How can we help?

Nothing at all — mockups are completely free, with no obligation to order. Send us your logo or artwork with a rough brief and our in-house designers put together a 2D digital proof so you can see exactly how it will look. If you decide it isn't right, or your timing changes, that is genuinely fine. Nothing goes to print until you approve the proof, and you are never charged for design work.

Yes, and as many times as you need — revisions are part of the free design service. Tell us what to change: swap the logo, move the text, resize an element, try a different background, and we send an updated proof. There is no charge per round and no limit we hold you to. It is far easier to fix things now than after approval, so keep going until you are genuinely happy.

Our designers work extended hours and often turn a proof around the same day during the week, but weekend cover is not guaranteed. If you send files late on a Friday, plan for the proof landing on the next working day rather than over the weekend. If your deadline genuinely depends on weekend movement, tell us before you order and we will be straight about what is possible.

It is a flat digital visual of your artwork laid out on the product you have chosen, at the correct proportions — so you can check placement, scale, spelling and how much space sits around your logo. It is a layout proof rather than a photograph of the finished item, and it is the stage where you catch anything that looks off. Fabric colour on screen is a close guide, not an exact colour match.

Yes — a clear written confirmation is all we need, so replying to the proof email with your approval works perfectly. We ask for it in writing simply so there is no confusion about which version goes to print. Once we have it, production starts within 24 business hours. If you are approving on behalf of a client, make sure they have seen the same version you are signing off.

Spelling first, then anything factual — dates, times, phone numbers, web addresses and social handles. Check you have sent the current version of your logo, that names are spelt as your client writes them, and that nothing important sits too close to the edge. We print exactly what you approve, so a quiet read-through by someone other than you is worth the five minutes it takes.

Tell us straight away and there is a good chance we can. Production starts within 24 business hours of approval, so a message inside that window usually catches it before anything is printed. Once printing has begun the options narrow, because custom graphics are made only for you. Either way, contact us the moment you notice and we will tell you honestly where your order is and what can still be changed.

On the product page, just below the Add to Cart button — look for the Request a free 2D design button. Use it and send your logo or artwork with the size you are considering, and our designers come back with a proof. The same section holds the artwork templates and assembly guides for that product. You can also email proofs@backdropsource.com or designers@backdropsource.com if that is easier.

Yes. Your proof is sent as a file you can forward, so it can go round a committee, a client or a brand manager before anyone commits. That is usually the sensible route when more than one person has to agree. Just be aware the production clock only starts when you come back and confirm, so build your internal sign-off time into the event deadline.

Happily — just ask. If you are undecided between two logo positions, two background colours or a busy versus a clean look, our designers can prepare alternatives so you can compare them properly and share them with your team. It is all part of the free design support, with no obligation to order any of them. Tell us what you are weighing up and we will make the difference easy to see.

Yes — custom sizes are normal here, and the proof works exactly the same way. Send us the finished width and height you need and we will email the template for that size along with the artwork spec, then produce a free 2D proof at those dimensions. Fully custom or unusually large builds can take longer to make, so it is worth confirming the timeline with us before you order.

That is plenty to start with. Send the logo, tell us the size, the event and any colours or brand guidelines, and our in-house designers will lay out something for you to react to — free, with no obligation. Most people find it far easier to judge a real proof than to describe what they want. From there we adjust until it is right, and nothing prints until you approve it.

It's included — the price you see covers the complete display, not just the print. On a step and repeat media wall, starting from around $278 at the time of writing, you get the aluminium frame with snap-lock tubes, the printed backdrop in its cotton bag, a soft nylon carry bag and step-by-step assembly instructions. Nothing needs tools, and shipping across the USA is free.

The red carpet is an optional extra, not part of the standard media wall price. If you want one, add it when you order and we'll match it to your backdrop — the carpet is a fixed 3ft depth and the length follows the width of your wall. Without it, your media wall still arrives complete with the frame, printed graphic, carry bag and instructions.

Two graphics, not one. At $938 at the time of writing, the 8.2ft x 8.2ft SEG fabric media wall comes with the aluminium SEG frame, two silicone edge graphics, a support pole so it stands freely, a set of connecting clips and a soft nylon carry bag. Delivery is free. Push-fit assembly means no tools, and the finish can be standard, blockout or backlit.

Per finished display, not per square foot. Each listing price covers that size as a complete unit — frame, printed fabric and bag — so a 6x6ft media wall carries its own price and a 10x8ft another, starting from around $278 at the time of writing. For a custom size, send us the dimensions and we'll price that exact build and put the figure in writing.

Usually yes, because it's a different build. A single-sided backdrop is printed on wrinkle-resistant polyester, while a double-sided one uses a heavier duplex fabric so each face prints cleanly. That makes it its own option rather than a small surcharge. Choose the sided option on the product page, or tell us what you need and we'll confirm the figure in writing before you commit to anything.

They're options rather than standard. Trade show booth kits run from roughly $718 to $3,614 and up at the time of writing, in 10x10, 10x20, 20x10, 20x20 and 30x20 layouts, and can be configured with a backwall, shelving and a TV mount. Tell us which monitor you plan to hang and we'll confirm which frame supports it, because the limit depends on the frame chosen.

No charge at all. A 2D mockup is free with no obligation to buy, and our in-house designers will help get your file print-ready — scaling artwork supplied at half size, checking your resolution, tidying a logo — with no setup or artwork fee added anywhere. Use the "Request a free 2D design" button under Add to Cart, or email your file. Nothing prints until you approve the proof.

No — multiple parcels never cost you extra. Some orders, especially booth kits or several displays together, travel as more than one box, and you still pay a single shipping charge, which across the USA and most countries is nothing at all. You'll get tracking on dispatch, and if a destination is one of the rare exceptions to free shipping, we tell you before you pay.

Treat a written quote as current for the spec and the date it was issued. Prices move with size, fabric, quantity and shipping, so if a while has passed — a tender that took months to award, say — send it back to us and we'll re-confirm or reissue it before you order. We'd far rather refresh the figure than have you budget against something out of date.

No, you only pay for the fabric. Our aluminium frames are built to be reused, so when a brand changes or a graphic looks tired you order a replacement print and slide it onto the frame you already have. Quote your original order number or the frame model so we match the size exactly. It's the cheapest way to refresh a display, and the free proof applies to reprints too.

Not quite - the clock starts once your order is placed and your proof is approved, and it counts business days from the next working day. So an order placed Tuesday with the proof approved Wednesday runs its five to seven days from Thursday onwards. Approving quickly is what keeps you on the earliest possible date. Your order confirmation shows the dispatch date we are working to, so you always have something firm to plan around.

No - business days mean Monday to Friday, so weekends and public holidays are not counted at all. An order approved on a Monday under the five to seven business day window typically lands in the following week rather than over that weekend. It is worth mapping the days on a calendar before you commit to an event date, and if the timing looks tight, tell us and we will quote express so you have room to spare.

It will be picked up the next business day. We process orders Monday to Friday with an 11am Friday cut-off, so anything placed after that Friday morning starts moving on Monday. Nothing is wasted in the meantime - your proof can still be prepared, and production begins within 24 business hours of your approval. If a Friday order is genuinely urgent, email or call us and we will tell you honestly what is achievable.

Production begins within 24 business hours of your approval, so a late Thursday approval means printing gets underway on Friday. Approvals that arrive after the 11am Friday cut-off roll into Monday instead. From that point the standard five to seven business days cover print, quality check, packing and delivery to you. If you are working towards a fixed event date, approving earlier in the week always buys you the most comfortable margin.

Yes, more or less - the timeline runs from your approval, not from your payment, so every day a proof sits waiting pushes the delivery date back by roughly the same amount. It is the one part of the schedule entirely in your hands. If sign-off has to go through colleagues, tell us when to expect it and we will keep your slot ready. Once you approve, production starts within 24 business hours as normal.

Roughly two days making it and three to four days in transit, though that split shifts with your address and your product. Printing, quality checking and packing happen first, then the parcel goes to UPS, DHL or a local carrier for the run to you. Knowing the split helps when a deadline is tight - express is quoted at around four to five business days and is worth asking about before you order rather than after.

Usually a couple of days - express is quoted at around four to five business days against the standard five to seven, and it costs extra. It earns its keep when your event sits right on the edge of the standard window, or when a proof took longer to approve than you planned for. Ask us for the express price before you order and we will confirm exactly what it buys you for your product and your address.

On your order confirmation - we give you a dispatch date there, so you are never left guessing. It is based on your product and your approval date, which is why getting the proof signed off promptly keeps that date where you want it. Tracking follows on the day your order leaves us. If your event date is fixed, mention it at the quote stage and we will sanity-check the dispatch date against it before you pay.

