Get Rich Quick With Sublimation

By Tom Chambers

Now that the headline has grabbed your attention, I’m sure you know that there are no “get rich quick” schemes that are even remotely legal, and all earned wealth comes from hard work and creativity, with a little luck thrown in.  Sublimation alone is (probably) not very likely to make you rich either.  So then why bother?

Because sublimation has its own niche – much like embroidery, direct to garment printing, and screen print all belong to separate decoration niches.  Unlike the others however, sublimation only requires a fraction of the startup costs, generally requires less labor, and is a lot easier to learn.  In fact, you’d be hard pressed to find ANY business venture that you could start up for LESS than sublimation that has even close to the same payback potential.

Sublimation, and whether to invest in doing it or not, seems to make for quite the conundrum for some though.  It’s fascinating to me that many people who don’t seem to bat an eye at borrowing or spending thousands of dollars on an embroidery machine, direct to garment printer, or screen print equipment, will suddenly freeze in apparent terror when confronted with the idea of doing sublimation.  It’s almost as if spending money on a sublimation system is somehow the equivalent of lighting a pile of money on fire.  Or maybe they think because it doesn’t cost very much to start out that it can’t really be “all that”.  In reality, nothing could be further from the truth.

Sublimation does things that other decoration methods cannot, although it does come with its own set of limitations, the same as everything else.  Because there is no magic “one size fits all” decoration method that does everything, that’s why you see all those other methods and equipment in use.

For example, screen print is limited to a few colors per image or it becomes impractical, but it is very well suited to large runs and mass production, and works on a wide variety of substrates and products with any color background.  Yes, it IS possible to do full color images but you will typically see a dot pattern and it will not look anything like an actual photo.  A screen print business is also very expensive to start up.

Likewise, direct to garment printing is an expensive investment as well, although you can do full color prints onto garments of all colors without worrying about a dot pattern.  This method is very well suited for one-offs, small quantities, and even some larger orders, but is limited in the number and types of additional substrates that can be used, and can require a lot of maintenance and upkeep.

Embroidery, while long recognized and accepted as a premium product, is a complex endeavor requiring expensive equipment, software, and training, and yet cannot reproduce anything resembling photo quality (although there are some extremely talented digitizers that produce admirable work in this area).  Embroidery is also limited to only substrates that can be stitched – typically items made of fabrics and other similar materials.

With sublimation, there is nothing else out there that allows you to do permanent, full color photo quality printing on such a wide variety of substrates and items.  Basically, if it’s either made of polyester, or coated with a similar type of polymer, is a light color or white, and will hold up in a heat press, then you can sublimate it with any image, artwork, or photo that you can dream up – and it will outlast anything else except possibly embroidery.  That list of sublimatable products includes thousands and thousands of different items, fabrics, and garments, in an almost endless variety of sizes and shapes.

It’s so easy to learn and do that your older kids can even do it as a hobby, or for fund raisers.  Even if it is just for holiday gifts for the family and friends, you can still easily justify the purchase of a system, and then anything else you use it for is just a bonus – especially if you get paid for it.

There is a bit of a learning curve, same as there is with anything – but this curve is more of a gentle bunny slope compared to the black diamond mountain trails of learning that go along with embroidery, screen printing, and direct to garment printing.  Not that you shouldn’t invest in one or more of those too – it’s really all about how many different decoration methods you want to offer your customers, and what you feel comfortable with.

And if you already have a decorating business, here’s why you should add sublimation to it.  Simply put, it makes a great add-on for only a little investment, and offers you a high return rate.  Instead of buying sublimated transfers or referring out that type of work, you can do it yourself, cut out the middleman, and make some of the best margins possible anywhere.  400% or better markups aren’t unheard of with sublimation, depending on your local market environment.

The same as any other business, what you get out of it is directly proportional to what you put into it.  You will need a plan, a market for your goods, and some idea of what that market and those goods would be.  A good place to start is “Top 6 Questions to Ask (And Answer) Before You Buy A Sublimation System”.  Other articles in this blog will provide you with additional valuable information.

Last but not least, as always, if you have any questions, contact us – we’re here to help.

