Custom Printing: “Going to School” on Fabric Printing

As with any other commercial printing technology, there’s more to fabric printing than the online promotional and technical material would suggest. This is not a bad thing. It just requires study.

I’ve been working with a “fashionista” recently, who is expanding her color offerings from a color print book to clothing. (Her initial product is a book of color chips bound with a screw-and-post assembly that resembles a PMS color swatch book. However, instead of choosing colors for graphic design projects, it helps you choose appropriate fashion colors based on your complexion.)

So my client and I have been researching online and brick-and-mortar fabric printers, and in the process I’ve learned a lot:

1. 1. Printing on fabric is not the same as making a garment. The first thing I learned is that many vendors will print your design on fabric, but once this is done, you still have to find another vendor to cut the garment pattern and sew it into a usable product. That is, the end product for many printers is just a roll of printed fabric.

1. 1. That said, some fabric printers do fabricate the garments as well as print the roll of fabric. This is very helpful, and I’m a strong believer in having fewer rather than more vendors in the mix. This is one reason I’m not at all averse to having the printer also provide the fabric (rather than having my client provide the fabric). Suppliers that take a job from computer art file through the inkjet or dye-sublimation printing stage to the fabrication stage are responsible for the entire product, but they also often understand the “transitions” between one stage and the others more thoroughly than those who just specialize in the custom printing process.

1. 1. Of course, there’s also direct-to-garment printing. This seems to be more appropriate (from my research) for smaller-format graphics that will be positioned on the front of a shirt (for instance) rather than across the entire swath of fabric comprising the shirt.

1. 1. In the case of the vendors I’ve approached, printed samples are more than likely based on the art the vendor has chosen (rather than your art file). Actually, this seems reasonable, since loading and processing the digital art file for your pattern takes time, which should be billable. In spite of this, it seems to be perfectly appropriate to request a “solid” and a “print” to see how both will look. Of course, depending on the vendor, you will still be paying for the sample ($25 each in the case of the printer I found), but you can learn a lot about the vendor from the quality of the graphic, the quality of the color, and the quality of the sewing (in my case, my client and I will be paying for two sample scarves, completely fabricated, not just fabric).

1. 1. Printers seem to print on white fabric, not dyed or textured fabric. I’m not sure why, nor am I certain that this pertains to all or even most custom printing vendors. For a shirt, this is not a problem. However, for a garment like some sweaters, portions of the opposite side of the fabric are visible. Perhaps a flap or lapel of a cardigan folds over, exposing what would otherwise be the inside of the garment. If this is white, it might look odd against a darker fabric. This is why my client and I asked about printing both sides or working with pre-dyed fabric. Apparently this is not an option (or is very difficult) with dye-sublimation commercial printing.

1. 1. Furthermore, printers seem to print on only one side of the fabric. This may be due to “print through,” which seems to be the migration of inks through the fabric, providing a lighter version of the print design on the opposite side of the fabric (like “show-through” in offset printing on paper).

1. 1. My client found a low-cost printer (a machine rather than a vendor) that will print on dyed or textured fabric. This particular piece of equipment is called “FabricZoom.” If you’re starting in fabric printing yourself, I’d encourage you to check it out online. The website is http://www.fabriczoom.com/. What makes this unique is that you print using spot colors (mixed colors, such as the match colors you would use for logos when printing conventionally on paper) instead of process colors (those inks that allow you to create multiple colors by spraying jets of cyan, magenta, yellow, and black onto a substrate–like a conventional inkjet printer). Fabric Zoom’s approach makes it impossible to create misaligned CMYK builds. It is also quite affordable at about $2,000+. Personally I’m impressed with the build quality as well. It seems to be substantial and sturdy.

1. 1. Having your own fabric printer doesn’t mean you will produce all your own garments. Think of a $2,000 fabric printer as analogous to your home or office inkjet printer for paper. If you’re designing prototypes of garments, you can try out your designs using the small bolts of fabric you acquire and then hand off a single, completed item to be mass produced by a larger shop. In fact, not having one of these machines is like being a print designer and not having a color inkjet and a laser printer. You’re not as able to visualize your final design of a project when you can’t hold a mock-up in your hand and see how it feels.

1. Follow the equipment. I’ve been personally taken with the Kornit Allegro. I’ve been reading about its dye-sublimation capabilities, and I’ve seen photos of various configurations in which the interim heat press section with calender rollers seems to be missing. Personally, I assume this means the equipment can do both dye-sublimation (on polyester) and inkjet (on cotton). That said, when I see various online fabric printing sites that show this specific Kornit Allegro printer on their pressroom floor, I become a little more interested in that particular fabric printing vendor. It’s like learning an offset printer has an all-Heidelberg shop (one of my favorite offset press manufacturers based on their quality and precision).

What You Can Learn from This Ongoing Case Study

1. 1. Learning something new is a process. My client and I have hit some dead ends. But I don’t think they were failures. I think they were learning experiences, because in each case we collected a little more information about what kinds of products my client wants to offer, and what some potential vendors can do and what they can’t do.

1. 1. Buying a lot of equipment so you can start your own fabric designing business is not necessarily wise. After all, you have to pay for the building, your staff, and the equipment. But having no equipment may not be wise either. In many cases you can buy a small version of the chosen technology to do your own prototypes in-house and then subcontract the final production run. Keep in mind that this still takes money. For fabric printing, the FabricZoom may be a good answer.

1. 1. Always find people who know more about the field you’re entering than you do. If they have no potential for financial gain, all the better.

1. Enjoy the excitement and the novelty. But do read, study, and see everything you can before you put down money. Along this vein, a large-format commercial printing show like SGIA (the Specialty Graphic Imaging Association) might be a good investment of time and funds.

This entry was posted on Monday, November 20th, 2017 at 7:03 pm and is filed under Fabric Printing. You can follow any responses to this entry through the RSS 2.0 feed. Both comments and pings are currently closed.