We upgrade you to expedited shipping at our cost - that is our commitment, not something you have to negotiate for. The dispatch date on your confirmation is the one that counts, and if we cannot hit it, we pay to make up the time in transit. You will also hear from us rather than discovering it through silence. It is the simplest reason to get your proof approved early: the date then becomes ours to keep.

Because some products are built differently - canopy tents, gazebos and large LED lightbox runs are quoted at 10 to 12 business days rather than the standard five to seven. Big or fully custom builds can take longer again, so we confirm the timeline for those in writing before you order instead of leaving you to assume. If a firm event date is driving this, give us the date first and we will work backwards from it.

Yes, but it needs arranging up front - Saturday, Sunday and public-holiday delivery is available for an extra charge and must be requested before you order. As standard, carriers deliver Monday to Friday between 9am and 5pm, so a weekend slot has to be booked with the carrier in advance rather than added on later. Tell us the date you need while you are getting your quote and we will price it in for you.

Deliveries land between 9am and 5pm, Monday to Friday, and the carrier sets the order of the round rather than us. Once your parcel is on the road, your tracking number is the best guide, and the carrier's own site is where any narrower window or reschedule options appear. If your address is only staffed at certain hours, tell us before you order so we can note it with the shipment.

Yes, please have someone available to sign - the carrier needs a signature, and it is also your chance to check the boxes look sound before the driver leaves. If your address is not always attended, a workplace, a reception desk or a neighbour usually works better than a home delivery. Tracking is issued the day your order is dispatched, so you will know which day to plan for rather than waiting in all week.

Nothing is lost - the carrier will leave a card or notify you, and a redelivery can be arranged either directly with them using your tracking number or through us if you would rather we handled it. Do act quickly, as depots do not hold parcels indefinitely. And if you already know a particular day will not work, tell us before dispatch and we will do our best to time it better for you.

No - multiple parcels on a single order never cost you any more, and plenty of orders ship that way because frames and printed graphics pack quite differently. They usually travel together, though boxes can occasionally arrive on separate rounds. Check the parcel count on your tracking before assuming something is missing, and if a box genuinely has not turned up, send us your order number and we will chase it for you.

Yes, and it is very common - just give us the venue address, the hall or stand number and an on-site contact with a mobile number when you order. Check which dates the venue will actually accept deliveries, because carriers arrive Monday to Friday between 9am and 5pm and someone there has to sign. If the venue will not take goods early, sending it to your office or hotel first is often the safer route.

Yes - put the hotel's full address on the order along with your name and check-in date, and mark it clearly as a guest arrival. Ring the hotel first to confirm they will hold a parcel for you, as not all of them will, and remember somebody there has to sign for it inside the Monday to Friday, 9am to 5pm window. Your tracking tells you when it lands so you can collect it from reception.

Yes - Alaska, Hawaii, Puerto Rico and other US territories are all served, and free US shipping still applies to them. Transit can sit at the longer end of the five to seven business day window because of the extra legs involved, so allow a little more room if your date is fixed. Give us your event date up front and we will tell you whether standard timing is comfortable or worth upgrading.

Usually no extra cost - shipping is free across the USA and to most countries, and if your destination is one of the rare exceptions, we tell you before you pay rather than afterwards. Remote addresses can add a day at the far end, so build in a little slack. Adding a phone number and clear access notes to your order helps the driver find you first time instead of heading back to the depot.

Not to the day, honestly - once your parcel is with UPS, DHL or a local carrier, the precise arrival is outside our control, which is why we work to a dispatch date and a five to seven business day window instead. The practical answer is to aim for delivery a few days before you actually need the goods. We will flag it if your timings look tight, and tracking keeps you informed the whole way.

Use WeTransfer, Dropbox or Google Drive and send us the link, because large print files rarely survive email. Drop the link to proofs@backdropsource.com or designers@backdropsource.com, or to your regional support address, and include your order number or the product and size so it is matched up straight away. Full-size backdrop artwork runs into hundreds of megabytes, so a transfer link is completely normal rather than something we mind.

We will tell you before anything prints. We work to a minimum of 150 DPI at full size, with 150 to 300 DPI the comfortable range, and if your logo falls short we will say so and ask for a vector version — AI, EPS or a high-resolution PDF — if one exists. If it does not, our designers can often redraw or clean it up. Enlarged low-resolution logos show up as soft, fuzzy edges on fabric.

Yes — artwork at 50% scale is perfectly acceptable and our design team scales it up for print. Just make sure the resolution suits: at half size you want roughly double the DPI so it still lands at 150 DPI or better at finished size. Keep the proportions the same as the size you have ordered, and tell us the scale you have worked at so nothing has to be assumed.

Please confirm the exact bleed for your product — we send the spec with your template, so you are never guessing. It genuinely varies: many products need around an inch per side, and more like two inches where the fabric is hemmed or has pole pockets that need to wrap. Send us the product and the size and we will email the template and the bleed figure together before you build the file.

It means converting live text into shapes so the letters print exactly as you designed them, rather than shifting if we do not have your font installed. In Illustrator it is Create Outlines; other software calls it convert to curves, paths or shapes. If you cannot do it, simply send the font files along with your artwork instead. Either way you will see the result on your proof before anything goes to print.

About 19,800 pixels wide at 150 DPI, or 39,600 pixels at 300 DPI. 150 DPI at full size is our minimum and 150 to 300 DPI is the working range, so anywhere between those two numbers is fine. Files that large are normal for big-format fabric, so send them by WeTransfer, Dropbox or Google Drive. If your image cannot reach that width, send it anyway and we will check how it holds up.

Keep anything essential well inside a safe margin, away from the trimmed edge and away from any part that wraps around the frame. On framed displays the outer band of fabric disappears into or around the frame, so logos, names and small print placed near the edge can be lost. Centre the important content, leave breathing room, and check the proof — we will flag anything sitting too tight.

Two — one file per side, clearly labelled front and back, even when both sides carry the same design. Double-sided prints use a durable duplex fabric, and our SEG media wall, for example, ships with two separate silicone edge graphics, so each face is its own print. If the sides differ, say which is which; if they are identical, tell us that too rather than leaving us to assume.

We will show you the options on the proof rather than crop it blind. Where the proportions do not match, a background can often be extended, or the image re-cropped so the important part stays central and nothing key is cut off. Our designers handle that as part of the free design support. Send the largest, highest-resolution version you have, because more image gives us more room to adjust cleanly.

Either works — PSD is accepted, and so is a high-resolution PDF, AI or EPS. A layered file helps if we might need to move text or swap a logo; a flat high-resolution export is simpler when the design is final. Whichever you send, outline the fonts or include the font files, keep it in CMYK, and build to the template we email you for your product and size.

We will get very close, but exact Pantone matching cannot be guaranteed on fabric — dye-sublimation behaves differently from ink on paper, and the weave itself affects how a colour reads. Send your Pantone references with the artwork and we will convert them to the nearest CMYK values and show you the result on your proof. If a brand colour is critical, tell us early so we can talk it through before you order.

Close, but not identical — every screen shows colour differently, and backlit pixels are always brighter than dye on fabric. Deep blues, vivid oranges and neon shades are the usual ones that soften slightly in print. Supplying CMYK artwork gives the most predictable result, and your proof shows the layout and the intended colours. Treat an on-screen proof as a very good guide rather than a colour-accurate sample.

CMYK is what we ask for, because it is what the print process uses and it gives you the most predictable colour. If you only have RGB, send it anyway — we would rather have your file than have you wait — and our designers will convert it, then show you the result on your proof. Just know that very bright RGB colours can shift a little once they move into CMYK on fabric.

A small shift from screen to fabric is normal, and so is slight variation between fabric types — that is the nature of dye-sublimation. What is not normal is the wrong colour, the wrong artwork, a visible print fault or something that does not match the proof you approved. That is a print error, and it means a free reprint, free shipping and priority production, with no arguing and no restocking fees.

Yes — a matte, anti-glare finish is available, and it is the one we point people to for photo, video, livestream and lightbox use. It stops the hot spots and reflections you get when lights hit a shinier surface, which matters most on step-and-repeat walls and backlit graphics. Tell us the setup — camera, lighting positions, stage or booth — and we will recommend the finish that suits it.

Only if the fabric is wrong for the job — which is exactly what blockout fabric is for. It stops light passing through, keeps whites looking clean and prevents anything behind the wall from ghosting into shot. Our double-sided prints use a durable duplex fabric for the same reason, so one side does not read through the other. Tell us where your light is coming from and we will pick the fabric.

Very similar, but expect a slight difference. Stretch polyester, blockout and backlit fabrics each take the dye a little differently, so the same file can read marginally warmer, deeper or lighter depending on the material and its finish. If matching pieces will stand side by side, tell us upfront — we will flag it on the proof and, where it is possible, keep the whole set on one fabric.