Finding New Markets for Sublimation

It’s a new year,  and since pretty much every business owner wants every year to top the previous year’s sales,  you’re probably thinking about ways to increase your sales in 2019.   One way to increase revenue,  as has been discussed previously in this blog,  is to add sublimation to the decoration disciplines you offer.   Once you’ve added sublimation,  however,  you have to find places to sell the new products you can make.   That’s where this blog post comes in.

First off,  let’s assume that you did your research before you added sublimation,  so you already have some idea of what markets you might approach.   Maybe you’ve visited someone who already had a system to see how it worked,  or you joined a dye sublimation group on Facebook,  or talked to a company that sold sublimation supplies at a trade show.  So you understand what the discipline has to offer and what products might have potential in certain markets.   As with any piece of equipment or software you buy,  it’s always wise to figure out how you’re going to use it,  and how it can be made to pay for itself before you make the investment.

Once you’ve figured out what markets you want to approach,  the next thing to do is figure out how that approach should be made.   If you’re contacting current customers to let them know about new products you can now offer,  it may be as simple as sending out an e-mail.   All that e-mail would have to do is describe the new products that sublimation will allow your shop to offer,  maybe delve briefly into pricing and turn times,  and include a call to action (possible a percentage off their first order) that gets customers to call you to learn more.

If you are approaching a new market,  the approach might go better if it happened in person.    Say,  for instance,  you wanted to approach a local high school to try and get some of their team or club business.   One way to do this would be to find out who the buyer is for a particular organization you want to approach,  or if there is a buyer who handles all this sort of business.   Once you know who to approach with your pitch,  set up an appointment.  Do not show up unannounced.  Nothing can be more off-putting to people than someone trying to sell something who obviously does not respect anyone else’s time.

Once you have your appointment,  make up samples you can take with you.   Obviously, samples should be made that reflect the kind of merchandise you think the club will want,  as well as showcasing the best work that you can do.  Include a simple one sheet that details pricing,  turn times and art requirements.   Be prepared to leave your samples as well,  so they can be shown to other decision makers in the organization.

After the appointment,  send a follow up e-mail saying thank you for the time that was given to you,  and restate how you can be contacted if there are further questions.   If you were given any kind of information about when the organization might be making a decision,  let them know you’ll contact them on that date.   And then make sure to contact them when you said you would.   Don’t expect them to follow up with you.

The main thing to remember is that you’ve added a new decoration discipline to your shop because you’re excited about the possibilities for new products.  Make sure you share your passion and excitement about what can be done with sublimation with your potential customers.  The more excited about the prospects that you are,  the more excited your customers are likely to be come,  and customers that are intrigued and excited about possibilities are more likely to buy.

Happy New Year!

EnMart will be closed on Monday, December 31 and Tuesday, January 1,  in honor of the New Year.   We wish all our friends and customers a happy,  prosperous and productive 2019.

We will re-open on Wednesday, January 2, 2019

Set Up for Sublimation Success in 2019

The end of the year is typically a time when people,  and businesses, take a moment to examine where they’ve been and to determine where they want to go in the next year.   Since 2019 will be here very shortly,   we wanted to take a few moments to talk about a few things a company could do to set up for sublimation success.

The first thing to think about is whether or not you want to make any large equipment purchases.   If you make those purchases before the end of 2019,  you can deduct the full purchase price from that year’s taxes.   Which means that buying a sublimation system or a heat press could net you a nice tax deduction as well as getting you equipment that can help make your business more profitable.

The next thing to do is take a look at the markets available to you.  Is there something you can do to increase your share of a market in which you already sell?   Working to increase market share should be your first goal, since you already are serving the market and presumably understand what customers in that market segment want.   Now is the time to update your literature,  examine what samples or sales pitches are working best in this particular market,  and to set your sales goals for the next year.

Once you’ve dealt with markets you already serve,  the next question is are there markets which might be interested in products you offer,  but to which you don’t sell?  It’s always good to have a few potential markets in your sights,  since no customer or market segment is ever a sure thing.   With new markets,  do the research to figure out what products might be of interest.  See if you have any contacts who can introduce you to key players in the new market.   Spend some time on social media to learn how the market communicates and what’s important to your potential customers.   Once you’ve gathered your data,  put together some samples and literature targeted to this new market.   The more targeted your pitch is,  the more likely you are to gain entry into the new market and an array of new customers.

