How Do I Use Sublimation Transfer Markers?

For those who are new to Artesprix Permanent Thermal Heat Transfer Markers,  let’s first start with what they are.    Basically,  this is sublimation ink in a marker,  which means you don’t need a printer to create sublimated products.   These markers are a great option for preserving children’s artwork,  creating a one of a kind craft project and personalizing almost anything that’s polyester or poly coated.    If you’re a great free hand artist,  these markers would allow you to create original works of sublimated art.

Unlike using a sublimation printer and sublimation ink cartridges,  these markers allow art to be drawn on any type of paper and then sublimated on to the polyester garment or poly coated item of choice.  The first step is to make your drawing,  it can be line art or colored in as you prefer.   The next step is to press your drawing onto the item you want to embellish.    You can use an iron (making sure not to use steam and have the iron on its highest setting)  but the best results will probably come from using a heat press.

One little quirk of the process is that the final product is a mirror image,  so any text will need to be reversed in the drawing if it is to come out properly in the completed version of the product.  Stencils or light boxes might be helpful for this part of the process.

Once you’ve completed your drawing,  secure it to the item you want to sublimate with thermal heat tape.   The tape will secure the drawing and ensure it doesn’t move during the transfer process.  Heat tape, rather than regular tape, is necessary since sublimation requires a fairly high temperature.   Make sure to remove any protective covering on the item you’re sublimating as well.

Place the securely taped blank and drawing under a heat source.   For best results, the manufacturer of the markers recommends using a heat press.  As stated earlier,  the temperature,  time and pressure used with the press will vary based on the item being decorated.    If using an iron,  use the highest heat setting with no steam.   You will need to press (hold the iron on the transfer and keep it stationary) for anywhere from one to five minutes.    Mugs can also be put in an oven using a mug wrap.   Remember that you should never leave a transfer under a heat source unattended.

Once the press is complete,  allow your item to cool and carefully remove the transfer.   You should now have a unique decorative item or garment customized with your hand drawn artwork.   Artesprix Markers come in a 10 pack and include the following colors: yellow, magenta, orange, red,  light blue, green, dark blue, purple, brown and black.

5 Tips for Selling Sublimation with Pinterest

For those who may not have heard one of my rants regarding how valuable a tool Pinterest can be for decorators,  I thought I’d recap.   Because Pinterest is about aspiration and ideas,  it’s a great place to sell the work decorators do.   It’s especially great for sublimation because a lot of people don’t know what dye sublimation is or what can be done with it.   Creating boards on Pinterest allows you to essentially create a lookbook or a gallery where your customers can browse,  learn about sublimation,  and get ideas for products they may want to buy for themselves.   If you’re a sublimation business and don’t have Pinterest boards,  you should set some up immediately.   Here are some tips to get the most out of your Pinterest account.

#1Set up a business account –  A Pinterest business account will offer anyalytics and other tools that a regular account won’t offer.  It’s also something you need if you want to offer buyable pins.    Business accounts also allow for advertising,  something a basic account does not do.

#2 – Follow strategically – You’re setting up the accounts to draw in new business and to educate your customers,  so you want to be sure you’re information is getting to the right people.   Figure out who your target market is and where they are on Pinterest and then make sure your information is in those places.    You can have the best boards in the world,  but if they’re not seen by the right people,  it won’t matter.

#3 – A picture is worth a thousand words – Pinterest is all about the visuals,  so make sure you have the best pictures you can possibly take.   While captions and informative descriptions are helpful,  it’s the picture that’s the first introduction to the product.  Make sure that introduction is a good one.

#4 – Educate your customers – A lot of people don’t understand what sublimation is,  so make sure your boards do more than just showcase the products you can create.   Give glimpses of the process and behind the scenes.   Help potential customers understand what dye sublimation is and what it can do.   The more your customers understand what can be done,  the more likely they are to ask you to do it.

