Free design proof on every custom order: no templates, no stock SKUs
Static cling material sticks to a smooth surface like glass using nothing but static electricity. No adhesive, no residue, no permanent bond. Applied to the inside of a window, it's printed to read correctly from outside, which makes it a natural fit for storefront promotions, real estate signage and seasonal displays that need to come down and go back up without damaging the glass. Removable and reusable as long as the surface stays clean.
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Static cling material holds to glass through electrostatic attraction rather than adhesive. Press a clean, dry cling against a smooth surface and it stays there on its own, without a strip of glue anywhere on the material. That's the core difference between a cling and a standard vinyl decal: nothing bonds permanently to the surface, so a cling comes off cleanly whenever it's no longer needed, without leaving a sticky outline or peeling paint behind it.
A single-sided cling is printed on one face and applied to the inside of a window so it reads correctly to people looking in from outside. That setup suits anything meant to broadcast a message outward: a storefront sale announcement, a real estate sign in a house or office window, seasonal retail graphics that rotate every few months, or a vehicle window advertisement viewed by people outside the car. Because the cling isn't glued down, none of those uses require worrying about adhesive residue on rented or leased glass. A real consideration for a storefront tenant or an agent who doesn't own the property.
Clings come in two base materials worth knowing about. Clear static cling film lets light pass through around the printed design, which keeps a window from looking blocked out and works well when only part of the design needs to be opaque. White static cling is fully opaque, giving colors more punch and making the design pop the way it would on paper, at the cost of blocking more light and view through the glass behind it. Which one makes sense depends on how much the design relies on strong, saturated color versus how much visibility through the glass still matters.
Because a cling relies on close, even contact with a smooth surface to hold its static charge, it performs best on clean, flat glass free of dust, film or old residue. It's not a great match for a heavily textured or curved surface, and won't hold as reliably in extreme heat, which can soften the material's grip over time. For the storefront window, retail display and short-run signage uses it's built for, though, a static cling offers something a permanent decal can't: a message that goes up fast, comes down just as easily, and can be swapped for a new one the next time the promotion changes.
When ordering, deciding between clear and white stock up front, along with how often the message is likely to change, are the two details that shape everything else about the design.
A cling is a vinyl film that holds to smooth glass by static and surface contact rather than adhesive. That single property is what defines the product: nothing is left behind when it comes off, it can be repositioned freely, and it can be peeled off at the end of a season and stored flat for the next one. The trade is grip. It will not hold on anything textured or porous.
Will it stay up on its own? On clean, smooth glass, yes. On textured plastic, painted surfaces or dusty glass it will not, that needs an adhesive product.
Clings are viewed against whatever is behind the glass, which is usually daylight. On clear film that makes a white underbase essential wherever a color must read as solid. Without it, process inks go translucent against the light and the artwork looks washed out. On white film the material provides the opacity, at the cost of the see-through effect.
Why does my clear cling look faded? A missing white underbase. Tell us which elements must read solid and we lay white behind exactly those.
Glass has two sides and a cling can be applied to either, which changes how the artwork is prepared. Applied inside, facing out, the design is reverse printed so it reads correctly from the street and the film is protected from weather and tampering. Applied outside it prints normally but is exposed. That decision has to be made before artwork, not after.
Do I need to supply mirrored artwork? No. Tell us which side it goes on and which way it reads, and we mirror it in prepress and show the correct orientation on your proof.
Clings are cut to a rectangle or to a contour following the artwork, and because there is no adhesive they can be lifted and repositioned as often as needed. That makes storage part of the specification: kept flat on their backing liner between seasons they last for years, while a cling folded into a drawer creases permanently and will not lie flat again.
How do I store them between seasons? Flat, on the liner they came on. A folded or rolled cling creases permanently and will never sit flat on glass again.
Material that holds to smooth glass using static and surface contact alone. No adhesive, no residue, nothing permanent. It peels off in seconds, repositions freely and can be stored and reused next season, which is what makes it the standard for anything that changes: seasonal promotions, opening hours, temporary notices and event signage.
Is it as secure as an adhesive sticker? No, and that is deliberate. It stays put on clean glass but comes away easily, which is the point, and also its limitation.
Tell us the glass and which side it goes on before choosing. Those two answers decide the material and the artwork orientation together.
A white ink layer printed behind selected elements on clear film. It is what makes artwork read as solid rather than translucent against daylight, and it is the single most common omission on clear clings.
Artwork mirrored so it reads correctly through the glass when applied to the inside face. The glass then protects the print from weather and from anyone picking at it from the street.
