In this Deep Dive with Colin, he is diving into the world of Direct-to-Film (DTF) transfers and showing how to properly prep artwork for the best results. When it comes to DTF transfers, everything gets sent to the printer as a PNG file, but there are some important steps to take before hitting send. Colin will walk you through managing color shifts, tweaking designs to make them feel more flexible on garments, and creating halftones for smooth fades. Let’s get started!
AVOIDING THE RGB TRAP
When preparing artwork for DTF, one of the first things Colin checks is whether the colors will print properly. DTF printers use CMYK color mode, so if you’ve designed something in RGB, you might be in for a big surprise when the colors convert. That bright neon green could suddenly look muted!
Here’s how Colin handles it:
- Convert to CMYK early. In Illustrator, navigate to File > Document Color Mode > CMYK. This lets you see any dramatic color shifts upfront.
- Fix color shifts. If colors do change, Colin selects the affected areas and adjusts them to fit within the CMYK color space.
As an example, Colin creates a bright magenta in RGB and then converts it to CMYK. The result? A noticeable color shift! This is when it’s important to work with the client to find a color that translates well into CMYK while still looking great.
THINK ABOUT FLEXIBILITY: LESS INK = SOFTER FEEL
Another important factor Colin highlights is how the design will feel once it’s transferred onto a shirt. Large, solid blocks of ink can make the design feel stiff and heavy on the garment. The more solid the image, the less flexible it will be when worn.
Pro tip from Colin: Thin, open designs make for a much softer, more comfortable print. Take a look at two examples:
- A solid kitten design with no knocked-out areas will feel stiff on a shirt, almost like a patch.
- Compare that to a football design with lots of open space and knocked-out areas—the print will flex better with the fabric and feel much more natural.
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To make designs feel softer, Colin suggests knocking out parts of the design or using the shirt’s color to fill in larger areas. This reduces the “patch effect” and gives the print a more lightweight feel.
FADES AND HALFTONES: PERFECTING THE SOFT LOOK
Fades and gradients look amazing, but DTF transfers don’t handle smooth fades well. Colin’s solution? Turn those fades into halftones, which break the gradient into small dots that print beautifully.
Here’s how Colin creates halftones in Illustrator:
- Step 1: Start with a shape or area that has a gradient or fade.
- Step 2: Go to Effect > Pixelate > Color Halftone and adjust the settings to create halftone dots.
- Step 3: Clean up the design by tweaking dot size and positioning for a polished final look.
Halftones give your fade a printed texture that blends smoothly into the shirt, ensuring a professional and high-quality result.
KNOCKOUT COLORS: LET THE SHIRT WORK FOR YOU
If you’re printing on dark shirts, there’s no need to print every single color. Colin’s trick is to use the shirt color itself as part of the design. For instance, if you’re printing on a black shirt, simply remove the black from the design, letting the shirt show through those areas.
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Not only does this create a lighter, more flexible design, but it also saves ink and gives a more breathable print.
FINAL THOUGHTS
Prepping artwork for DTF transfers can feel a bit tricky, but the extra effort pays off big time. By converting colors properly, creating halftones for fades, and designing with flexibility in mind, you’ll get prints that look fantastic and feel great when worn.
Stay tuned for the next video where Colin will dive into prepping art in Photoshop for DTF transfers!