#5 – Create boards around a specific theme – If there’s a particular product you like to make,  or a particular market to which you’d like to sell,  create boards that target that theme.   One of the things people do on Pinterest is try to get ideas,  for a party,  for a gift,  for an event and so on.   If you want to do items for family reunions create a family reunion board where you show pictures of families using and wearing your work,  showcase new ideas you have for family reunion themed merchandise,  and maybe even include tips about planning a reunion.   Same for schools or clubs or whatever you might want to target.  Specific boards tend to sell better than general boards,  as you’re narrowing in on a target and providing the info your potential customers need all in one place.

Choosing Sublimation Mugs

By Tom Chambers

As one of the most popular of all sublimation blank items, mugs are available in a variety of styles and rim, handle, and/or interior colors.  But the most common of them all is the omnipresent 11 ounce white “C” handle coffee mug.  These are available from a wide range of manufacturers, distributors, and resellers, in almost as wide of a variety of quality levels.  All of these mugs are not created equal, and if you find some bargain mugs and have problems with image quality, soft coatings, or shape irregularities, any cost savings go out the window.

So just how do you go about the task of choosing mugs to sublimate?  Here are 5 basic tips that will ensure you pick the right mugs.

  1. Buy from a reputable supplier. First and foremost, you want to buy your mugs from someone who has a reputation for selling quality products at a good price, with great customer service in case you do have questions or a problem.   Someone like us here at EnMart.  Yes, I am admittedly biased, but to be fair, there are some other reputable suppliers out there as well.
  2. Mugs should be perfectly round with straight and smooth sides. All mugs have a slight taper or curve to the top rim and bottom edge.  This is to assist removing the mugs from the mold when they are made.  That curve should be very minimal though, with the area between the top and bottom of the mug as smooth and straight as possible, and perfectly round.  That lets your press provide even pressure and heat to produce the best image quality, with full top-to-bottom printing around the entire mug being easily achievable. Lower quality mugs can have uneven sides, larger curves and tapers on either the top or bottom, and can even be out of round.  All these things can make it challenging to get a good print, and nearly impossible to print full top-to-bottom.  If this happens to you, then you are buying the wrong mugs, and should definitely give our high quality mugs a try.
  3. Mugs should always have a hard coating. All coatings are not made equal either, and there’s a big difference in how a hard and soft coating sublimates.  Soft coatings typically require lower temperatures to sublimate, or you’ll wind up softening the coating up so much the paper will stick to the mug to where you may never get it off. Hard coatings, on the other hand, don’t get soft until a much higher temperature, so your paper isn’t likely to stick at all.  Another huge plus is that hard coatings are dishwasher safe, and the images you put onto these mugs will last for years – much longer than any softer coated mugs.
  4. Mugs should always have a smooth, even coating. Inferior coatings may have visible blemishes, or even thin areas in the coating.  You may even see spots where there is no coating, and no coating equals no sublimation.  You want to see a smooth, glossy finish with no imperfections.
  5. Mugs should sublimate with full, rich color. Even if you follow all of the above tips, there is no substitute for sublimating a mug and seeing what it looks like.  Assuming all of your settings are correct and there are no issues with your sublimation system, you should see rich vibrant color similar to the image on your monitor.  If not, you might have mugs with a lower quality coating.

The bottom line is that if you are using the correct settings, proper sublimation ink, quality sublimation paper, and a well made mug press, then you should expect no less than great results when you sublimate your mugs.  If you have light areas of thin color, can’t print all the way to the edge, have poor and dull colors, or any other quality issue, then it might be time to look for a new mug.  After all, the price difference between a soft coated economy mug and a high quality hard coated mug usually isn’t more than a few cents anyway, and that can easily be recouped by eliminating wasted mugs and time, along with gaining a reputation for selling quality products.

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. 

To Draw, or Not to Draw (and with what?) That is the Question….

by Tom Chambers

Of the 3 major stages in the process of creating sublimated goods, the last two are easy to learn and do – pressing with a heat press, and printing your design on your sublimation printer.  Then there’s the first stage, where it all starts – the part where you have to design and set up whatever it is that you want to print.

Yes, sublimation is easy and (almost) anyone can do it.  Designing your artwork?  That is a different thing altogether.  The world of graphics design can be a secretive, wonderful, complex, difficult, and on occasion even a seemingly magical realm of gurus, self-help videos, seminars, and even college level classes.  So where do you start, and which program should you choose?

