A coating technique that works well on a single art print can fall apart on a mural several metres wide. The coating has more time to set before you finish a pass, the print is harder to move, and any variation between panels is obvious once they sit side by side on a wall. Large work needs planning more than it needs special skill.
Plan the space first
Work out where the print will lie while it is coated and, just as importantly, where it will dry. A wet mural cannot be rolled up or stacked, so you need a flat, clean, ventilated area large enough to leave it undisturbed. Keep the area away from ignition sources, and make sure there is enough air movement to clear solvent vapour without blowing dust onto the wet surface.
Clear access around all sides helps. If you can only reach the print from one edge, you will end up leaning over wet coating or stretching to finish passes, which is where streaks and missed areas appear.
Choosing a method
Hand rolling can work on large prints, but it relies on keeping a wet edge across a wide area, which is difficult for one person. Two people working together, one loading and one rolling, often makes a noticeable difference. For regular large-format work, a liquid lamination machine applies the coating at a consistent rate across the full width and removes much of the operator variation. Landor supplies coating machines, and details are on our equipment page.
Working through a large job
- Print all panels in one session with the same media batch and settings where possible, so the base material is consistent.
- Let every panel dry and outgas fully before any of them are coated.
- Coat a test strip from the same roll and check adhesion, finish and colour once it is fully dry.
- Mix enough coating for the whole job at the start, following the data sheet, so every panel receives the same material.
- Coat panels in the order they will hang and use the same technique, direction and number of coats on each.
- Label the back of each panel with its position and the date coated.
- Leave panels flat until the coating has cured as described on the data sheet, then inspect them side by side under good light.
Matching panels
The biggest risk on a multi-panel job is a difference in sheen. One panel coated more heavily, or with an extra pass, can look glossier under raking light even if the colour is identical. Consistent loading and an agreed number of coats prevent most of this. If a client has asked for a particular finish, show them a coated sample before you start the full run.
Edges and overlaps deserve attention too. Where panels butt or overlap on the wall, a heavy build-up of coating at the edge can show. Rolling off onto a border sheet, rather than stopping at the edge, helps keep the film even right up to the trim line.
Handling after coating
Once cured, roll murals face out on a wide core where the media allows, with clean interleaving if recommended, so the coated surface is not creased. Avoid tight rolls and heavy stacking.
Got a big job coming up and want to plan the coating stage? Call Landor on 01252 624 411 or get in touch through our contact form.