Window Design Dimensions

Window Design Dimensions – Printed window films can be an effective way to infuse color and design into otherwise plain glass windows, partitions and doors. In addition to their aesthetic appeal, printed films can also be used to add privacy, control light, improve way-finding, and more. There are several things to consider when specifying window film, and understanding some of the basics will make the process go smoothly and ensure an outstanding result.

We offer a variety of standard window film designs in VisualPro. These are a good “out-of-the-box” solution because they require little input to be specified, and the available samples clearly demonstrate the final product.

If you should specify one of these, you will only need to provide the requested information listed here. For all other window film specifications, additional information may be required, as defined in the Customizing Window Film section below.

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When specifying window film, two sets of dimensions are required. First, the overall height and width of each main glass unit (window, door, etc.). In addition, however, the dimensions for each single window of glass must also be given, as well as those of any mullions or partitions. These are Critical to ensure that the finished film will align continuously over the full section of glass.

Note: Each window will be printed as a separate window film. These include 2″ bleed and must be trimmed to fit by the installer. The material is available up to 61″ in width, so for very wide glass panels, a seam may be necessary. See the Measuring for Window Films section below for more details .

While window films can be applied to either side of a piece of glass, installation is typically done on the side that receives the least amount of traffic and/or exposure to wear. Establishing this surface early is critical because it dictates how the print file will be created. Please see the First Surface vs. Second Surface section below for more details.

If you choose to customize any aspect of a standard window film design or if you would like to produce a different design or piece of artwork than window film, some additional information may be necessary, depending on the result you want to achieve. Understanding the options and their nuances will help you deliver the information efficiently and effectively.

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There are many ways in which white and colored ink can be combined, and each combination will give a different effect. The combinations are:

The opacity of a print on window film is the degree to which the ink completely blocks out light. A high-opacity print allows a lot of light to pass through, while a low-opacity one is very transparent, and allows considerable light to pass through.

White ink is naturally very opaque. Printing hard cover in Wcxhite ink gives a high opacity print while printing a very light screen in white gives a low opacity print. White ink is ideal for controlling opacity. Since white ink prints are more opaque than expected, for best results when personalizing we recommend erring on the lighter side.

Colored inks are naturally translucent (although darker colors are naturally a little more opaque and lighter colors a little less so). This translucent cannot be controlled. For example, a true, bright red has a bit of opacity in it (because it requires a fair amount of pressure ink). When less ink is printed, the result is not a lower opacity bright red, but rather a pink color that is the same opacity as the red. The only way to control the red opacity is to first print a white ink base at your desired opacity.

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Keep this in mind when ordering colors on window films of certain opacities. We can only control the color opacity on window film by adding white ink.

Even at 100% opacity, white ink will not completely block all light. This is especially important when printing text on film where the image can be seen on both sides. It is not recommended to attempt to print a readable text on both sides, because the “back” text from the other side of the film will be visible.

A gradient is a print that starts as one color or opacity and fades to a different color or opacity.

White ink gradients will always fade from one opacity to another opacity (as white ink is only one color).

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Gradients in color inks will always allow light to pass through unless supported by white ink (as the opacity of color inks cannot be controlled).

Gradients that combine both white color inks are possible, but not when fading clear film (ie a gradient from blue to clear while also going from 75% white to clear). White and colored inks graduate at different rates, and it’s almost Impossible to align them in perfect registration.

In a gradient, the transition from white ink to clear unprinted film can be observed, although subtle. If not necessary, we recommend a gradient starting at no heavier than about 75% white and transitioning to no less than 5% white.

Although every installation is unique, there are some basic steps that are almost always required for successful window film applications. Providing accurate dimensions for these will facilitate the ordering process [production] and greatly improve the final result.

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By providing all the necessary dimensions, the artwork can be fitted during production so that once installed, the image aligns well across the various glass panels.

When the required dimensions are incorrect or missing, the artwork may not be properly sized to the panel during production, resulting in a misaligned installation.

Window films can be applied to either side of a glass window, and this is typically determined by which side will receive less exposure to physical contact (for the longevity of the product).

Depending on which side, or surface, of the mirror is chosen, the artwork may be printed as a mirror image so that the image will “read” as intended once installed. It is necessary to determine the surface before the production of a strike-off, to ensure a proper installation.

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The VisualPro team is ready to transform your design dreams into reality. You can contact us today for a free consultation, and we’ll help you get started. Or you can call us at 707-755-7337 and ask for the VisualPro team. In the architectural composition of a building window arrangement, scale and detail contribute to the character and style of a building. The replacement or repair of the windows is inevitable due to their life and conditions in making their homes more energy efficient; It is generally preferred to repair windows. Proper restoration can help enhance and maintain the original design principles of the property.

Applications will be evaluated to ensure that new or replacement windows replicate the appearance, style and design of the property’s original windows to maintain the value and amenities of the Garden City.

Replacement of windows in a different material or the same material that corresponds to the original design of the building (in terms of size, position, glazing bars, mullions, frames, transoms, line of sight etc.) will not require consent.

Materials and finishes in replacement or new windows are important in keeping the details and character. It is strongly encouraged to reproduce the original window material, typically in a wood finish. Alternative materials will be considered if the following design guidelines are followed:

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In addition to making sure you are always aware of future changes and updates to the website, registering with us will allow you to add and manage bookmarks on the site, so the most used areas of the guide are always easy to find. History: Received January 13, 2023 | Reviewed February 26, 2023 | Accepted March 4, 2023 | Published online March 22, 2023

Cite: Shiva Farivar, Shabnam Teimourtash, Impact of Window Design on Dynamic Daylight Performance in an Office Building in Iran, Journal of Daylight 10 (2023) 31-44. https://dx.doi.org/10.15627/jd.2023.3

The design of the windows affects the appearance of the building. In addition, it has a significant impact on daytime performance and visual comfort in interior spaces. Therefore, choosing the shape and position of the window can be a challenge for architects. This research aims to investigate the impact of window design on dynamic daylight performance to improve visual comfort. The research examines five common window forms located in two different positions on the south-facing side. The most common dynamic daylighting metrics in LEED v4.1 are used to investigate spatial daylighting autonomy (SDA) and annual sunlight exposure (ASE). In addition, useful daylight (UDI) is considered as a complementary approach to assess the level of useful daylight. These parameters were examined in three cities including Mashhad, Isfahan and Bandar Abbas, which are located in the northeast, center and south of Iran, respectively. Thirty simulations of each city were performed using the Grasshopper graphic editor as a parametric interface with its plugins, ladybugs and bees for daytime dynamic analysis. The results emphasize that window design has a significant impact on dynamics

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