shouldn’t be backlit.

Even metal or wood, as long as they are flat with no protruding edges, can be printed on directly. This is a very environmentally-friendly option that allows us to offer reduce costs since we use no material other than the ink. Doors, metals signage, wooden boards, window glass–virtually any flat, rigid material less than 2″ thick. The smoother and flatter, the better the quality printing. And since colors print on the white ink instead of the natural surface, they come out bright and calibrated for pleasing accuracy.

Ceramic tiles of any color can be used as a direct printing surface to expand design possibilities with unlimited potential. Artists can choose to create amazing mosaics with photo-realistic images, color-pleasing logos, and sharp text. The ability to create mind-blowing wall murals has never been more accessible with tiles that can have individual designs or can be pieced together to create a much larger image.

The possibilities for using white ink directly printed onto the surface is limited only by the designers’ creativity. To see a sample of just what can be done with this expanding technology, contact us today. As always, feel free to contact us with any questions regarding our capabilities or a job you need completed.

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The print quality is vibrant and capable of delivering stunning photographic images and dimensional effects while offering both durability and cost effectiveness. The material can also be custom die-cut on our plotter.

Ideal for marking floors and aisle spaces in supermarkets, malls, fast food restaurants, museums, athletic clubs or any point-of-sale location. And the non-skid versatility allows for applications beyond floors because these graphics are also well suited for showers, bathtubs, saunas, skateboards, surfboards – even inside pools (applied dry)……..

Pre-coated with a pressure-sensitive, waterproof adhesive, our floor graphics can be applied on most indoor surfaces, even those that will
assuredly get wet. They are easily removable without residue, even after long use while the non-slip surface remains very secure and chemical resistant. The waterproof adhesive and film durability make this product extremely friendly to the foot while it still pleases the eye.

These graphics are ASTM D-2047 certified and meet the Euro-norm as DIN/EN.

Please contact Bay Imagery for more information and/or samples.

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