No — dye-sublimation bonds the colour into the fibres rather than laying ink on the surface, so the print does not crack, peel or wash off. SEG polyester graphics are machine-washable: wash gently, keep it cool and let them dry naturally. Creases from packing normally drop out once the fabric is stretched onto the frame, and a steamer on a low setting sorts out any stubborn folds.

Because those are two different measurements. The 8.2 by 8.2 feet is the finished display — the aluminium frame as it stands in the room. The 96 by 98 inch figure is the printed fabric that goes over it, sized so the silicone edge can seat in the channel and pull the face tight. Design to the graphic size we give you, and use the display size when you're checking whether it fits your space.

Slightly over, usually. Size names are rounded for convenience — our SEG fabric media wall is sold as 8x8 but actually stands 8.2 by 8.2 feet, while the step and repeat range comes as 5x5, 6x6, 8x8 and 10x8 feet. If you're fitting a tight opening or working under a low ceiling, take the exact figure from the product page or ask us to confirm it in writing before you order.

Less than most people expect. An SEG frame is 4.7 inches deep, so around six inches off a wall is comfortable, plus a bit more if you're using the support pole for a freestanding setup. Side to side, allow a few inches beyond the quoted width so you can get your hands round the frame while you push the graphic in. Then leave walking and posing room in front, which is what really eats space.

Yes, comfortably. The SEG fabric media wall stands 8.2 feet, so a 9 foot ceiling leaves you room to lift and seat the frame, and the step and repeat sizes from 5x5 up to 8x8 are shorter again. Measure to the lowest thing overhead rather than the ceiling itself — beams, ducts, sprinklers and light fittings are what usually catch people out. If headroom is tighter than that, we can build a custom height.

Yes. A step and repeat media wall ships as one box at 10 by 10 by 30 inches and 12 lbs in every size, so that goes anywhere. The SEG fabric media wall packs to 44 by 5.5 by 12.5 inches at 55 lbs — long and heavy, but slim, so it carries through standard doors and stands upright in a lift. If your venue has an awkward service route, measure the narrowest point and check with us first.

Width, not height. Both stand 8 feet tall, but the 10x8 gives you two extra feet across, which is what you want for group photos, a wider step and repeat pattern, or a sponsor row that needs more logos side by side. The 8x8 is the square option and drops into more rooms. Both use aluminium frames with tool-free assembly, and custom widths are available if neither one is quite right.

Yes. The optional red carpet is a fixed 3 feet deep and its length is matched to the width of the backdrop you order, so a wider media wall comes with a longer carpet. It's an optional extra rather than part of the standard box, so ask for it when you order and we'll size it to your wall. Worth allowing that extra 3 feet of floor in front when you plan the space.

We build to the dimensions you give us, and a stretch fabric system has a little give in it, so tension absorbs small differences — usually a help rather than a problem. Where the display has to sit inside a fixed opening, alcove or shell scheme, send us the exact opening measurements instead of a nominal size. We'll confirm the finished build size in writing before anything goes to print, so there are no surprises on site.

Your original order number is ideal, or the frame model if you still have the packaging or the assembly guide. From either of those we can match the finished height and the graphic size exactly, rather than working from a tape measure. If you have neither, measure the frame height and the printed area separately and send photos of the corners and joints — that's usually enough for us to identify the system and match it.

No — you pick the wall size and we lay the pattern out to suit it. Our designers set the repeat, the spacing and the scale so logos land evenly across the finished face and nothing important gets cut awkwardly at the edge or lost where the fabric wraps the frame. You'll see exactly how it falls on your free 2D proof before anything prints, and you can ask for the spacing to be tightened or opened up.

Blockout is the one to choose if light behind the display is a problem — it has an opaque backing, so a window, an open doorway or another exhibitor's lighting won't glow through your graphic. Standard stretch polyester is lighter and softer, and it's perfect when you have a solid wall behind you or you're printing one side only. Both are dye-sublimation printed and both go on the same aluminium frames, so you're only choosing the finish.

Go with backlit fabric for anything lit from behind. It's a translucent material made to spread light evenly, so the whole panel glows instead of showing bright and dark patches. Standard fabric is denser and will look flat and blotchy in a lightbox. On our SEG media wall you can pick standard, blockout or backlit when you order, so just tell us how the display will be lit and we'll specify the right finish.

No — for double-sided work we move you onto a durable duplex fabric, which is built for printing two faces so the reverse image doesn't ghost through. On the step and repeat media wall, single-sided uses a wrinkle-resistant polyester and double-sided switches to that heavier duplex material. The SEG media wall takes it further and ships with two separate silicone edge graphics, one for each face of the frame, so both sides read cleanly.

Mesh is the safest pick outdoors. It's perforated, so wind passes straight through instead of pushing against the graphic like a sail, which takes a lot of load off the frame and the fixings holding it. For fences, barriers and long outdoor runs it's the standard choice. We also print heavy-duty outdoor fabrics for canopy tents, feather flags and umbrellas. Tell us the site and how long it's up for and we'll point you at the right one.

Yes — matte anti-glare is the finish to ask for whenever cameras are involved. It scatters light rather than bouncing it back, so you avoid the hotspots and shiny patches that show up under studio lights, ring lights and venue spots. Photographers and video crews ask for it constantly, and it's worth having on lightboxes too, where the front surface sits close to the light source. Mention filming and we'll specify it for you.

It is tougher, yes. 600D eco polyester is the heavier, hard-wearing option, so it suits pieces that get handled, packed and moved constantly rather than a smoothly tensioned wall face. Stretch polyester is the fabric that pulls drum-tight over a frame and gives you that flat, seamless look. The 600D also sits in our PVC-free, more eco-conscious range. Describe how the item will be used and we'll recommend one over the other.

Yes, we have PVC-free and eco-friendly fabric options, including 600D eco polyester, so you can keep vinyl out of the specification entirely. Most of our displays are fabric on aluminium frames anyway, and both parts are reusable — you reprint the graphic and keep the frame for the next campaign, which cuts what gets thrown away. Send us the wording your client's policy uses and we'll confirm in writing which material we're supplying.

Canvas suits a textured, painterly look — think photography and portrait backgrounds where you want the surface to read as a scene rather than a flat panel. PVC vinyl is the hard-wearing choice for banners and signage that take knocks and live outside. For tensioned displays and media walls, stretch polyester still wins on finish and on how small it packs. Tell us the setting and we'll say which of the three suits it best.

It does — that's exactly what stretch polyester is for. The fabric has give in it, so it follows a curve, an S-shape or a 3D wall box without bunching at the corners, and it's the tension that keeps the face flat. It goes on like a pillowcase over the aluminium frame, and packing creases relax out once it's stretched. Curved, S-shape, custom-shaped and arch frames all work on the same principle.

Both are polyester, but they're not the same spec. The step and repeat backdrop is a wrinkle-resistant polyester that slips over a snap-lock frame and comes with a cotton bag and a soft carry bag. The SEG media wall uses silicone edge graphics in a machine-washable polyester with a wrinkle-free finish, pushed into the channel of a 4.7 inch deep frame. The SEG gives the crisper edge; the step and repeat is lighter and faster.

Our fabric is fire retardant, and the honest answer on paperwork is that it depends on what your venue wants to see. Certificates are named and numbered differently from country to country and standard to standard, so send us the exact requirement, or the form the venue has given you, and we'll confirm in writing what we can supply for your specific product before you order. Better to settle that now than on build day.

The SEG frame depth is 4.7 inches, so allow about five inches of clearance off the wall face, and a little more if you're standing it freestanding with the support pole behind it. That depth is what gives the frame its rigidity, and it leaves room for the silicone edge channel on both faces — which is how the same wall can carry a graphic on the front and another on the back.

A thin silicone strip is sewn around the edge of the printed fabric, and you push it into a channel that runs right round the aluminium frame using just your fingers. That pulls the face drum-tight and hides the frame itself, which is where the clean, borderless look comes from. Our other tension displays work differently — the fabric slides over the frame like a pillowcase. Both are completely tool-free, and both come off just as easily.

Both are tool-free — they just lock differently. The step and repeat media wall uses snap-lock tubes, where sections click positively into each other so every joint holds itself while you build the frame up. The SEG media wall uses a push-fit connector system, where sections press together, plus a set of connecting clips. Neither needs a screwdriver or an allen key, and both come apart the same way when you pack down.

Feet are included. Our displays are designed to be freestanding, so the feet come as part of the frame kit rather than as an add-on you have to remember to tick. That means no wall fixing, no rigging and no drilling for most of the range. The SEG media wall also includes a support pole for freestanding use, while shell scheme graphics come with hook-and-loop velcro instead, since they attach to the booth walls.

