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Two mechanisms are used. A pillowcase graphic is a sewn sleeve pulled over the assembled frame and closed with a zip along the bottom or one side; the sleeve is deliberately cut slightly smaller than the frame, so putting it on stretches it. A silicone edge graphic has a strip sewn into the border that pushes into a groove in the extrusion, tensioning the print as each edge is seated. Neither relies on you pulling hard: if a skin needs real force, it is either the wrong size or the frame is not fully extended.

Work through the causes in order. First check every frame section is fully extended and locked, as a single joint short of home takes the tension out of a whole run. Second, check how the graphic was fitted: starting on one side and working across leaves the fabric off-square, whereas seating all four corners first and then the mid-points spreads the load evenly. Third, consider the skin itself, since polyester that has been repeatedly over-stretched at one corner will eventually hold that distortion permanently.

Print both sides only when both sides are genuinely seen, such as an island stand or a wall standing in an open gangway. Where you do, the fabric needs an opaque or blockout construction, otherwise the reverse image ghosts through and both faces look muddy. On many stands the better answer is a printed front and a plain reverse in a brand colour, which costs less, looks deliberate, and avoids the alignment headache of getting two images to sit correctly on one sleeve.

Backlit walls light the graphic from behind rather than washing it from the front, so the fabric must be translucent and the frame has to hold the LEDs far enough back for the light to even out before it reaches the print. That has consequences for the design: very dark, heavily inked areas block the light and can look patchy, while lighter tones glow. Backlit walls also need a power supply booked with the organiser, which is easy to forget when you are used to a passive fabric wall.

Square-corner frames finish in a crisp right angle, which matters when the wall butts against another wall, sits in a corner plot or forms part of a run of panels, because a rounded edge next to a straight one shows as a gap. Rounded pillowcase corners are more forgiving of small fitting errors and give a softer look for events and photography. Decide by what the wall touches: anything joining another surface wants square corners.

Usually, provided the new skin is made for that specific frame. Measure the frame itself rather than the old graphic, because a skin that has been in service for a while may have stretched and will give you a false reading. You also need to know which attachment system the frame uses, as a silicone edge graphic will not fit a pillowcase frame and vice versa. Photograph the frame profile and joints and send the images over if you are unsure which system you have.

Wash cool with a mild detergent, no bleach and no fabric softener, then hang it to dry rather than tumbling it. A useful trick is to refit the graphic while it is very slightly damp, as the tension of the frame pulls the last creases out as it dries in place. Store it folded loosely in a bag of its own, away from heat and away from anything with a sharp edge, and vary the fold lines between shows so you never build a permanent crease in the same spot.

An L-Shaped Fabric Banner Display covers two sides of a corner plot from a single structure, so you get a continuous branded surface instead of two walls that never quite meet. A 180-degree curved wall wraps the back of an open stand and pulls people in from either side. Where visitors circulate around you, as they do in the wide gangways at somewhere like Farnborough International, a Modular EZ Cubic Fabric Tower or triangle module reads from every direction and takes up very little floor.