Full disclosure – I’m biased.  I use CorelDRAW Suite because that’s what I learned 20+ years ago, and I keep using it because I like it, it’s easy (once you know how), and it’s inexpensive for what you get.  I’ve designed everything from custom drawn artwork to full color brochures, magazine ads, and 8’x10′ popup banners in it.  But that wasn’t always so.

In the beginning, I tried to teach myself Corel.  After a couple months I could do some basic stuff, but I wasn’t really happy with what I could (or couldn’t) do.  I struggled with some things until I finally took a series of in-depth classes lasting 4 days.  After that, the sky was the limit and the whole thing became just plain fun.

To do sublimation, your graphics program needs to be able to handle two types of images – vector and raster.  Simply put, vector is clipart-type drawings, and raster refers to images made up of pixels, like photos.

You also need to be able to turn off color management in the graphics program – OR it needs to be able to handle the color correction required for sublimation either on its own, or by using a color profile designed for it.

Here is a list of the 3 most popular graphics programs for sublimation, and the pros and cons of each.

  1. Adobe Creative SuiteAdobe Illustrator (vector) and Adobe Photoshop (raster)

Pros:  This is the flagship, top of the line graphics program suite, with the most features, power, and overall support.  Widely taught in colleges and other institutions and used by many graphics designers everywhere, it’s easy to find classes, self-help books, and videos.  You can literally design everything from magazines to full color banners for skyscrapers; retouch photos, and create original artwork.  This is what made the word “photoshopped” a part of mainstream vocabulary.  Completely control your color output with use of custom profiles, or turn it completely off.  If you can fully master these programs, you will most likely be at the top of the graphics design world.  Versions are available for both PC and Mac.

Cons:  The learning curve is steep and long.  Think Mount Everest here with years of preparation.  You will likely need lengthy training and many classes unless you are gifted that way, have lots of time, and can teach yourself.  The programs and features are complex, and not always intuitive.  Color management and settings are almost as difficult as the programs themselves.  It is expensive, and all recent versions are now subscription based.

  1. CorelDRAW Graphics Suite – CorelDRAW (vector) and Corel PhotoPaint (raster)

Pros:  This suite is probably the most widely used in the decorated apparel industry for a variety of reasons including a more attractive price point, availability in both purchase and subscription models, and being easier to master with a shorter, gentler learning curve.  While possible to teach yourself, classes or videos will shorten that time dramatically.  You can design almost anything in Corel that you can in Adobe, and the tools are more intuitive and easier to work with.  Color management can be turned completely off, or configured in a myriad of custom ways with or without profiles.  Settings are a little easier to work with and more intuitive.  Update:  Available for PCs, and finally as of early 2019, Corel is also available for Mac. 

Cons:  Corel can occasionally act up in ways that will remind you how important it is to save your work often.  Outside the decorated apparel industry, it is less widely used and supported.  It can be difficult to find classes in your area, forcing you to use online classes if you can find them, or self-help options like webinars, videos and books.

  1. Sawgrass Creative Studio

Pros:  This program is entirely web based, accessible from anywhere on most computers, tablets, and even mobile devices, and handles both vector and raster images.  The price is hard to beat as well – free, with the purchase of any Sawgrass sublimation system.  This is probably the best option out there for anyone new to graphics design that wants to get into sublimation as quick as possible.  And because it’s created by the people who brought you desktop sublimation in the first place, it’s designed specifically with that in mind – giving you access to thousands of clipart and graphic images, and templates for sublimation blanks to make everything as easy as possible.  Additional premium content is even available via a paid subscription plan.

Since Creative Studio is web based, it should work on any operating system on Mac, PC, tablet or smartphone, in Windows, Apple, Linux or Android, as long as the browser is compatible.

Cons:  There is almost always a trade off when something is easy – and that’s normally manifested in a lack of more powerful and advanced features.  While this is no exception, Sawgrass has done a great job of combining necessary features with something relatively easy to learn and use.

If you don’t have a stable high speed internet connection, this option may not be for you though, and if you lose internet, you won’t be able to access the program at all.