Third,  look at the new products that are available from your suppliers.   Obviously,  you should have a slate of tried and true favorites that you offer,  but adding new products,  particularly products your competitors might not sell can be a great competitive advantage.   Visit your suppliers websites,  look out for e-mails advertising new products,  and pick a few to introduce to your customers in the new year.

Fourth,  pick something new to learn.   Maybe you’ll go to a seminar at a trade show.   You might listen to a podcast or a webinar.   There are always workshops available.   The idea is to pick something you’d like to learn or to add to your business and get the skills necessary to do what you want to do.   The method doesn’t matter.   The education does.

Finally,  identify your pain points and make a plan to fix them.   In 2018,  where did your business have issues?  Was it difficult to find new employees?  Did production times leave you scrambling to complete orders?  Were employees absent,  ghosting you or producing product at a snail’s pace?   Did you find order tracking was in chaos and no one knew what was supposed to be done when?  There are a variety of things that might need to be fixed;  the trick is to pick one or two and concentrate on getting the assistance,  finding the information,  or making the policy or personnel changes necessary to fix them.

T’was the Night Before Christmas – Sublimation Version

EnMart will be closed on Monday, December 24 and Tuesday, December 25 in honor of Christmas.   We wish all our customers and friends the happiest of holidays and the merriest Christmas possible.

While we’re gone,  I figured I’d leave you with this parody of T’was the Night Before Christmas with a sublimation theme.  I first wrote it in 2011 and it’s become something of a holiday tradition.

Twas the night before Christmas and all through the shop
All the printers were printing and going non-stop
The pressers were pressing with all of their might
For presents, for Christmas, were needed that night

The t-shirts were folded up neatly and boxed
And dreaming of sublimation transfers that rocked
And mamma in her apron and I in the same
Were printing sports jerseys with numbers and names

When out front of the shop there arose such a clatter
I sprang from my work to see what was the matter
Away to the entrance I stumbled pell-mell
Threw open the door and screamed out “What the … bell?”

I clung to the doorframe, exhausted and drawn
Wondering where all the daylight had gone
A miniature sleigh, and Santa, plus eight
Reminded me quickly that orders were late.

The little old driver, that lively St. Nick
Cried, “Bring me those orders, and move them out quick!”
Bring mousepads, bring mugs and t-shirts galore
Bring bookmarks and puzzles and tote bags and more!

Now Printer, you know this, stop looking so ill
There’s children, world over, with stockings to fill
Bring jerseys; bring car flags, and maybe a plaque
But hurry, please hurry and fill up my sack!

I’d never made claim to being an elf,
But found, by St. Nick, I could not help myself
The printers sprayed color, the heat presses pressed
And presents were finished for Santa’s great quest

The last transfer was printed, the last item dyed
When I turned to find Santa smiling by my side
“Printer you’ve done it!” he said with a grin
And his sack started bulging as the last gift went in

Whether mugs for a latte, plain coffee or tea
A puzzle, a clipboard, a box for jewelry
A key chain or shirt with a logo so bright
There’ll be happy children with gifts made this night

How Santa’s eyes twinkled, his belly it shook
As he gave me the kindest and nicest of looks
His laughter was merry, his praise much desired
My gifts had passed muster and were much admired

As I stood in my shop, all the gifts finally made
The stress of the holidays started to fade
Personalized gifts, sublimated, jolly and fun
Would delight gift recipients, every last one

With a wink and a nod Santa sprang to his sleigh
Gave a flip of the reins and was flying away
His bag bulging with presents, his sleigh loaded down
He set off to being joy to every city and town

I laughed as I saw him, that jolly old elf
Flying off with gifts made by my very own self
With his bag full of pet tags and beer mugs and all
I waved as he flew off and then heard him call

Hey Printer, keep working, there’s always next year
And I’ll be returning now never you fear
Until then, keep printing, with colors so bright
Merry Christmas to all, and to all a good night!