Use the pole — it's in the box for exactly this reason. The frame braces itself once assembled, but the support pole is what keeps a tall freestanding wall steady when it isn't up against something solid, especially with people walking past and posing right next to it. It packs down in the same carry bag as everything else, so there's no reason to leave it out. Fitting it takes seconds and needs no tools.

Carpet is one of the easier floors — the feet bed into the pile slightly and the frame is freestanding, so nothing needs fixing down. Smooth floors like polished concrete or timber are fine as well; just keep the display out of doorways and busy walkways where someone might catch a foot on it. If your venue floor is uneven, sloped or unusual, tell us about it and we'll suggest a setup before you order.

Outdoors you need to plan for wind rather than hope. Choose a mesh graphic where you can, since the perforations let wind through instead of pushing on the panel, and set up in the most sheltered spot available. For genuinely exposed sites our purpose-built outdoor range is the better bet — canopy tents, feather flags and inflatable structures are made for it. Tell us the site and how long it's up and we'll advise.

Yes — aluminium runs right through the display range, from the snap-lock tubes on a step and repeat media wall to the 4.7 inch SEG profiles and the booth kits. That's deliberate. Aluminium gives you the rigidity to hold fabric under tension without the weight of steel, which is why a complete step and repeat frame and graphic packs down to 12 lbs. It also won't rust, so the frame stays reusable season after season.

Yes — that's the whole point of a fabric system. The frame stays and you reprint only the graphic at the same finished size, so a rebrand costs you fabric instead of hardware. When you order the replacement graphic, quote the frame model or your original order number and we'll build the file to the exact size that frame takes. On an 8.2 by 8.2 foot SEG media wall, for instance, that graphic is 96 by 98 inches.

There is, and it depends entirely on which frame you're using — the limits we quote run from around 43 inches up to about 63 inches across different kits, so no single number covers everything. Tell us the display you're ordering plus the exact screen model and its weight, and we'll confirm in writing what that particular frame will carry before you commit. Booth kits, media walls and standalone monitor stands all have different allowances.

It shouldn't. The fabric is held under tension the entire time — on an SEG frame the silicone edge sits in a channel all the way round, and pillowcase-style graphics are stretched over the frame in the same spirit, so the face stays flat rather than hanging. The polyester has a wrinkle-free finish and packing creases usually relax out within the first few hours. If a face ever looks slack, re-seat the edge and it pulls tight again.

One capable person can manage a banner or a small display in five to ten minutes. For a 10ft backwall, two people is much easier and takes roughly fifteen to twenty minutes. A full modular booth is realistically a two or three person job at around thirty-five to forty-five minutes. Allow up to an hour the first time you build anything, whatever the size.

Yes. Assembly guides sit on the product page and we can email the guide plus a video link for your exact item to anyone you nominate. That is worth doing if a colleague, a contractor or venue staff are building it rather than you. Send us the email address and your order number and we will forward everything ahead of the event.

Nine times out of ten it is a section in the wrong position rather than a fault, because the tubes are sequenced and one out of order stops the next joint seating. Lay everything out against the guide before forcing anything. If a connector is genuinely damaged, photograph it and contact us — a replacement part is far quicker than a whole new frame.

It feels tight, and that is intentional — the tension is what makes it look flat. On a pillowcase-style skin, slide it over the built frame from the top and work it down evenly rather than pulling one corner hard. On an SEG frame, start the silicone edge at the corners and work along each side. It gets much easier the second time.

Yes, and it is the best fifteen minutes you will spend. Building it once at the office tells you the real footprint, confirms nothing is missing from the box, and means the person doing it on the day has seen it before. It also lets any packing creases fall out of the fabric before it matters.

Usually not. Most tall displays are designed to be assembled lying down or at a comfortable height and then stood up, which avoids working overhead. Very tall backwalls and hanging elements are the exception. If your build is over about eight feet, tell us and we will confirm whether you need steps so you can arrange access with the venue.

The usual signs are the fabric not reaching a corner, feet pointing the wrong way, or one joint refusing to close. If the skin will not sit without straining, stop and check the frame against the guide rather than the fabric. Frames are symmetrical in some directions and not others, so a quarter turn is often all that is wrong.

Double your build time and add a buffer. If a stand takes forty-five minutes to build, allow an hour and a half on site to account for finding your space, unpacking, cable runs and dressing. If you are relying on venue access windows, check them early, because tight move-in slots cause far more problems than the display itself.

We do not have an in-house install team, but third-party installation can be arranged. Send us the venue, the date and your access times and we will look into it for you. For most of our displays it is genuinely not needed — they are tool-free and freestanding — so it is worth asking us first whether your specific build warrants it.

Check the outer packaging for damage before you open it, count the parts against the guide, and unroll the graphic to look at the print. Do this as soon as it arrives rather than on show morning, because damage needs reporting within seven days of delivery and you want time to act. Photograph anything wrong, including the outer box.

SEG polyester graphics are machine-washable, which is one of the reasons they last across many events. Use a cool, gentle cycle with mild detergent, no bleach, and let it air dry rather than tumbling it. Do not iron directly on the print. If your item is a different fabric, check with us first — outdoor and blockout materials behave differently.

Roll it if you can. Folding puts hard creases along the same lines every time, and those eventually stop dropping out. Rolling around a tube, print facing out, keeps the surface smooth and is the single best habit for making a graphic look new at its fifth event. If you must fold for travel, refold along different lines.

Blot rather than rub, using a clean damp cloth and cold water, and work from the outside of the mark inwards. Avoid solvents and household cleaners, which can lift the print. Most marks on polyester lift with water alone if you get to them quickly. Wash the panel properly after the event rather than attacking it hard on site.

Often yes, and it is a common way our customers travel. A step and repeat media wall packs to about 10 x 10 x 30 inches at around 12 lbs, which is well within normal checked allowances. Bigger builds are heavier — the 8.2ft SEG wall packs to roughly 44 x 5.5 x 12.5 inches at about 55 lbs. Check your airline's limits against those figures.

The soft nylon bag supplied is fine for carrying to and from a venue and for storing the display between events. If you are flying every month or shipping between shows, a hard flight or travel case is a worthwhile upgrade because it protects the frame from crush damage in transit. We can quote one alongside your display if that is your pattern.

Make sure it is completely dry before it goes away, and store it somewhere dry and ventilated rather than a damp garage or an unheated outbuilding. Fabric packed away slightly damp is what causes musty smells and marking. If it does pick up an odour, a normal cool wash usually resolves it on machine-washable graphics.

Do not pack it wet. Separate the fabric from the frame, dry both fully — fabric hung or laid flat, frame wiped down — and only then bag it. Polyester dries quickly and normally comes back with no lasting damage. Packing a wet graphic into a sealed bag for a week is what causes staining and smells, not the rain itself.

Yes, and plenty of customers do. Repack it properly into its case rather than improvising, and use a courier who will handle a long slim parcel. If the two shows are tight together, build in a day of slack and consider a hard case for the extra protection. We can supply packed dimensions and weights for your booking.

A hand steamer used at a sensible distance is the safest way to drop stubborn creases, and it is what we would suggest over an iron. Keep it moving, hold it a few inches off the surface, and work from the back of the fabric where you can. Never press a hot iron directly onto the printed face.

No, and this is where the money is saved. The aluminium frames are built to be reused, so a rebrand normally means new printed fabric on the hardware you already own. Tell us the frame model or quote your original order number and we will print to the exact size, so the new skin fits the same way the first one did.

Ideally your original order number, because that gives us the precise graphic size and the frame it belongs to. If you no longer have it, send us the frame model name, a photo of the frame including any label, and the measurement across the graphic area. We will confirm the size back to you before printing so nothing is guessed.

Yes, we keep your print-ready artwork against your order so a straight reprint does not mean resupplying files or repeating the setup. Quote your order number and we can go back to the same file. If your branding has changed even slightly since, send the new assets rather than assuming the old file is still right.

Yes — individual parts are usually far more sensible than a new frame. Tell us which component it is, ideally with a photo alongside your order number, and we will identify the right part. If it failed early or arrived faulty, say so, because that is handled as a fault rather than a purchase.

Send us your order number and photos and we will work out what still fits. Graphic sizes are driven by the frame's dimensions rather than the model name, so in most cases we can print a new skin for an older frame even if that exact product has moved on. If it genuinely cannot be matched, we will tell you plainly rather than printing something that will not fit.

Yes, and it is a smart way to buy. Order the frame once and two or more printed graphics, and you can change the look between days, clients or sessions in a few minutes. Because you are only paying for extra fabric rather than extra hardware, the second skin costs noticeably less than a second display.