So which program should you choose?  The simple answer is “the one that you like that does the best job for what you want”.  If I were just starting out today with no experience, I’d probably use Sawgrass Creative Studio, and maybe at some point in the future, switch to Corel.  Any of the 3 options listed are great choices though.  It really comes down to what you feel comfortable with, and how much time and money you want to invest.

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.

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.

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. 

How Many Prints Can You Get From a Kit of Sublimation Ink?

Alternative title:  How Many Prints Could a Printer Print, if a Printer Could Print Prints?
By Tom Chambers

If you really just want an answer to take away and skip reading the rest of this article –  then figure a penny per square inch is what it will cost you for the ink to print sublimation*.  That’s a safe number that you probably won’t go wrong with, and your paper cost is simply the cost of a sheet of paper divided by how many items you get out of it.  If you’d like to know the “why and how” though, then read on.

One of the most common questions I hear at trade shows and over the phone regarding sublimation is “How many prints can I get out of a set of sublimation ink?”  It’s a great question that is asked in all sincerity, but one that is completely impossible to answer.  I will even go so far as to say that anyone that will tell you a specific number of prints in answer to that question either isn’t being truthful or doesn’t understand the question.  Why?   Because everyone and every design is different.  What you print and sell isn’t going to be the same thing that someone else prints and sells, plus you aren’t going to be printing the same exact design over and over again.  To illustrate this, here are a couple of basic examples.

Susie prints full color, full coverage 11” x 17” size paper prints for Vapor Apparel t-shirts on her SG800 sublimation system using extended ink cartridges**.  John on the other hand sells to souvenir shops, florists, does some custom work, uses standard size 8.5″ x 11″ paper on the smaller SG400 system, but prints a wide variety of name tags, belt buckles, ceramic tiles, the ever ubiquitous 11oz coffee mugs, and a few other products – all having different sizes, different types of art, and different levels of ink coverage.

In the two scenarios above, who uses the most ink?  How many t-shirt prints does Susie get vs. John when he prints name tags?  Any effort to answer the question would result in Susie having to print as many pages of a particular full page t-shirt design as she could before the ink ran out, and John printing out pages and pages of name tags until the ink ran out.  And the end result of this particular test would ultimately be useless against any future projections, unless Susie and John only ever printed that one design.  Apples and oranges comparisons like this never work.

The real problem here is with the question itself.  The one people should be asking, and the one that they really want the answer to anyway even if they don’t know it, is “What’s it going to cost me to print something?”  And THAT question has an answer – one that is based on 3 very simple principles and some pretty basic math.

  1. The Coverage Area: How many square inches are in your design?
  2. The Coverage Percentage: What percentage of the coverage area is printed?
  3. Designs Per Page: How many designs can you print on a single page?

Calculating this is a lot easier than it sounds, and the important thing here is to realize that it isn’t necessary to be absolutely precise – some rounding and fairly close guesses are perfectly fine.

First let’s figure out your coverage area.  To do that, take the overall height of the image and multiply it by the width of the image to obtain the area in square inches (or centimeters, if you are using metric).  You can even do circles the same way, just lower your coverage percentage estimate since the “corners” don’t really exist and are empty.

For any mathematicians out there that want greater accuracy with circles, the formula is A = π r2 (take half the diameter, times itself, times 3.14.)

For example, your design for an 11oz mug that measures 3.25” high x 8” wide would be 26 square inches.  Or, a 3” circle ornament or coaster would be 7.1 square inches.

Once you have the square inches in your coverage area, estimate your percentage of coverage based on a visual “best guess” of the amount of that area covered by your design.  Keep in mind that light, pale colors use less ink and are thus considered to be lower coverage, while darker colors are considered higher.  Open areas and white space are zero coverage.  Consider light coverage to be below 40%; medium is 40%-60%, and heavy is above 60%.

Next, multiply the square inches by $0.0075 (3/4 of a cent) for typical medium coverage designs.  For light coverage, use $0.005 (half a cent), or for heavy coverage, use $0.01 (one cent).

Assuming an average medium coverage design, the ink cost of our mug and ornament examples would be rounded to $0.20 cents and $0.05 cents, respectively.

