How to Prepare Artwork for DTG Printing

Direct-to-garment printing is different than screen printing. Here are a few considerations when you’re working with images for DTG. These instructions were written to Adobe Photoshop users, but many of these methods can also be used in other raster graphics programs such as Corel Photo Paint.

Be aware of your limitations DTG printers print with the standard colors cyan, magenta and yellow (CMYK). When you convert a great-looking digital file from RGB to CMYK, many colors go “out of gamut,” meaning they can’t be reproduced exactly using just CMYK. DTG colors can be duller – especially spot colors – than a typical screen print. If the customer is used to seeing a bright scarlet screen print on a white shirt and you then do the same job with DTG, the red won’t be as vibrant. It is your job to try and make it up with adjustments.

Saturation can be increased from 10 to 20 points for DTG images. This will help the colors pop.

Select the correct file type You don’t need a JPG file that has a white background. Just as with screen printing, you can’t make a proper underbase when the file has white (or a shirt color) around the image. Learn how to remove backgrounds so there’s transparency around the image. Most raster image processor (RIP) software for DTG has features to “knock out” the background. There’s also a lot of inexpensive third-party software that can do this.

Adjust your image resolution. Images that have 72 dpi resolution are often very small. Go to Image/Image Size to increase the size of the image from 72 dpi to 300 dpi. This minor improvement will eliminate “jaggies” and smooth the edges.

Low-quality JPG images can be improved If the image was a low-quality JPG file, you might see “artifacts” and “blocks.” Unlike screen printing where such imperfections might show up in the final print, these problem areas may not be as noticeable on a DTG image. To improve your JPG image or remove boxes and artifacts from the file, there are inexpensive JPG enhancement software that you can download off-the shelf.

Improve your color saturation. This is an important issue. This is a big deal. Go to Image/Adjustments/Hue Saturation and move the Saturation slider up about 10 to 20 points. Don’t overdo it – just get the colors to pop a little.

To improve contrast, you can also use the Tone Curve. What I refer to as an S Curve, I love it. This darkens shadows and highlights, and makes a big difference to a flat image. Go to Image/Adjustments/Curves.

The image should be sharpened. Photoshop offers a powerful Sharpening tool that will enhance the edges and improve the quality of your image if used properly. Go to Filter/Sharpen/Unsharp Mask (don’t let the name fool you) and start with a setting of Radius 1.0, Threshold 6.0 and Amount 250. Next, move the slider Amount up or down. To see the effects, make sure Preview is turned on. However, you should always move the slider back and forth to change the image.

Black and white should be used in the same area. It is common for what looks like solid black and white to appear on the monitor to not actually be true. Open the Info Panel (Window/Info) and stick it somewhere so you’ll never close it. I use this panel all the time – it reads density levels. The eyedropper tool is available in most panels. Place it over any areas you believe to be dead black. The RGB level of dead black is 0. Any reading other than 0 means you won’t have dead black in that area. The result will be a dark gray. You can do the same with white areas. The color of dead white can be represented by 255 levels RGB. Your RIP will attempt to add a little color at these areas if you get a different reading. Tone Curve can help you adjust the color in these areas.

Scott Fresener is a veteran of the textile industry and co-author of How To Print Shirts For Fun And Profit. A popular speaker at trade shows, he runs the website www.T-BizNetwork.com. Reach him at [email protected].