Printed and cut vinyl graphics for interior walls, from a single logo behind a reception desk to a full mural run in panels. Media chosen for your wall surface, printed in Ravenhall, fitted by our crews.
A wall decal is printed or cut vinyl with an adhesive back, applied straight to the wall instead of being framed or mounted on board. It can be a cut logo with no background, shaped lettering, or a photographic mural covering an entire wall. Done well it looks painted on: no frame, no shadow line and nothing to catch a shoulder in a corridor.
Made by Melbourne Trade Signs, a large-format print and signage company on Unit 6/43 Orbis Drive, Ravenhall VIC 3023, in Melbourne’s west. Printed in-house and installed Australia-wide. Phone 0415 743 691.
The wall decides whether this works at all. Smooth painted plasterboard in satin or low sheen is the ideal surface and takes vinyl beautifully. Flat and matte paint is chalky and lets go over time. Texture, render and brick need different media and much higher tack, and even then deep texture stays patchy. We would rather tell you a printed panel is the better answer than watch a graphic lift.
Everything is printed at our Ravenhall workshop on Orbis Drive, laminated, then cut and panelled here. There is no minimum, so a single door graphic is a job. Our crews work across Melbourne and interstate, which matters on murals: a big panelled graphic hung by someone who has not done one is where most wall jobs go wrong. Supply-only is fine, with panels labelled and overlaps marked.
This is the part worth reading before ordering. The surface and its paint finish decide both the media we print on and how long the graphic stays where you put it.
| Wall surface | Media we would use | Adhesive | Realistic result |
|---|---|---|---|
| Satin or low-sheen plaster | Standard printed wall vinyl | Removable or low-tack | Excellent, the surface it is made for |
| Flat or matte paint | Wall vinyl, high tack | High tack | Workable, but chalky paint can release |
| Freshly painted plaster | Wait for the paint to cure | Nothing yet | Applied early it bubbles and lifts |
| Light texture or render | Conformable cast or textured media | High tack, heat-applied | Good with the right media and a heat gun |
| Brick and block | Textured media, or a printed panel | Very high tack | Patchy — a mounted panel is usually better |
| Timber, laminate, metal | Standard vinyl | Permanent | Excellent if sealed and clean |
| Wallpaper | Not recommended | Any | The decal holds, the wallpaper peels |
Measure the wall itself and note whatever sits on it: switches, power points, skirting, cornice, door frames, fire equipment. We either cut around them or plan the panel joins to land where nobody notices.
The visible difference between wall graphics is the finish and how the joins are handled. The invisible difference, and the one that matters in a year, is the adhesive under them.
The standard for interiors. A matte overlaminate kills reflection from downlights, resists scuffs at shoulder height and makes the graphic read as part of the wall. Gloss is available but shows every light source and every fingerprint in an office corridor.
Made to release cleanly from sound, cured paint after a few years, which suits campaigns and anything with a known end date. It still needs a proper surface. Removable does not mean it will hold on chalky or freshly painted plaster, and it does not mean reusable.
Where the lease says walls come back as they were, we drop the tack further again. It holds well enough for a few years indoors and peels with far less risk to the paint. Worth specifying up front for serviced offices and anywhere a make-good clause applies.
For owner-occupied sites, gyms and back-of-house graphics meant to stay. It grips harder, survives cleaning better and lasts longer, but expect to repaint when it comes off. On a wall due for repainting at the next fitout, permanent is the sensible pick.
A thicker, conformable film with aggressive adhesive, worked into light texture with a heat gun and a stiff brush. It handles orange peel, knock-down and light render. It will not save you on rough brick, where the honest answer is a printed panel fixed to the wall.
Anything wider than roll width is split into vertical panels with a 20 mm overlap. Hung from a plumbed centre line, the joins disappear at normal viewing distance. We put them on natural breaks in the image where artwork allows and number every panel left to right.
The wall behind the desk is the one people photograph, and a cut vinyl logo gets it done without waiting on a fabricator. It works as the first stage of a fitout and can be upgraded to raised acrylic or metal letters later without touching the paint. Fitout builders often order these with room-name graphics for the whole floor at the same time.