The cling cut to the outline of the artwork rather than a rectangle, so there is no visible border on the glass. It is what makes a logo look applied to the window rather than stuck on it.
Each cling supplied on its own liner. This is storage rather than decoration. Flat on a liner they last years, while a folded cling creases permanently and never lies flat again.
Same family, genuinely different jobs. Your current selection is highlighted.
| Cling | From | Build | Order it when |
|---|---|---|---|
| Static Cling | $190 | One face, no adhesive | It changes seasonally and must come off clean |
| Double Sided Clings | $240 | Printed both faces | It must read from inside and outside |
No, and that is deliberate. It holds on clean smooth glass but comes away easily by hand, which is exactly what you want for a seasonal promotion, and exactly what you do not want somewhere it might be removed by someone else.
Smooth, clean, non-porous glass, and little else. Textured plastic, painted surfaces and dusty or greasy glass will not hold it regardless of the material. Clean the glass properly before applying and it makes a real difference.
Yes, and that is a large part of the value. Store them flat on the liner they arrived on. A cling folded into a drawer creases permanently and will never sit flat on glass again.
A missing white underbase. On clear film, process inks are translucent and blend with the daylight behind them. Tell us which elements must read solid and we print white behind exactly those.
Pricing for static cling starts at $190 and moves with quantity, size, material and finish rather than sitting on a fixed list. Setup is shared across the run, so the per-unit price drops steeply as the quantity rises: the gap between a few hundred and a few thousand is usually the significant one. Send the size, quantity and what it has to do and you get a firm figure back, not a range.
There is a practical minimum rather than a hard one. Every run carries artwork checks, a proof and a press setup, so a very small quantity of static cling prices poorly per unit even though we will still make it. If you are ordering a small batch, ask for pricing at two or three quantities at once: the curve usually shows that a modest increase costs very little more in total.
The clock starts when you approve the proof, not when the order is placed, which is the part most people are surprised by. You get a proof first: a digital proof showing the artwork in its correct final orientation, with the white underbase areas marked so you can see exactly which elements will read solid and which will stay translucent. Turnaround after approval depends on the finish: anything laminated, foiled or die-cut adds a stage that cannot be compressed without causing problems later. Tell us the date you actually need them and we will work backwards from it rather than quoting a generic lead time.
Print-ready artwork with bleed and a safe margin, supplied as a PDF, AI or EPS. Photographic elements should be supplied at the resolution the finished size needs, not the resolution that looks sharp on screen. If your file is not print-ready, say so when you order. We would rather fix it before the proof than after the run.
Yes. One face, no adhesive at all is the standard build, and the dimensions around it are yours to set. A size that sits efficiently on the press sheet often costs no more than a standard one, while an awkward proportion that wastes half the sheet does. Ask before you commit and we will tell you whether a small change to the dimensions saves a disproportionate amount.
In most cases they are the same product under a different name: the trade uses several terms for it depending on the region and the supplier. What actually defines this one is the build: one face, no adhesive. Order it when it changes seasonally and must come off clean. If you have seen it called static cling printing elsewhere, describe what it has to do rather than which name you found, and we will match the specification.
Yes. We provide free samples, and on static cling it is worth asking for one, because the difference between clear static vinyl and white static vinyl is obvious in the hand and invisible on a screen. Most orders run on clear static vinyl, but ask for whichever you are weighing up. You also get a free design proof before anything goes to press, so nothing is printed that you have not seen.
The usual choices are white underbase, reverse printing, contour cutting. Finish is not decoration on this product so much as a decision about how long it survives and how it reads in the hand, so it is worth choosing against the job rather than the budget. Tell us where the finished piece ends up and we will say which finish is doing real work and which is only adding cost.
Yes, and that is what almost every order here is. Nothing in this catalogue is a stock item: static cling are manufactured to the specification you give us, with your artwork on them. Send your logo as vector artwork where you have it, since that scales to any size without softening. If all you have is a low-resolution file, tell us and we will say what it needs before it reaches the press.
Yes, and a repeat run is simpler than the first one. We keep your approved specification on file, so a reorder skips the setup decisions and goes straight to production. If nothing about the artwork or the specification has changed, there is nothing to re-approve. Tell us the previous order and we will match it rather than starting the specification again.
Yes. Regalo Print has been producing custom commercial print for businesses across the USA and Canada since 2008, and every order ships tracked. The tracking number reaches you the day the job leaves, not the day it arrives. If you are working to a fixed date, say so when you order so the production schedule is built around the delivery date rather than the other way round.