Sublimation Issues Made Simple

By Tom Chambers

In my last article, I alluded to a future blog post relating to unacceptable sublimation image quality that was caused by “simple issues”.  Well, here are several simple things that can cause hair pulling moments, sleepless nights, and cost you a lot of money – but are easily checked and corrected.

This is not intended to be an exhaustive list of everything that can happen or go wrong.  It IS however a basic guide to most of the simpler issues that can arise, especially when a user is relatively new to sublimation.

While the list below is written with the Sawgrass Virtuoso series of inkjet sublimation systems in mind, it will apply to many others as well.  It does not, however, specifically address additional issues that can arise with bulk ink systems, aftermarket systems, or generic inks.

Some of the following may seem a bit obvious or even silly, but you’d be surprised at how many times these occur in real life – sometimes even to people who know better.

Issue:  The sublimated image is faint / faded looking / invisible, even though it looks ok on paper.

  • Are you using sublimation paper? Yes, sometimes people will get the idea to save some money and try regular inkjet paper or even copy paper.  Results will vary, but in general you will never achieve good quality results with any paper other than one designed for sublimation.
  • Are you printing on the correct side of the sublimation paper? Most sublimation paper has a printable, coated side which is typically a brighter, whiter color, and a non-printable side that is off white, duller, or even watermarked.  Depending on your printer and its printing path, the paper could need placing either face up or face down.
  • Are you using sublimation ink? Believe it or not, this happens.  Simply put, sublimation requires specific sublimation ink designed for the printer that you are using.  Regular ink will not work.
  • Is your heat press on / fully heated up / actually at the displayed temperature? Always give your press time to warm up to the correct temperature first, and you should also be using a pyrometer to keep tabs on the actual vs. displayed temperature.  Read this article for more in-depth information on that subject.

Issue:  The images printed on paper don’t look like what is on the computer screen.

As long as there are no defects showing in the print, this is usually not a problem.  It is normal for the printed image to look duller, darker, or even have different colors from the image on the screen.  Unlike printing a photo onto regular photo paper for example, during the sublimation process the color also changes and becomes more like what you see on your monitor.  The best thing to do is to sublimate the image first, then compare.  If you have doubts, use a piece of polyester fabric to test on first.

Issue:  The sublimated image has a double image / faint outline or shadow, but the printed image is fine.

This is called “ghosting” and is caused when the paper shifts sideways during sublimation while everything is hot.   Most often, it happens when the press head comes up too fast creating a vacuum that sucks in air, causing the paper to move.  It can also happen when you are removing the paper if you pull it sideways instead of quickly pulling it straight up.  Another possibility is on a draw press, when drawing the platen out too fast.  Be a bit more careful, use heat tape to affix the paper to your sublimation blank, use a tiny amount of a temporary spray adhesive on the paper, or use an adhesive type sublimation paper.

Issue:  The printed image and / or sublimated image has light or dark horizontal lines in it.

Light lines are most often caused by one or more clogged print nozzles, where there is no ink being printed of a particular color.  The first thing you should do is print a nozzle check, and look for any gaps in the lines.  You may see only one, or it could be several.  If you do, run a head cleaning, followed by another nozzle check.  You should see fewer or no gaps.  If there are still gaps, repeat the process and check again.  As long as the number of gaps decrease or change locations, continue this process around 5 times, and by then you shouldn’t have any gaps remaining.  If some gaps remain and are always in the same place after a few cleanings, you may have more serious issues that require a call to tech support.

Dark lines are usually caused by the print head being out of alignment, and to a lesser extent, light lines can point to this as well.  To correct this, follow the procedures for your printer to print and adjust the print head alignment.  This is typically a straightforward process that gives you step by step instructions to follow.

Both nozzle check and print head alignment procedures are usually accessed in your printer driver maintenance area.

Issue:  The sublimated colors don’t closely match what it shows on the screen.

This one is a bit trickier to explain as there are a variety of possible causes and troubleshooting is considerably more involved, and there will always be some slight differences between what you see and what you sublimate, but I will address the most common, easiest to fix issues here.  Where more specific instructions are needed, always refer to the information provided with your particular printer and sublimation system.