Big type, brand colours and motivational lines across block work, painted plaster and mirrors. Gyms are hard on graphics: sweat, chalk, medicine balls and constant cleaning with strong products, so permanent adhesive and a tough laminate both matter. We would rather build the graphic to survive that than sell a removable film that starts curling at the corners in three months.
Retailers use wall graphics for campaign imagery, product storytelling and department markers, changed several times a year. Removable adhesive on sound satin paint means each change comes off cleanly and the next set goes straight back up. For a chain we print every store in a single run, kit the panels per site, and send crews out store by store.
Tenants want the space branded and the lease wants the walls handed back unmarked. Low-tack film gets both. We keep graphics off freshly painted plaster until it has cured, avoid textured feature walls, and note on the quote what comes off cleanly. It is the least dramatic use of wall graphics and the one most likely to cause an argument later.
Wall graphics get looked at from a metre away and from across a room, so the file has to hold up close. Vector for cut work, generous resolution for anything photographic.
If the mural artwork is not big enough, or the logo only exists as a JPEG, say so early. Redrawing a logo to vector or reworking an image for scale is part of what we do.
Print and laminate happen at Ravenhall, then panels are cut, numbered and rolled artwork-out so they relax flat on the wall. Murals need the laminate to settle before handling, so they are not a same-afternoon job. Tell us the fitout date and we will be straight about it. Collect Monday to Friday, delivered around metro Melbourne and regional Victoria, or freighted interstate in a tube.
It depends on the paint and the adhesive. Sound, fully cured satin or low-sheen paint on plasterboard usually releases a removable decal cleanly with slow, even peeling and a little heat.
Flat and matte paints are the risk, because they are chalky by design and the adhesive can take a layer with it. Tell us the wall is rented and we will drop to a low-tack film that trades grip for a safer removal.
Give fresh paint at least three to four weeks, and longer in cold weather or a poorly ventilated room. Paint feels dry within hours but keeps releasing solvents for weeks as it cures.
Apply too early and the trapped gas has nowhere to go, so you get bubbles and a decal that never bonds properly. It also makes paint damage on removal far more likely. If the painters are still on site, we will book the install later.
Light texture, yes, with the right media. A conformable film with high-tack adhesive, worked in with heat and a stiff brush, settles into orange peel, knock-down and light render and stays put.
Brick and heavy render are different. The adhesive only touches the high points and the graphic eventually tents and lifts. On those walls we would rather print onto an ACM or PVC panel and fix that up instead. It looks better and it lasts.
Not from where people actually stand. Murals print in vertical panels with about 20 mm of overlap, hung from a plumbed centre line so each panel laps the one before it. At normal viewing distance the joins read as nothing.
Up close you can find them, the same way you can find seams in wallpaper. Visible joins come from a rushed hang with panels out of plumb, which is the argument for an experienced installer.
Not reliably. Removable adhesive means it comes off the wall cleanly, not that it goes back on. Once peeled, the vinyl stretches, picks up dust on the adhesive and rarely lies flat a second time.
Small cut letters sometimes survive a careful move. Anything large will not. If a graphic has to travel between sites, a printed panel or a fabric graphic on a frame is the better format.
Satin, low sheen and semi-gloss acrylic on smooth plasterboard, in that order. They give the adhesive a sealed, slightly slick face to grip without being chalky.
Flat and ceiling-grade paints are the worst, because the surface is designed to scatter light and holds a fine powdery layer. Enamel sticks well but can make removal harder. If the wall is about to be repainted, ask the painter for low sheen.
Printed and cut vinyl stickers in any shape you like. The same print and cut process as wall graphics, scaled down for packaging, promotion and giveaways.
See the detail →Anti-slip laminated floor graphics for retail, events and warehouses. Commonly ordered alongside wall graphics when a fitout is branding a whole space rather than one wall.
See the detail →Cut letters with no background at all, for walls, glass and doors. The straightforward option for wall quotes, room names, staff directories and hours of business.
See the detail →Browse the full list on our A–Z of everything we print, or see how this fits into signage in Melbourne.
Send a photo of the wall and rough dimensions. We will tell you what media suits the surface and quote it within two business hours.