Question 1

Can you use DTF printing on cotton single jersey?

Accepted Answer

Yes, cotton single jersey is one of the best bases for DTF. The transferred film bonds well to natural fibre and the print survives repeated washing if the pressing is done correctly. Choose a jersey of roughly 160–200 gsm, combed or carded, properly heat-set and free of softener build-up or water-repellent finishes.

Typical pressing is around 150–160 °C for a few seconds at medium pressure, but the exact values come from the film and powder supplier. Always test on an offcut from the actual production lot, not on a sample from a different batch.

Question 2

Does DTF work on cotton-polyester blend jersey?

Accepted Answer

Yes, DTF works well on cotton-polyester blends such as 60/40 or 50/50, and it is often the safer choice compared with other direct methods. The film does not depend on fibre type, so it avoids the aggressive dye bleed you can get with direct printing on polyester.

On blends with a high polyester share and dark colours, keep the press temperature as low as the adhesive allows, because disperse dye can still creep up through the film. Ask for a test on the same shade, then leave the sample for 24 hours before judging whether whites have yellowed or turned grey.

Question 3

Can DTF be used on 100% polyester without colour change?

Accepted Answer

It can, but temperature needs care. Polyester dyed with disperse dyes can release colour under heat, and that colour travels into a white or light print and stains it. The risk is higher on dark shades such as red, navy and black.

Practical measures: a low-melt thermoplastic powder, short pressing without excess heat, films with a migration barrier, and a 24-hour test at about 60–70 °C before bulk production. If the design is white on black, ask the fabric supplier to confirm that the fabric is dyed with disperse dyes that have good sublimation fastness.

Question 4

Why does DTG printing need pre-treatment?

Accepted Answer

Pre-treatment is a liquid applied to the print area that stops ink from spreading into the fibres and helps white pigment ink cover properly. Without it, colours look dull, edges turn fuzzy and, on dark knits, the print is almost see-through.

It is applied by spray or machine and then dried in a heat press to flatten raised fibres. The amount matters: too little gives patchy results, too much leaves a visible stiff rectangle around the design. On light-coloured fabrics with plain CMYK ink, some printers use a light coat or none at all.

Question 5

What is the best fabric for DTG printing?

Accepted Answer

The best base is 100% cotton with a smooth surface and short fibres, preferably combed or ring-spun, in single jersey of about 150–220 gsm. DTG ink is water-based and needs cellulose to bond properly, which is why cotton gives the most vivid colours.

Blends with more than roughly 20–30% polyester give weaker and less durable results, and pure polyester is not suitable. Avoid very hairy or fluffy surfaces, because loose fibres show through the print. A singed or well-finished jersey holds finer detail than a standard open-surface one.

Question 6

What is the difference between plastisol and water-based screen printing ink?

Accepted Answer

Plastisol is a PVC-based ink in plasticiser that cures with heat at about 160 °C. It sits on top of the fabric, covers dark colours well and is easy to work with, but the hand feel is thicker and more plastic-like. Water-based ink soaks into the fibre, gives a soft and breathable feel, but covers less and needs careful control of drying.

For logos on promotional tees and hoodies plastisol is the standard. For premium tees on light cotton, water-based or diluted pigment inks give a vintage look without the film feel.

Question 7

What is discharge printing?

Accepted Answer

Discharge printing uses a water-based ink that breaks down the dye in the fabric within the printed area and, if it contains pigment, replaces it with a new colour. The result is a print with almost no hand feel, as if it were part of the fabric, and very soft.

It only works on 100% cotton dyed with dischargeable dyes (usually reactive) and does not work on polyester or high-polyester blends. The final colour varies with the base shade and the dye lot, so ask for a test on the actual fabric. Do not promise an exact Pantone match without a trial.

Question 8

What is puff printing and which knit suits it?

Accepted Answer

Puff is a screen-printing ink with an expanding agent that swells under heat and creates a soft raised relief, like fine foam. It suits stable knits from about 180 gsm upwards, such as heavy single jersey, french terry and 3-thread fleece. On thin or very stretchy knits it can crack or distort the fabric.

Curing must follow the ink maker's temperature and time, because expansion depends on both. Avoid fine details: lines thinner than about 1–2 mm lose their shape. Puff on polyester needs an ink with a migration barrier.

Question 9

What is high-density printing and how does it differ from puff?

