非内照式SEGファブリックディスプレイ

Choose non-lit when the hall or room is already well lit, when the display is a background rather than the focal point, or when your budget is better spent on width than on brightness. Non-lit frames are lighter to carry, simpler to set up and have nothing electrical to fail on site. Lighting earns its keep in dim halls, evening events and busy aisles where you are competing with neighbouring stands for attention; in a bright, naturally lit hall the difference is far smaller than people expect.

No, and that is a genuine saving. A lit stand needs a 13A supply ordered through the organiser or the venue's appointed contractor, booked in advance and paid for per show, plus a decision about where the drop lands on your stand plan. A non-lit SEG display needs none of that, so it can sit anywhere on the stand, including against a shell scheme wall with no cable route. Exhibitors at regional venues such as Manchester Central often find this alone justifies the non-lit specification for a small stand.

A thin silicone strip is sewn around the whole perimeter of the printed fabric. The frame carries a matching groove, and the strip is simply pushed into it with your fingers, gripping under tension so no clips, poppers or hook-and-loop tape are visible. Removal is the reverse: lift one corner out and peel the edge free. The only real care point is not to yank the fabric out at speed, because that is what eventually pulls the silicone strip away from the stitching.

It can. A single layer of printed polyester is not fully opaque, so a bright window, a lit neighbouring stand or a strong overhead source directly behind the wall will lift the darker areas of your artwork and wash out contrast. Where the display is double-sided, or where you cannot control what sits behind it, specify a blockout fabric with an opaque inner layer so neither ambient light nor the reverse print ghosts through the face.

On a non-lit display, depth is about rigidity and appearance rather than light diffusion. The 60mm profile is the lightest and least obtrusive and is well suited to panels within a shell scheme bay. The 80mm profile is the general-purpose middle ground for typical 2.5m and 3m runs, and the 120mm profile is the stiffest, holding a wide span straight and giving the display more physical presence when seen edge-on from an aisle.

Yes, the system is designed for it, and this is how the wider walls are built. What matters is planning the joins before artwork is produced: each panel takes its own graphic, so there will be a visible vertical line where two panels meet. Set the joins where they will do least harm, away from logos, faces and headline text, and keep panel widths consistent so the rhythm looks deliberate rather than accidental. Also check the floor is level, because an uneven surface shows up as a stepped join.

Store the fabric folded loosely or rolled rather than packed under other kit, and keep it dry, since polyester takes a set from pressure and moisture. Light creases from folding usually relax within an hour of being tensioned in the frame. If a crease persists, use gentle steam or a low iron on the reverse of the fabric, never directly on the printed face, and follow any care guidance supplied with your order.

Use the 0.85m or 1m wide SEG Fabric Media Wall rather than a nominal 1m panel. Shell scheme bays are rarely a true metre of clear width once the uprights, corner posts and any wall thickness are accounted for, so a graphic cut to the nominal figure will not seat. Measure the actual internal opening on your stand plan, allow a small tolerance at each side, and send those dimensions with your artwork so the panel is made to the space that actually exists.