A graphics-only reprint costs less than the original because you are not rebuying the frame, case or accessories. It is not automatically the same price as last time, since material and shipping costs move, so ask us to requote against your order number. We will tell you exactly what the fabric alone comes to before you commit.

Physically yes, as long as the sizes match the frames. The thing to watch is colour: separate print runs months apart can differ very slightly, which shows most on large flat areas of a single brand colour. If the two panels will sit side by side, tell us and we will match to your earlier job rather than printing to standard.

Just ask. On a graphics-only order there is no bag or hardware anyway. On a full display, if you already own cases and accessories from a previous purchase, tell us at the quoting stage and we will look at what can be left out. It reduces both the cost and the amount of packaging you have to find room for.

Report it within seven days of delivery. That gives us time to get a replacement into production while your event is still ahead of you, which is the whole point of the window. If your order arrives well before you need it, still open and check it straight away rather than waiting until show week to discover a problem.

Three things: your order number, photos of the damage itself, and a photo of the outer packaging. That last one matters more than people expect, because it shows whether the parcel was damaged in transit. Send all three together in one message and your claim is reviewed within one to two business days.

In most cases no. Once a damage claim is agreed we put a free replacement straight into production, and usually nothing needs shipping back to us. That is deliberate, because waiting for a return to arrive before starting a reprint would cost you the days you do not have before an event.

Claims are reviewed within one to two business days of you sending the details. If your event is sooner than that, say so clearly in your first message along with the date — it changes how the claim is handled and whether production needs prioritising. Sending complete information first time is the fastest route to a resolution.

You get a free reprint, free shipping and priority production, with no restocking fee and no argument about it. If we printed something other than what you approved, that is ours to fix. Send your order number and a photo showing the problem and we will start the replacement rather than putting you through a process.

Yes. Frames, stands, cases and accessories can be returned within seven days of delivery, no questions asked, as long as they are unused and in their original packaging. Return shipping is free. Your refund goes back to the original payment method once the item reaches us. Get in touch before sending anything so we can set it up properly.

Because it was made only for you. A custom-printed graphic carries your artwork at your size, so it cannot be resold to anyone else — which is why change-of-mind returns do not apply to print. Faults and print errors are entirely different and are always put right. This is also exactly why we insist on a free proof before anything is printed.

We do — return shipping is free on returnable items. You are not expected to absorb courier costs to send back a frame or accessory within the seven day window. Contact us first so the return is arranged correctly, rather than posting it back independently, which makes it harder to match to your order and refund promptly.

Report it within seven days of the date it was expected, not the date you ordered. If a delivery genuinely never turns up we take full responsibility and make it right. Send your order number and confirm the delivery address you expected it at, and check with neighbours and any goods-in or reception desk first, as that resolves a fair few cases.

Yes, though it is a purchase rather than a claim. Tell us which part is affected and send a photo with your order number, and we will quote the individual component or a replacement graphic. Because frames are modular and prints are made to order, accidental damage is usually far cheaper to fix than people fear — rarely a whole new display.

Yes. Hardware is covered against manufacturing defects, and a genuine fault is resolved with a free replacement part or unit rather than a repair bill. Send photos and your order number so we can see what has happened. If you need the specific cover for your order stated formally, ask us and we will confirm it in writing.

Most likely yes. We run separate storefronts for the US, UK, Australia, New Zealand, Canada, India and Mexico, and each one prices and charges in its own local currency, so you aren't converting anything yourself. If your country isn't one of those, order from the site closest to you and ask us first — we'll confirm the currency, the total and the delivery cost in writing before you pay.

For a normal web order you pay in full at checkout — there's no deposit to arrange and nothing to settle afterwards. On larger or fully custom projects handled by our sales team, we set out exactly what's payable and when on your quote before you commit, whether that's the full amount, a stage payment or an invoice raised against your purchase order. Nothing prints until you've approved the proof either way.

Yes — just ask and we'll send you a payment link instead. It helps if you'd rather not key card details into a browser, if someone else in your organisation holds the card, or if you've agreed a price with us that isn't shown on the website. Tell us who should receive the link and we'll issue it along with the paperwork your finance team needs.

Yes, we can issue a pro forma invoice. Send us the products, sizes and quantities you need along with your billing details, and we'll put the whole thing in writing so your finance team has a document to raise payment against before any money moves. It also gives you a chance to check the spec line by line. Once it's approved at your end, we move to your proof.

Yes — send us the references and we'll carry them through. If your finance system needs a purchase order number, a cost centre, or a particular billing entity and contact shown on the invoice, tell us when you place the order and we'll set it up that way rather than leaving you to chase a correction later. Purchase orders and invoicing are supported for businesses, schools and other institutions.

No — it starts when your order is placed and your proof is approved, not when the money clears. Production begins within 24 business hours of you approving the proof, and standard delivery is 5 to 7 business days from there, covering print, quality check, packing and transit. So if you're working to a date, approving your proof quickly matters far more than how fast you pay.

Yes, and we'll put it in writing. Tax treatment depends on the country we're delivering to and your own tax status, so rather than guess, ask us before you order and we'll confirm exactly what will and won't appear on your quote and invoice. Import duties sit separately — the carrier charges those on arrival and the amount can't be confirmed in advance — so allow for that on overseas deliveries.

We can still fix that. Send us your order number along with your exemption certificate and we'll take the tax off, refund that amount and issue a corrected invoice for your records. The refund goes back to the card or account you originally paid from. We'll also keep the certificate on file, so the same thing doesn't need sorting out again on your next order with us.

The product cost comes back, but shipping and customs charges don't. Duties and import fees are charged by the carrier rather than by us, and once an order has shipped they're non-refundable — the same applies to shipping costs on an international order. For non-custom items like frames, stands and cases returned unused within 7 days, return shipping is on us. Custom-printed graphics can't come back, as they're made only for you.

No, that one is on us. Your order confirmation gives you a dispatch date, and if we miss it we upgrade you to expedited shipping at our own cost, with nothing extra appearing on your invoice. Express production is a paid option if you choose it up front, quoted at around 4 to 5 business days, but a delay at our end is never something you pay to put right.

You do - import duties and taxes are the receiver's responsibility, and the carrier bills them separately from anything you pay us. They are normally collected before your parcel is released, so replying quickly keeps things moving. The amounts are set by your own country rather than by us, which is why they are not included in your order total. They are also non-refundable once an order has shipped, so it is worth budgeting for them.

No - import duties and customs charges are not refunded, even when the item itself is. Unused non-custom items such as frames, stands and cases can go back within seven days of delivery in their original packaging, return shipping is free, and the product refund goes to your original payment method. Custom-printed graphics cannot be returned for a change of mind. If something arrived damaged or misprinted, we simply replace or reprint it free.

Almost always it is waiting on a duty payment or one detail to be confirmed. UPS or DHL handle the clearance for you and will contact you directly, usually by text, email or phone, and your parcel stays put until you reply. So watch for that message rather than only watching the tracking. If you are unsure whether a request is genuine, forward it to us with your order number and we will check it against your shipment.

Order from your own regional storefront where one exists - we run sites for the US, UK, Australia, New Zealand, Canada, India and Mexico, and using the right one keeps pricing, shipping and paperwork straight for your delivery address. If your country is not listed, order from the closest site and tell us where it is going. Tax treatment depends on your delivery country and your tax status, so confirm that with us before you order.

The window still applies to most destinations, but customs clearance can add time that nobody can predict, so treat it as a guide rather than a promise when shipping abroad. For an event overseas, work backwards from your date and aim for the goods to land several days early, never the night before. Tell us the event date when you enquire and we will say plainly whether standard timing is sensible or express is the safer buy.

Yes, and we would much rather you asked - tax treatment depends on your delivery country and your tax status, so confirm it with us before you order and we will put it in writing on your quote or invoice. That saves surprises for your finance team and gives you a document to file. Import duties are separate again and charged by the carrier, so they will never appear on our paperwork.

Yes - we can deliver to any US address where somebody can sign, and free US shipping applies, so plenty of overseas customers use an office, a colleague or a friend as a first stop. Everything after that is on you, including onward freight and any duty on arrival. Ask whoever receives it to open and check the goods straight away, because damage has to be reported within seven days of that delivery.

To you first, if the calendar allows it - you get to open the boxes, check the print and repack calmly instead of discovering a problem on site. Shipping direct to an overseas venue works too, but it needs an on-site contact who can sign, confirmation that the venue accepts deliveries on that date, and a genuine buffer for customs clearance. Give us both options with your dates and we will advise which is safer.

Yes - you get a tracking number when your order is dispatched, and it stays valid for the whole journey even where a local carrier handles the final delivery in your country. Some handovers show a quiet day or so while the shipment is scanned into the local network, which looks alarming but usually is not. If tracking genuinely stalls, send us your order number and we will chase the carrier for you.