  • Are you printing to the correct printer driver? With many printers that use Sawgrass ink, there are two printer drivers for your printer – a virtual printer driver that does the color correction for sublimation, and the actual OEM printer driver for printing.  Frequently, I see cases where the OEM printer driver has been incorrectly set as the default, so the color correction is being bypassed.  Always make sure you are printing to the virtual printer driver instead.
  • Are your printer driver settings correct? A very common issue that is easy to overlook is the settings within your printer driver.  If you’ve customized it for a particular product, and then go to print something else, you may receive surprising results.
  • Are you using the correct color management settings in your graphics software? Another common issue is not following the correct procedure for a particular sublimation system when configuring graphics software.  Be sure to read any instructions about color management settings for your system, graphics software version, and operating system.  Failing to set up your graphics program properly for sublimation can cause unpredictable results with color, since you essentially wind up with multiple programs fighting for control of the color output.
  • Are you using the correct color profile? If color profiles are a part of your system, they must be set up specifically as recommended by whoever provided the profile.  Color profiles are a complex topic outside the scope of this basic article, but suffice it to say that not having them set up correctly or using the wrong one will definitely affect your color output.

If the above doesn’t solve your issue, or if you have questions about anything, feel free to contact us.  We’re always here to help.

Tom Chambers is EnMart’s sublimation guru,  the guide and mentor regarding all things sublimation.   Tom was instrumental in introducing inkjet sublimation to industrial laundries, and has been working with the process since the early days of thermal ribbon sublimation. 

If You Own a Heat Press, You Should Own a Pyrometer

By Tom Chambers

What is a “pyrometer”?

In my last blog post  I mentioned using a pyrometer to verify the displayed temperature of your heat press.  In this article, I want to expand on this device and how to use it, and why I think it is the single most underrated yet vitally important tool you can have in your shop.

Simply put, a pyrometer is a device to accurately measure temperature.  In the context of heat presses, and with the addition of a surface probe, it allows you to verify that your heat press is actually at the temperature you think it is.

If you’re thinking “yeah, right, it probably costs a lot…”  No, it really doesn’t.  And what it does cost, it can save you, the first time you need it.

Why buy a pyrometer?

I’ve lost count of the number of phone calls I’ve received regarding sublimation image quality.  While most of these could be traced to simple issues (more on those in a future post), there have been a handful that were directly related to the heat press the customer was using.  In almost all of those cases, if the customer simply had an inexpensive pyrometer, they could have saved themselves days of aggravation, phone calls, ruined products, and a significant amount of time and money.

Here’s the thing – unless you are very lucky, or the press was calibrated precisely in the factory, the temperature it shows on the display, dial, or gauge is not what the actual temperature is.  As a press ages, that variance will also change.  Digital gauges are the most accurate, but they still have to be calibrated periodically.  Dials or gauges that insert into the platen are notoriously inaccurate.

Ultimately it boils down to one main fact – if you don’t have an accurate method of double-checking your press temperature and you have any issues with the products you are pressing,  you simply cannot determine whether the problem is with your heat press or the product itself.

What kind of pyrometer should you get?

There are two popular types of pyrometers.  You may have even seen the first type, a hand held gun-like device using an infra-red sensor, typically with a laser pointer built in.  Some people think that the laser is the sensor, but it isn’t – it’s only there as a pointer (or to play with your cats).

Those are usually the least expensive, but the problem is that they only work well on things that have no reflectivity, like walls, carpet, ceilings, or dark/matte surfaces.  Since many heat press platens are aluminum (which is somewhat reflective), it will give you a false reading.  Even if you have a coated platen with a dark matte surface that it will work with, it won’t always remain so, and will develop blemishes over time that will alter the readings.

The second type, which is what I recommend, is a hand held unit that looks much like a multi-meter, with the addition of a plug-in surface probe.  In this case, you place the end of the probe against the surface of the heat platen for a few seconds to obtain a direct reading of the temperature.  Because the temperature is measured with a sensitive probe and direct contact with the platen, any color, reflectivity, or blemishes simply don’t matter.

What’s the best way to use a pyrometer?