Last but not least, let’s figure out what the paper cost is.  Using 8.5” x 11” paper, you can fit 3 of those mug designs on one page, or 5 of the 3” ornaments.  Based on the cost of a single pack of 100 sheets of our MPRES sublimation paper at $0.14 cents per page, your paper cost is under $0.05 cents per mug, or under $0.03 cents per ornament.

Add the paper cost to your ink cost, and that brings the total in ink and paper to $0.25 and $0.08 for your mug and ornament, and now you know what your items will cost you to print.  That’s it!

*All calculations used in this article are based on the market standard Sawgrass HD series sublimation ink for the Sawgrass Virtuoso SG400 and SG800 series of desktop sublimation printers.  Other printers, inks, and formats may result in different costs. 

**The extended size ink cartridges save approximately 25% in ink cost over standard ink cartridges due to their larger capacity and lower price per milliliter of ink.

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. 

How to Create a Sublimated Patch

Sublimated patches can be a great option for many decorators.   This type of patch is able to support full color designs,  even those with gradients and fades.   Sublimated patches are a perfect option when wishing to add a photo to an item.   Tiny details that may not be easily duplicated in other decoration disciplines will often easily be handled by a sublimated patch.   Sublimating a patch also ensures that the color will last as long as the patch does,  since sublimation ink actually dyes the fabric to which it is transferred.  Clearly,  there are a lot of advantages that a sublimated patch can offer,  and one big decision that needs to occur,  how will your sublimated patches be made.

There are two options for creating sublimated patches,  buy them already made from a supplier,  like EnMart,  or buy or make blank patches of your own and then sublimate those.  Both options have pluses and minuses.

Buying  Sublimated Patches

When you buy an already sublimated patch,  it comes to you completely done.   All you have to do is put it on whatever item has been chosen for decoration.   So there’s not a lot of time involved,  other than the time to create the art,  place the order and then add the patches to the item in question when they’re received.   Artwork,  at least when ordering sublimated patches from EnMart can be fairly simple too.  While we prefer and request vector artwork,  we can work with something as simple as a .jpg.   One potential drawback of ordering premade patches may be minimum requirements.   At EnMart the minimum is 25 pieces per design, size and color combination.    If you’re doing a small job,  that may be more than you need or want to order.   Price can also be an issue when purchasing sublimated patches.   If you have sublimation capabilities,  you may have to crunch the numbers to see if making your own patches is more cost effective than purchasing them already made and sublimated.

Making Your Own Patch

The other option for creating a sublimated patch is making your own,  and there are two ways of doing this.   One is to buy blank patches already made,  and add a sublimated design to them.    The other is to make your own patches from scratch either with a sublimated fabric or choosing to sublimate the patches after they’ve been constructed.   There are costs and benefits for both methods.

If you choose to buy a blank patch,  you will have less of a minimum than you would if you were purchasing a sublimated patch,  assuming you made your purchase from EnMart.   Our blank patch minimum is 10 pieces per size and color combination.  The time invested in production would also be shorter,  as you would only have to print your design and then press it on the patch.    One issue with this method is the fact that designs that go all the way to the edge of the patch would probably not work too well.   Another is the need to purchase extra patches in case you make a mistake.

On the other side of the coin is making your own sublimated patches from scratch.   Here you would need to cut the patch,  create some sort of border,  and also create the sublimated design and add it to the fabric.     This would most likely consume the most production time.  It is also a method that may result in something that looks the least like a professionally merrowed patch,  although that may not matter.    The plus side of this method is that you can make as few or as many patches as you need.

Keep in mind, for either of these options,  you would also need to have a sublimation printer and inks and paper in order to create a sublimation transfer.     That is a cost that needs to be included when calculating what method is the most fiscally sensible for your business.  Creating your own patches may seem to cost less,  but has hidden costs in supplies and labor.

Ultimately the best method for creating sublimated patches is the one that makes the most sense for you.    If you’re working with large volumes and often repeat designs,  than having someone else produce the patches may make the most sense.   If you’re working with short runs of a few pieces,  and only need sublimated patches on an irregular basis,  then making your own could be the best option.    Remember,  the best option is the one that makes the most sense for you and your business.