As soon as the boxes arrive, not on the day you set up. Damage must be reported within seven days of delivery, so unpack, check the print and photograph anything wrong straight away, even when the event is still some way off. Send your order number, photos of the damage and a photo of the outer packaging. Claims are reviewed within one to two business days, and genuine damage is replaced free.

You get the aluminium frame, your printed backdrop in a cotton bag, a soft nylon carry bag and step-by-step assembly instructions. A red carpet is available as an option if you want the full press-wall look. Every size ships in a single 10 x 10 x 30 inch package weighing around 12 lbs, so one person can carry it and it travels comfortably as checked luggage.

Yes. The aluminium snap-lock frame is designed to stand for the length of an event with people posing directly in front of it, and the fabric pulls taut so it photographs flat rather than rippled. It is freestanding on its own feet, so nothing needs fixing to a wall. For very long runs or busy red-carpet lines, tell us and we will suggest how to weight the base.

Yes, and it is worth asking. Our designers set the repeat spacing and scale so logos read clearly in a cropped photo without sitting directly behind someone's head. Send your logo and tell us the wall size and roughly how many people will stand in front, and we will lay it out and show you on the free proof before anything is printed.

The red carpet has a fixed depth of 3ft, and the length is matched to the width of the backdrop you order, so the two look proportioned together. If you want a longer runway than your wall width, mention it when you enquire and we will quote the carpet separately rather than the standard paired length.

Yes. Choosing the double-sided option prints both faces on duplex fabric, and the two sides do not have to match. A common setup is branded step and repeat on the front and a clean single colour on the back, so the same wall works as a photo backdrop one way and a tidy room divider the other. Both sides appear on your proof.

Step and repeat media walls are listed at 5ft x 5ft, 6ft x 6ft, 8ft x 8ft and 10ft wide x 8ft high, starting from around $278. Anything outside those four is made to order, which we are happy to do — it simply goes through as a custom size rather than straight to checkout. Prices shown are a guide at the time of writing.

They can be positioned side by side to cover a wider space, and for a long press line that is often the most practical option because each wall stays a manageable weight to carry. There will be a visible line where the two frames meet. If you want an unbroken run, tell us the total width and we will quote a single wider wall instead.

The printed fabric is made to cover the face of the frame and wrap the edges, so from the front and from a normal camera angle you see print rather than aluminium. Keep important logos away from the very outside edge so nothing critical falls on the wrap — our proof shows you exactly where that boundary sits before you approve.

An 8ft x 8ft covers one to three people comfortably. For group shots, awards lines or anything where a photographer needs to step back, a 10ft wide wall gives much more usable background once you crop. Tell us the biggest group you expect and how far back the camera will be, and we will tell you which size actually fills the frame.

The printed fabric is a single piece, so adding a sponsor means a new print rather than a patch. The good news is the frame stays, so you only pay for fabric. If you already know sponsors may join later, leave a clear space in the layout now and we will keep your file ready so the reprint is quick when the logo arrives.

SEG stands for silicone edge graphic. A thin silicone strip is sewn around the edge of your print and tucks into a channel in the aluminium frame, which pulls the fabric drum-tight and hides the frame edge completely. The result is a clean, frameless panel with no visible fixings — which is why SEG is the usual choice for premium stands and backlit work.

It includes the aluminium SEG frame, two silicone edge graphics, a support pole for freestanding use, a set of connecting clips and a soft nylon carry bag. Assembly is tool-free using a push-fit connector system. The graphic area is 96 inches wide by 98 inches high, the frame is 4.7 inches deep, and it packs to 44 x 5.5 x 12.5 inches at around 55 lbs.

You can do either. The standard build dresses both faces so the wall looks finished from every angle, which matters for island stands and room dividers where people walk behind it. If it is going flat against a wall and the back will never be seen, tell us and we will price it with one printed face instead, which brings the cost down.

Both work, and they look quite different. Backlit fabric with lights inside the box gives that even glowing panel and needs the backlit finish to diffuse properly. Standard SEG fabric lit from the front with clamp lights is cheaper and perfectly good for a stand that just needs to be bright. Tell us the effect you are after and we will point you to the right one.

Not when the right fabric is used. Backlit lightboxes are built so the LEDs sit at a set distance behind a diffusing translucent fabric, which spreads the light evenly across the panel. Hotspots normally appear when standard fabric is lit from behind rather than proper backlit material, which is why we specify the backlit finish for any illuminated build.

It can, but it behaves differently to print on paper. Light passes through pale areas and is blocked by dense ones, so heavy dark backgrounds go moody rather than bright, and fine light text on dark can glow beautifully. Send your design and ask for a backlit proof — our designers will flag anything likely to lose impact once it is lit.

Yes — there is a wall-mounted SEG lightbox in the range alongside the freestanding and pop-up backlit versions. The fabric and frame specification is the same; what changes is how it is fixed and that it does not need the support pole or feet. Tell us the wall type you are fixing to and we will confirm what is needed.

A single lightbox runs from an ordinary socket, so a standard power outlet at your stand is normally enough. What we cannot do is quote a load figure that will satisfy every venue's electrical form. Send us the exact configuration you are ordering and the wording the organiser wants, and we will confirm the draw for your build in writing before you submit the paperwork.

Yes, and it is one of the main reasons people choose SEG. The silicone edge tucks into the channel by hand, so a graphic can be eased out and a new one fitted without taking the frame apart. Keep the old print rolled rather than folded and you can rotate between campaigns using the same box for years.

Yes. The range includes SEG counters and podiums built on the same silicone edge system, so the fabric finish and print quality match your backwall and the whole stand reads as one piece. Order them together and we will put every element on a single proof so you can check the branding lines up across the wall, the counter and the podium.

A velcro pop-up uses a concertina frame with fabric panels that attach with hook-and-loop, so it collapses fast and is very forgiving to set up. A tension fabric display stretches a single printed skin over a tubular frame, which gives a smoother, more seamless face. Pop-ups win on speed and repairability; tension wins on looks.

A 3D wall box gives your backdrop actual depth rather than being a flat panel, so it reads as a built structure on a stand. It suits brands that want a more architectural look, or stands where you need the wall to feel solid from an angle. It uses the same printed fabric approach, so it still packs down and travels.

Yes. Alongside straight and curved frames there are S-shaped displays, custom-shaped tension fabric builds, and giant letter and number displays if you want the structure itself to spell something. Anything non-standard goes through as a custom build, so send us a sketch or the footprint you have to work with and we will come back with a design and a price.

Yes — the range includes a pop-up wall with shelves, which turns a backdrop into a working merchandising unit. It suits product demos, sampling and retail activations where you need somewhere to put stock rather than just branding behind you. Tell us what you are displaying and roughly how heavy it is so we can confirm the right shelf configuration.

No — that is a real benefit of the panel system. Panels attach individually, so a single damaged or marked section can be reprinted and swapped without touching the rest. Quote your original order number and tell us which panel it is, and we will match the print to the existing set so the repair is invisible.

Yes, both horizontal and vertical pop-up banners are available, plus a 1x3 pop-up grid display from around $298 if you want a modular block of panels rather than one large face. Orientation changes how your artwork needs laying out, so send us the size you are leaning towards and we will supply the matching template.

For a heavy roadshow schedule, pop-up systems tend to be the most forgiving because the frame concertinas as one piece and the panels are individually replaceable. Tension fabric looks sharper but the skin gets more handling each time. If you are out most weeks, tell us — we will steer you towards the build that survives the mileage.

Yes, multi-set bundles exist — for example a ten-set stretch fabric bundle at around $1,995 at the time of writing. Bundles suit franchise rollouts, regional offices or anyone kitting out several teams with the same display. Tell us how many units and how many different artworks, and we will quote the set rather than pricing them one by one.

The curve is built into the frame geometry and the fabric is cut to match it, so a curved display is not meant to be flattened out. If you need one stand to work both ways, it is better to buy the straight version, or to buy both skins for the same frame family. Tell us both venues and we will suggest the cheaper route.

Booth kits are configured for 10x10, 10x20, 20x10, 20x20 and 30x20 spaces, running from around $718 up to $3,614 and beyond depending on size and what is included. A 10ft straight exhibit kit sits around $1,830. Those are guide prices at the time of writing — send us your stand number and space size and we will price the exact configuration.

Kits are offered with backwall, shelving and TV-mount options rather than every extra bundled in as standard, so the price depends on which of those you take. When you enquire, tell us whether you need shelves, a screen mount, a counter or lighting and we will send one itemised quote so you can see exactly what each element adds.

Usually yes, but it needs designing rather than ordering off the page. Send us the organiser's floor plan with the column position and dimensions, and we will lay the stand out around it — often by shortening one run or turning a straight wall into an L. You will see the arrangement on your free proof before anything is made.