Heat up your press to whatever operating temperature you need, including setting the pressure and timer.  Draw a tic-tac-toe grid on a piece of paper, and use the surface probe to measure 9 spots on the platen in the same tic-tac-toe pattern.  Hold the probe against the platen several seconds, until the temperature on the display stabilizes.  Write those temperatures down in the corresponding squares of the grid you drew.

Now, run a complete pressing cycle as if you were producing the product of your choice.  As soon as it is finished, take a new set of 9 temperature readings and record those below the first set of numbers.

The difference between the first and second numbers will give you the likely drop in the press temperature during operation, and the differences between the 9 different locations on the platen will point out any hot or cold spots.  You’ll also be able to instantly see if your press has a problem.  Any significant variances (more than 20 degrees F) between the highest and lowest numbers can be a problem, depending on the tolerance the products you are pressing allows.

To set the press to provide your ideal temperature, average the first set of numbers together, then average the second set.  Pick a temp between the two averages, but closer to the higher number.  That should match the temperature recommended for the product you are pressing.  If it does not, then adjust your press so that it does.  You may have to repeat the measurement process above a few times to get it dialed in just right, but once you do it, you should only have to check it periodically.

If your press has a feature that allows it, once you dial in the temp, you can calibrate the temperature display to show that exact temperature.

What’s the purpose of all that?

No press is going to maintain the exact set temperature 100% of the time, since heat energy leaves the platen and goes into your product when you are pressing it, and the press then has to switch on and heat the platen back up.

By using your pyrometer, in addition to knowing exactly what temperature your press is, you are able to set any good quality heat press to compensate for those swings in temperature, and even minimize the variance on less expensive presses.  You also have the added benefit of diagnosing any problems that may be occurring related to heat.

Different manufacturers of presses handle the temperature in different ways, and some of those methods can cause delays between when the platen reaches its set temperature, and when the press turns off the heat, resulting in over-shooting the temperature.  The same thing can also occur on the low end before the press turns back on.  This and other reasons cause variances in temperature.

Good quality presses minimize this variance with various technologies that allow for continuous press operation and even heating, whereas lower quality inexpensive presses are typically made to meet a low price point and usually have temperature swings that can be wide enough to cause you to have to wait between pressings for the temperature to recover along with cold spots in the platen.

This will ultimately improve the quality of your products and save you time and money if you ever have an issue with your heat press, because it will let you pinpoint whether the problem is related to the temperature of the press or not.  Even if the problem isn’t the press – you’ve now eliminated it as an issue, which is something you can tell your product tech support when calling to explain that you aren’t getting the results you should be.  That will save you both some time, helping you get back up and running again quickly.

Tom Chambers is EnMart’s sublimation guru,  the guide and mentor regarding all things sublimation.   Tom was instrumental in introducing inkjet sublimation to industrial laundries, and has been working with the process since the early days of thermal ribbon sublimation. 

Happy Thanksgiving!

EnMart will be closed on Thursday,  November 22 and Friday, November 23 in honor of Thanksgiving.   We will re-open for normal business on Monday,  November 26.

Of all the things we are thankful for this year,  you,  our friends and customers,  are on the top of the list.   We are grateful for your support,  your business and the wisdom and creativity you share with us.

We wish you all a happy and safe Thanksgiving.

Your Heat Press and You

by Tom Chambers

My esteemed colleague and professional writer Kristine Shreve has written much ado about heat presses over the years.  Among those articles are “Buying a Heat Press“, “ Uses for a Heat Press“,  “5 Things to Consider When Buying a Heat Press“, and “A Heat Press Primer“.  I’m sure there are more, and there is a ton of useful information in those articles.

So why am I writing yet another article about a heat press?  Because at some point after you read all the above articles and did all your research, you made the decision and bought a heat press.  Now you have to set it up and learn to use it.  How do you do that?  I know, that may seem obvious and simple, but there’s a bit more to it than just taking it out of the box and plugging it in.  That’s where this article comes in.

Setup

The very first thing you need to do when you receive your new heat press is to open up the manual, read what the requirements are, and do a bit of preparation.  If you have access to the manual before you receive your press, you will be ahead of the game when it arrives.