Accepted Answer

High-density is a thick ink applied in layers that gives a hard raised relief with sharp edges and a smooth surface, like a rubber stamp. Puff, by contrast, expands under heat, has rounded edges and a slightly porous texture.

High-density suits geometric logos and large lettering on stable, compact fabrics such as hoodies and heavyweight tees. It is not recommended on very stretchy or thin knits, because the thick layer does not follow the stretch and may crack or lift. Washing at 30–40 °C inside out extends the life of the print.

Question 10

Is sublimation only possible on light-coloured polyester?

Accepted Answer

Yes. Sublimation transfers disperse dye into the synthetic fibre, so it only works on polyester or on surfaces with a polymer coating. It does not bond to cotton. Because the dye is transparent it adds colour over the base rather than covering it: on white it gives vivid colours, on black or dark shades the print essentially disappears.

For good results use white or very light polyester with at least 95–100% polyester content. On 65/35 blends the result is pale and uneven, with a washed-out look. For sportswear and all-over designs sublimation is the core method.

Question 11

What is dye migration on polyester and how do we avoid it?

Accepted Answer

Dye migration is the movement of disperse dye from polyester fabric into the print layer on top, especially white or light colours, under heat or during storage. It shows up as a pink, grey or yellow tint on white.

We avoid it with low-bleed or blocker inks for screen printing, curing at the lowest workable temperature, fabric dyed with disperse dyes of good sublimation fastness, and a heat test. Migration can appear after a few days in a warm warehouse, so do not rely only on checking the print immediately after production.

Question 12

How does rotary pigment roll printing work on knitted fabric?

Accepted Answer

Rotary printing uses perforated nickel cylinders, one per colour, through which pigment paste with binder passes onto the continuously moving fabric. Drying and curing at roughly 150 °C follow. It is the economical method for large lengths with repeating designs.

Advantages: low cost per metre at volume, good light colours and an acceptable hand feel. Limits: weaker coverage on dark grounds, lower rubbing fastness than reactive printing and a limited number of colours. On knits the fabric must be stabilised in width without tension, otherwise the design distorts.

Question 13

What is reactive roll printing and when is it worth it?

Accepted Answer

Reactive printing uses reactive dyes that bond chemically with the cellulose in cotton, followed by steaming and washing. The result has a very soft hand feel and good wash and rubbing fastness, with intense colours.

It is worth it for cotton or viscose, for large orders with floral or artistic designs, and where wash quality matters. The cost is higher than pigment printing, the process is longer and shades require lab dips. It is not suitable for polyester. For small quantities digital printing is usually more practical.

Question 14

What is digital roll printing and for which quantities is it used?

Accepted Answer

Digital roll printing works directly from a file, without screens or cylinders, using inkjet heads over advancing fabric. It suits small and medium runs, designs with many colours, gradients and photos, and quick sampling.

The ink depends on the fibre: reactive or acid for cotton and cellulosics, disperse for polyester. The cost per metre stays stable regardless of colour count, but for very large volumes rotary printing becomes cheaper. Always ask about usable print width, fabric pre-treatment and the possibility of colour matching.

Question 15

What does repeat size mean in an all-over print?

Accepted Answer

Repeat size is the dimension of one complete motif, across width and along length, after which the design starts again. It determines fabric consumption and how motifs fall on the cut pieces.

A large repeat, over roughly 30–40 cm, needs careful cutting with motif matching and creates more waste. A small repeat is more forgiving. On knits the repeat can vary slightly with fabric tension, so agree a tolerance before ordering. For rotary printing the repeat is tied to the cylinder circumference, so ask for the file with the repeat confirmed.

Question 16

What is the difference between printed fabric by the metre/kg and printing on cut pieces or garments?

Accepted Answer

Printed fabric is produced on the roll and then cut, so the design flows across the whole piece (all-over) and the cost per garment falls with volume. Printing on cut pieces or finished garments is done piece by piece or on cut panels, for logos and placed graphics.

All-over printing on fabric is profitable for medium and large runs, but cutting uses more fabric and motifs need matching. Garment printing allows small orders, several designs on the same fabric and size variants, but it cannot cover seams and edges. Choose according to quantity and design.

Question 17

Can you embroider on single jersey without distortion?

Accepted Answer

You can, if you use the right stabiliser and moderate stitch density. Single jersey is stretchy and soft, so the needle can pull the fabric, and dense thread causes puckering and a pouchy effect around the logo.