That is worth planning at the point of purchase. Some frame families extend cleanly by adding sections, while others are built as a fixed footprint. Tell us now that you expect to grow and we will specify a system that can be added to, and keep your artwork on file so the extra panels match the originals when you come back.

A full booth kit arrives in several cases rather than one, because the frame sections, graphics and accessories pack separately. Individual cases are sized to be liftable, but a 20ft or 30ft stand is realistically a two-person job to move and build. Ask us for the packed dimensions and weights for your exact configuration if you are booking a van or drayage.

Often yes, but the limit depends on the frame you choose, and mounts vary by screen. Send us the make, model, screen size and weight of the TV, plus its VESA pattern if you have it, before you order. We will confirm whether your chosen backwall supports it and supply the right bracket rather than a generic one.

Counters and podiums are the usual answer — they give you lockable or screened storage for cables, boxes and coats, which is what most stands actually run out of. They are quoted alongside the kit rather than included by default. Tell us what you need to stow and we will suggest whether a counter, a podium or both is the better buy.

We keep your artwork and print settings on file, which is what makes a later match possible. Be aware that separate print runs on different fabrics can vary very slightly, so if an exact match matters, order the pieces together. If you must split it, quote your original order number and ask us to match to that job rather than starting fresh.

Tell us what the organiser is asking for and we will do our best to supply it. We can provide the layout and dimensions of your stand as designed. If the venue requires formal structural or engineering sign-off, send us the exact wording of their requirement early, because that has to be confirmed for your specific build rather than assumed.

There are several shapes and they suit different jobs. A square tension arch reads modern and frames a doorway cleanly. A C-shaped fabric arch, from around $614, gives a softer sweep. The 3D prism, N-frame and tapered curved arches are more sculptural for a feature entrance. Tell us the width you need to span and the look you are after and we will narrow it down.

Arch party sets are supplied in three to five wall configurations, so you get a grouped cluster of arch panels rather than a single arch. That is what creates the layered backdrop look behind a cake table or photo corner. Tell us the space you are filling and how tall the ceiling is, and we will recommend which configuration actually fits.

Yes, round fabric backdrops are part of the event range and they are popular for birthdays, baby showers and photo corners because the shape frames people naturally. They print on the same fabric as our other displays, so you can have a colour wash, a pattern or full branding. Send your theme or colour reference and we will proof it free.

Artificial floral backdrops are part of the event and party range, so you can order the dressed look rather than buying a plain panel and sourcing flowers separately. If you already have florists involved, a plain printed arch or round backdrop makes a good base for them to work onto. Tell us which way you are going and we will quote accordingly.

It can go outside, but treat wind as the deciding factor rather than rain. An arch has a large surface area, so it needs weighting at the base and ideally a sheltered position. For an exposed lawn or coastal site, tell us and we will suggest either a mesh fabric that lets wind through or a heavier base setup.

Yes, photobooth enclosures are in the range. They give you a contained three-sided or surrounded space rather than a single wall behind the subject, which controls light spill and stops the rest of the venue appearing in shots. Tell us the booth footprint and whether you need an open top and we will confirm the configuration.

Absolutely, and it is one of the most common things we print. Names, dates, monograms, a hashtag or a short message all work well. Because everything is made to order there is no extra charge for personalising rather than printing a stock design. Send the spelling exactly as you want it and check it carefully on the free proof — we print what is approved.

We do not offer hire — everything we make is printed to your own design, so it is sold rather than rented. For a single event that often still works out well, because the frame is reusable and you keep it. If budget is the concern, ask us about the smaller sizes or a plain colour print, which brings the cost down considerably.

Most of our smaller event backdrops and arches pack into a single slim case that fits across a back seat or in a hatchback boot with the seats down. Larger arch sets and wide walls need more room. If you are collecting it or driving to the venue yourself, ask us for the packed dimensions of your exact item before you order.

It is mostly about silhouette and how the print sits. Teardrop flags hold a rounded shape and stay readable in low wind. Feather flags are taller and more tapered for height and movement. Convex and angled shapes give a straighter leading edge and a bolder block of branding. All four print the same way — tell us the look and location and we will advise.

Flags need a fixing appropriate to your ground, and which one you need depends entirely on where it is going — a ground spike for grass, a cross base or water-fillable weight for hard standing, or a wall or vehicle mount. Tell us the surface when you enquire and we will include the right base on the quote rather than sending a spike for a car park.

Print on outdoor fabric holds up well, but any graphic left in constant direct sun will soften in colour over months rather than weeks. If a flag is going up permanently outside a premises, it is worth budgeting for a replacement print each season and keeping the hardware. For occasional event use, expect several seasons out of one flag.

Canopy tents are a bigger build with a heavier frame and multiple printed panels, so they are quoted at around 10 to 12 business days rather than the standard 5 to 7. If you have an event date, tell us at the enquiry stage and we will work backwards to the latest safe order and approval date rather than letting you discover it late.

Yes. Roof panels, valances, half walls and full side walls can all carry print, and you do not have to do all of them — many customers brand the roof and valance and leave the walls plain to keep costs down. Tell us which surfaces you want printed and we will show the whole tent on one proof so you can see how it reads from outside.

Custom patio umbrellas run from around 6.5ft up to 9.8ft across. That range covers everything from a single café table to a wider seating area or a market pitch. Because the print is applied to the panels, branding wraps around the whole canopy rather than sitting on one face. Tell us the table or space size and we will suggest the diameter.

Yes, inflatable arches and structures are part of the outdoor range. They suit start and finish lines, race routes, festival entrances and anywhere you need a big visual presence that one or two people can put up and pack away. They need a power supply for the blower to stay inflated, so check power availability at your site before ordering.

Mesh is the one to ask about. It is perforated so wind passes through rather than pushing against a solid sheet, which reduces load on the frame and fixings — that is why it is used on fences, hoardings and scaffold banners. The trade-off is a slightly softer looking print. For an exposed site, mesh plus proper weighting is the sensible combination.

Yes — fence banners, mesh banners, hoarding and scaffold graphics are all things we print. The main things we need are the finished size, whether you want eyelets or pockets for fixing, and how long it is staying up, because that steers the fabric choice. Send the run length and a photo of the fence if you have one.

Treat short-term outdoor graphics as semi-consumable and hardware as the lasting part. A banner used for a few events, stored dry and rolled rather than folded, will come out fine repeatedly. One left on a fence through a full winter is doing a different job and will show it. Tell us the intended life and we will specify accordingly.

Yes, and it is the most important thing you can send us. Give us the tabletop length and width plus the height to the floor, and say whether you want it fitted and boxy or loose and draped. A cover cut for a 6ft trestle will not sit properly on a 4ft one, so a quick measure before you order saves the whole job.

Yes, both full table covers and runners are available. A runner is a good option when the venue supplies plain linen you cannot remove, or when you want branding without covering a nice table. It also travels in almost no space, which makes it a useful backup to keep in a bag for unexpected stands.

That is exactly what the proof is for. Because a cover wraps a solid shape, the flat artwork has to be positioned so the logo lands centred on the front face rather than creeping over an edge. Our designers lay it out against your measurements and show you the front, sides and drop before printing, so you can confirm placement.

A single fitted cover is cut for one table size, so it will not sit well on both. If your venues vary, a loose draped cover or a runner is far more forgiving and is what we would suggest. Alternatively order two fitted covers with the same artwork — the second is only fabric, since there is no hardware involved.

A counter is wider, giving you a serving or greeting surface with storage behind, and it is what most exhibition stands use for staff to work from. A podium is narrower and taller, better as a single-point feature for a screen, a product or a speaker. Both come in SEG fabric versions so they match your backwall.

Counters give you enclosed space behind the printed face, which is where most exhibitors put bags, stock and cables. Whether it locks depends on the model, and that matters if you are leaving the stand overnight at a multi-day show. Tell us you need it secure and we will confirm which counter in the range suits before you order.

Counter tops are made for the normal working load of a stand — brochures, a laptop, a tablet stand, samples and a card machine. They are not intended for heavy equipment or someone leaning their whole weight on one edge. If you are putting something substantial on it, tell us the weight and we will confirm the model can carry it.

Yes, and it is the cheaper way to run a stand long term. The counter structure stays and just the printed face is replaced, so a rebrand or a different campaign costs fabric rather than furniture. Quote your original order number when you come back and we will match the size exactly to the counter you already have.

Green screens are a stated part of the range alongside photography backgrounds. For keying work what matters is an even, matte, consistently coloured surface with no sheen, because gloss and creases are what break a key. Ask for the matte anti-glare finish and tell us the frame size you need, and we will spec it for chroma use rather than general display.

