One long artwork goes in and a numbered run of butted panels comes out. Full sheets print 3mm off every edge with no cutter file; bespoke widths and cut shapes nest onto sheets with register dots and your cutter layers. Panels rise and drop cumulatively where the ground does.
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Panels butt at the sheet edge with a 3mm overhang on full sheets, so the artwork runs through the join without a visible gap or double image.
Set a rise or drop per panel and it accumulates along the run, following the ground level on site rather than stepping back to zero.
Panels that fill a whole sheet print bled off the flatbed with no cutter file at all. Only bespoke widths and shaped panels get register dots and cut layers.
Every panel is numbered and labelled with its size, so the crew hangs them in order without measuring on site.
Panel runs can be built from a spreadsheet of surveyed widths and heights, including header and kicker guides.
Runs up to about 57m are written as native large-canvas .ai artwork at 10% scale, with multi-sheet exports zipped.
A panel that fills the whole sheet is trimmed by the sheet edge itself, so it prints 3mm off every edge on the flatbed and needs no cutting path. Only bespoke widths or shaped panels get register dots and cut layers.
Each step is applied cumulatively, so a run that climbs 40mm per panel keeps climbing along its length instead of resetting. That matches ground level on a sloping site.
Yes. If the artwork came back on the panel template you issued, switch that option on and the run is read as laid out rather than treated as one continuous spread.
Long runs are written as native large-canvas Illustrator artwork at 10% scale so they stay inside the format's limits, covering runs up to roughly 57m, and multi-sheet output is zipped.
Where the joins land, and how butted panels avoid double images.
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