Before you set it up, you need to have a work area large enough for both the press and the work you will be doing.  If it’s a clamshell, you’ll need enough overhead clearance so the upper platen can be raised and lowered without hitting your knuckles on a cabinet bottom (or anything else).  If it’s a swing-away or drawer press, you’ll need additional space to the side and/or front.  You’ll also need a sturdy table, counter, or dedicated stand to place the press on.

The press should be conveniently located near an electrical source that meets or exceeds the requirements of the press. The electrical requirements will be expressed in amps, volts, and watts in the manual (or on the web site) for the press you bought.

You should make sure that you do not exceed the capacity of your electrical circuit and always plug directly into an outlet, not an extension cord.  Overloaded circuits can cause issues ranging from simply tripping a circuit breaker, all the way up to starting a fire and burning down the building.  My recommendation is that if you don’t know what you are doing here, consult an electrician.

If it is an air operated press, you’ll need an air compressor with enough capacity to supply the press, an air supply line of an appropriate diameter and length, plus any fittings necessary.

Not having appropriate electric and air supplies can also cause issues with the operation of the heat press.

Settings

Once you’ve set everything up, you should familiarize yourself with the features your press offers, especially the controls and how to change the settings.  For example, many presses offer the ability to store presets for various products in memory for easy recall.  This can be a real time saver if you have to press a lot of different products with different settings.

No matter the manufacturer, model, or style of heat press, they all have 3 settings in common.  Those are:  time, heat, and pressure.  Whether you plan to do sublimation, vinyl, transfers, rhinestones, or anything else, every single thing you will want to use your heat press for uses those 3 in varying degrees (bad pun fully intended).

Therefore, you will need to know what those 3 settings should be for whatever you are pressing at any given time, and that the settings will vary widely between products.  Manufacturers and distributors have recommended settings, and you will usually obtain those from your place of purchase.

Of the 3 settings, “time” is most consistent and reliable from press to press.  Typically this is a digital timer that either prompts you to release the press, or automatically does it for you, after your set period of time has elapsed.

You would think that the second setting, “temperature” would be consistent as well, but that is rarely the case.  Most heat presses vary anywhere from a few degrees to 20 or 30 degrees F from their displayed temperature, and this can change as they age.  It is important to know what your actual temperature is, because that directly affects the end results of what you are pressing.

Knowing the actual temperature requires a tool called a pyrometer with a surface probe, and purchasing one will be the best investment you make for your heat press.  It can potentially save you hours of frustration and thousands of dollars in ruined products.

Finally, there’s “pressure”.  On a manually operated heat press, setting the pressure is simply an educated guess.  Heavy pressure means you have to put a good amount of force on the handle to fully close the press.  Light pressure means you only have to put a little force on it.  Some manual presses provide a sensor and graphic display for the pressure, but those should not be taken as precise.  By contrast, an air operated press has an adjustable gauge or dial that shows you exactly how many psi (pounds per square inch) of line pressure is set.

Support

Now you are ready to press.  Follow any additional instructions for your press, but don’t be afraid to experiment either – it’s common to have to make some adjustments to published manufacturer settings as you press different things, and what works on one press may not be exactly the same on another.

It’s usually best to leave your press on even if you won’t be using it for an hour or two.  Turn it off only when you aren’t going to be using it for several hours or more.

Be sure to drain water from any air lines daily, follow any manufacturer’s maintenance recommendations, and keep support numbers handy for any questions or repairs.

As always, contact us with any questions.

Tom Chambers is EnMart’s sublimation guru,  the guide and mentor regarding all things sublimation.   Tom was instrumental in introducing inkjet sublimation to industrial laundries, and has been working with the process since the early days of thermal ribbon sublimation. 

Help! My Sublimation System Has Been Sitting, and I Can’t Print Out!

by Tom Chambers

A not uncommon tech support question I get is “I bought a sublimation system  ___ years ago, and I never opened the box. What do I need to do?”  Another variation is, “I bought a sublimation system ___ years ago, and used it a couple times and then ___ happened and I never got back to it.  What do I need to do? Now it won’t print.”