That is what the matte anti-glare fabric is for. A standard finish has a slight sheen that can pick up a lamp as a bright patch, which is very obvious on video. The matte option diffuses light instead, so it stays even under studio lighting. If the backdrop is primarily for filming, ask for matte — it makes a visible difference.

Our display fabrics have a wrinkle-resistant finish and tension over the frame, which pulls most creasing out on its own within a few hours. For camera work, set up the day before where you can, or run a hand steamer over any stubborn lines. Storing the print rolled rather than folded is the single best thing you can do.

Ask for blockout fabric if that matters. A standard white can allow some light through from behind, which lifts the background unevenly if there is a window or a lamp behind the frame. Blockout has an opaque layer that stops it, giving a consistent white you can light deliberately. Tell us it is for a studio and we will specify blockout.

For full-length shots you need enough height to keep the frame edge out of shot above the head and enough width to allow for movement — an 8ft height is usually the practical minimum, and wider is better than taller if you shoot groups. Tell us your ceiling height, your lens and how far back you can stand, and we will recommend a size.

Yes, and it is a very common order for studios. A flat colour, a subtle gradient or a texture all print the same way as branded artwork. Give us a colour reference — a code, a swatch photo or a similar image — and we will proof it so you can check the tone before it is printed at full size.

For a studio in constant use, fabric has real advantages: it does not tear or crease permanently the way paper does, it can be washed, and it packs into a bag rather than needing a roll. Vinyl gives a harder surface that wipes clean but shows creases and shine. Tell us how often you change setups and we will point you to the right one.

Tell us you need a floor sweep and we will design for it rather than supplying a wall panel that stops short. The usual approach is extra height so the fabric can run down and out along the floor, which removes the horizon line behind the subject. Mention your ceiling height and how far out you want the sweep to extend.

A curved or straight tension fabric display works well because it fills the camera frame behind two people, sets up in minutes and packs away if the room has another use. Go for matte to avoid lamp reflections, and keep branding off-centre so it is not hidden behind a head. Tell us your room width and camera distance and we will size it.

Resellers and trade are the bulk of what we do — roughly two thirds of our customers sell on to someone else, so nothing about your enquiry will look unusual to us. It shapes how we work: free 2D proofs you can put in front of your own client, free design support, delivery to whatever address you nominate, and pricing agreed with you rather than published. Just tell us you're trade.

Because they aren't fixed — trade rates depend on the products, sizes, quantities and how often you order, so a published table would be wrong for most people who read it. The prices on the site are the retail figures anyone can buy at. Send us a list of what you typically need and we'll come back with your rates in writing, so you can build them into your own quotes.

Usually close, but we'd rather re-confirm than promise. Quote the original order number and we'll price the identical spec again — same size, same fabric, same finish — and tell you in writing what it is now. Figures move with materials, quantity and shipping, so a year-old price isn't something to pass to your client unchecked. If only the graphic changed, you're reprinting fabric onto a frame they already own.

Yes, that's a completely normal arrangement. We bill you and ship to whatever address you give us — a venue, a stand builder or your client's office — and you stay the point of contact throughout. Give us a name and mobile number for someone on site who can sign, since carriers deliver Monday to Friday between 9am and 5pm. Tracking is issued on dispatch so you can watch it land yourself.

Yes — ask for it and we'll keep you with one contact. Regular trade and corporate buyers are looked after by a named rep who knows your specs, your agreed pricing and your client history, which saves you re-explaining a job every time. Email sales@backdropsource.com to get set up, or call us on +1 650 614 1888. Artwork can still go straight to the proofs team to keep proofs moving.

Yes — the billing country and the delivery country don't have to match. We ship worldwide, mostly with UPS and DHL, and we run local storefronts across the US, UK, Australia, New Zealand, Canada, India and Mexico. Two things to settle first: tax treatment depends on where it's delivered and on your tax status, and any import duty is charged by the carrier on arrival. Ask and we'll confirm both in writing.

Plenty. We've been doing this since 2004 — 21-plus years — with over 100,000 custom products delivered and customers across 10 countries. Every job starts with a free 2D proof, nothing goes to print until it's approved, in-house design support is included, and displays arrive complete and tool-free. If your client wants specifics for a sign-off pack, tell us what they're asking for and we'll put it in writing.

Yes, that's a common corporate setup. Give us the display, the size and the artwork once, and we'll agree pricing and put it in writing so each office or franchise can order the identical spec without renegotiating anything. Because the artwork is already approved, repeat builds move through quickly, and each site gets its own delivery address and tracking. Ask us to keep your approved proof on file for next time.

Yes, tell us roughly what you're bidding on and we'll give you a working figure. As a starting point at the time of writing, step and repeat media walls begin around $278, an 8.2ft SEG fabric media wall is $938, and trade show booth kits run from about $718 to $3,614 and up depending on size and options. Once your spec firms up we'll replace the estimate with a written quote.

Send us exactly what the venue is asking for and we'll confirm in writing what we can provide. The fabric we print on is fire retardant, which answers most venue questions, but the specific certification a hall wants varies from place to place, so we'd rather check against their wording than hand you a document that doesn't fit. Get the requirement to us well before your install date.

It stays with you, so you decide. Polyester graphics are worth keeping as a spare or a backdrop for internal use rather than discarding — a superseded design still works for a staff photo wall or a training room. If it is genuinely finished with, check local textile recycling rather than general waste. Frames should always be kept and reskinned.

Displays ship in cardboard outer packaging with the graphic protected inside, and the cardboard is recyclable through normal channels. Keep the carry bag and any protective sleeve — they are part of the product and you will want them for storage and travel. If you need packaging details for a waste return, tell us what the form asks for.

Send it over and we will work through it. Questionnaires vary enormously in what they ask, so the honest answer is that some sections we can complete immediately and others need checking before we commit to an answer in writing. Give us the deadline as well as the document, because these often arrive with very little time attached.

Repairable, and that is central to how these systems are designed. Frames are modular aluminium, so a damaged tube, connector or foot is replaced individually while the rest of the display carries on. That is better for cost and for waste than treating a display as disposable. Send a photo of the part and we will identify it.

Tell us exactly what the venue is asking for and we will do what we can. We can confirm how the display is built, its weight, its footprint and that it is freestanding and tool-free, which covers a lot of what these forms want. Anything requiring formal structural sign-off has to be confirmed for your specific build, so send the requirement early.

Buy hardware once and rotate fabric. Choose frame systems you can reskin, keep every frame and case, and order graphics only for each new campaign. Where possible design one wall that works across several events instead of a dated one per show. Keeping your order numbers together makes reordering fabric to exact sizes straightforward.

Yes — there are eco-friendly and PVC-free fabric options in the range, including a 600D eco polyester used where a tougher material is needed. Tell us the wording of your client's policy or the specific thing they are asking you to avoid, and we will point you to the fabric that satisfies it rather than guessing at what will pass.

Since 2004, which is over twenty-one years of doing this specific thing. In that time we have delivered more than 100,000 custom products. That matters practically rather than just as a badge: it means the sizes, the fabrics and the frames have been through thousands of real events, and the advice you get is based on what has actually worked.

We operate across ten countries with dedicated regional storefronts, including the United States, United Kingdom, Australia, New Zealand, Canada, India and Mexico, and we ship worldwide beyond that. Ordering through the site for your region generally means pricing in your currency and support in your time zone, which makes proof approvals and deadlines much easier to manage.

A person, not a form. Enquiries are handled by a regional team member who takes your requirement, gets a designer to produce your free proof, and stays with the order through to dispatch. If you would rather deal with the same named contact on every order, say so and we will set that up — it makes repeat work considerably faster.

Five things get you a firm quote almost immediately: the finished size you need, the product or a link to something similar, the delivery address, the date you need it in hand, and your artwork or logo if you have it. If you are missing the artwork, ask anyway — we can quote and produce a proof from a rough brief.

That is genuinely the easiest enquiry to handle. Describe the event, the space you have and what you want people to see, and we will suggest the product rather than expecting you to pick from a catalogue. Photos of the venue or a previous stand help enormously. There is no charge for the advice or for the proof that follows.

You will hear back from a regional team member who confirms the specification and price. If artwork is involved, a designer produces a free 2D proof for you to check. Nothing goes to print until you approve it, and production starts within twenty-four business hours of that approval. You then get a dispatch date and tracking when it ships.

Ask and we will send relevant examples. It is far more useful to see a stand of your size for your kind of event than to browse everything, so tell us the event type, the space and roughly the look you are after. If you have seen something elsewhere you like, send a photo — we can usually tell you how it was built.

Leaving proof approval too late. The production clock starts when you approve, not when you pay, so a proof sitting unapproved for three days moves your delivery by three days. The second most common is measuring the display rather than the graphic area. Both are easy to avoid if you tell us your event date at the very start.