Use cut-away stabiliser, ballpoint needles, reduced density and light hooping tension without stretching the fabric. On thin jersey below about 140 gsm, large embroidery is risky; a small chest logo or a print is preferable. Combed and stable jersey behaves better than loose, lightweight knit.

Question 18

How do you embroider on pique (polo) fabric?

Accepted Answer

Pique has a textured surface, so embroidery is done with a stabiliser, usually medium cut-away, plus a water-soluble topping film so the thread does not sink into the texture. Without topping, small lettering gets lost.

For polo chest logos, avoid details smaller than about 4–5 mm. Choose stable pique of roughly 180–220 gsm with an even structure. Very soft pique or pique with elastane distorts easily. Also check whether the fabric was pre-washed before embroidery, to avoid shrinkage after the logo has been stitched.

Question 19

How do you embroider on fleece or hoodie fabric?

Accepted Answer

Fleece and hoodie fabric embroider well, because the material is thick and stable. The issue is the pile or loops on the surface, which can swallow the thread. That is why a water-soluble topping goes on top and a cut-away stabiliser underneath.

Use thicker needles, such as 75/11 or 80/12, and medium density. On french terry embroidery holds very well and is typical for chest and sleeve logos. On brushed 3-thread fleece fine detail gets lost. Avoid placing embroidery directly over thick seams or over a pocket without extra stabiliser.

Question 20

What is the difference between cut-away and tear-away stabiliser?

Accepted Answer

Cut-away stays permanently behind the embroidery and is trimmed around it, while tear-away is torn off after stitching. On knits you should generally choose cut-away, because the fabric stretches and needs permanent support, otherwise the embroidery distorts after a few washes.

Tear-away suits stable woven fabrics and light designs. On thin knits use a light cut-away, a no-show or mesh type, so it is not visible and does not irritate the skin. On heavy fabrics, two layers of stabiliser give a cleaner result.

Printing & decoration

Can you use DTF printing on cotton single jersey?

Does DTF work on cotton-polyester blend jersey?

Can DTF be used on 100% polyester without colour change?

Why does DTG printing need pre-treatment?

What is the best fabric for DTG printing?

What is the difference between plastisol and water-based screen printing ink?

What is discharge printing?

What is puff printing and which knit suits it?

What is high-density printing and how does it differ from puff?

Is sublimation only possible on light-coloured polyester?

What is dye migration on polyester and how do we avoid it?

How does rotary pigment roll printing work on knitted fabric?

What is reactive roll printing and when is it worth it?

What is digital roll printing and for which quantities is it used?

What does repeat size mean in an all-over print?

What is the difference between printed fabric by the metre/kg and printing on cut pieces or garments?

Can you embroider on single jersey without distortion?

How do you embroider on pique (polo) fabric?

How do you embroider on fleece or hoodie fabric?

What is the difference between cut-away and tear-away stabiliser?

What is HTV (heat transfer vinyl) and which knit is it applied to?

What knit weight is best for screen printing?

What fabric weight suits DTF?

Why can a silicone finish affect print adhesion?

How do you test print durability through washing?

Can you print on melange knit fabric?

Why does a print crack on knit fabric with elastane?

What file format and resolution are needed for DTF or DTG?

How should colours be specified for printing: Pantone or CMYK?

Which printing method for small runs: DTF or screen printing?

Which is better, DTF or DTG?

Should knit fabric be washed before printing?

Why is a white underbase needed on dark colours?

Can you print on rib knit?

How do you print on french terry or 3-thread fleece with a brushed back?

How does the binder in pigment ink affect print hand feel?

How is foil printing applied to knit fabric?

What should you know about reflective and glitter prints on knit?

What press settings are used for DTF: temperature, time, pressure?

What do hot peel and cold peel mean in DTF?

What is rub fastness of a print?

How many washes does a DTF print last?

Is it better to print before or after garment washing?

How do you print with water-based ink on a dark ground?

Why is a print test (strike-off) important before bulk production?

What is the maximum size and recommended placement of a print on a t-shirt?

Why do shiny marks appear after heat pressing?

How do you print on thin knit without the ink showing through?

What is flock printing and what does it suit?

How many colours can be screen printed and how are gradients done?

Embroidery or printing for uniforms and chest logos?

Why does an all-over print look crooked on knit fabric (skew)?

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