OK, I know, it’s your money, and you can spend it however you want, but if you have that much money lying around to spend on something you aren’t ever going to use, send it to me instead, and I’ll go on vacation.  I’ll even send you pictures if you want.  Or you can go on vacation yourself, see the world, and enjoy life; donate to a charity or other worthy cause.

Unlike some out there, we don’t want to “just get the sale”.   We want to help you to be successful too. If you are uncertain, do more research until you aren’t. Ask us questions.  If you are still too intimidated, find someone who does sublimation, and if they will let you, work with them for a while for free to learn about it (preferably not a potential competitor in the same area or that could be awkward).  Or consider that maybe sublimation just isn’t for you.

A lot of system purchases are impulse buys.  I was told once several years ago that up to 80% of all sublimation systems purchased were never used, or only used once or twice.  I was recently told that the numbers have improved, but it’s still over 50%.

Look, we sell sublimation systems, and we will happily take your money if you want to spend it, but we’d much rather help you to do what’s right for YOU in YOUR situation for what YOU want to do.

If you have already spent your money on a system and you are still too intimidated to open up the box,  or maybe “life happened” and there are no plans to use the system, I recommend you just sell it on eBay,  Craigslist, Facebook Marketplace, one of your local Facebook yard sale groups, or any of a thousand other venues before you lose your entire investment.  Getting something back is better than nothing.

You’re probably wondering why any of this matters, so to that end, here are some significant reasons not to buy a system and let it sit unopened or unused.

  1. The ink expires. Yes, that’s right, that expensive sublimation ink has an expiration date on the cartridge.  While it won’t magically stop working on that exact date, it is a fact that over time the ink will degrade, the sublimation dye will separate out, and the particles will clump together.  All that is a recipe for clogging up the print heads, lines, and ruining the printer.
  2. Ink dries up. Over time, the ink that is loaded into your printer will eventually dry out if it sits idle, especially if there’s any air in it. The Sawgrass Virtuoso printers are much more forgiving of sitting idle for periods of time – but even those can’t sit indefinitely for months and months or years without suffering consequences.  And other printers?  Good luck getting those working again after sitting unused like that.
  3. Hardware goes bad. Granted, a lower risk than the ink, but all those parts and electronics in the printer – capacitors in particular – age and can go bad after enough time, even if they aren’t being used.
  4. Hardware becomes obsolete. If enough time elapses, even if the printer is still in good condition and would work – it may not be possible to obtain sublimation ink for it any longer.  While Sawgrass does make ink for many models of printers long past their obsolescence date, that support does eventually end.

So what if you have already purchased a system and it is either still sitting in the box, or just hasn’t been used for a long time, and now you want to give it a go?  Regardless of your reasons, there’s no judgment here – we’re here to help.

If you have an unopened, unloaded system you bought some time ago and want to start using now, first check the expiration date on the ink.  If it’s well expired – throw it away and buy a new set of sublimation ink for your printer before you do anything else.  Otherwise, your printer becomes a slot machine in Las Vegas, and that long expired ink could ruin you.

On the other hand, if you have a system that has been sitting loaded but unused for a very long period of time, you have nothing to lose by trying to print again.  The ink is already in it, and either it is bad, or it isn’t.  If it does print correctly right away or after a few nozzle checks and cleanings, you should still check the expiration date on the ink.  If it is well past expiration, replace it immediately, and run a few cleanings to flush the old ink out.

If the print quality is still bad and your ink has expired, you have a couple of choices – either buy new ink and try to revive the printer, or just buy another system.

To help determine which choice to make, run a nozzle check followed by a head cleaning and another nozzle check.  Compare the nozzle checks, and note the position of any gaps.  Repeat the process a few times.  If the gaps are always in the same spot, your head is likely permanently clogged and you probably need a new system.   If the gaps change location, this is a good candidate for trying a new set of ink – but there are no guarantees, and a new system is always a safe bet.

Please contact us if you have any questions.

Tom Chambers is EnMart’s sublimation guru,  the guide and mentor regarding all things sublimation.   Tom was instrumental in introducing inkjet sublimation to industrial laundries, and has been working with the process since the early days of thermal ribbon sublimation.