We have created a library of textile waste facts along with some inspirational images that you can share on Facebook to spread the word and inspire others. Simply click on the image you want to share and it will be posted on your timeline.

Dye sublimation is an incredible method for transferring vibrant, high-quality designs onto various products, but mistakes can happen. If your results aren’t turning out as expected, here are some common issues, why they happen, and their solutions.

My Design Won’t Transfer At All

Why it happens: Sublimation requires specialised equipment. A regular inkjet printer, standard ink, and copy paper will not work for dye sublimation.

Solution: Ensure you are using a sublimation printer, sublimation ink, and sublimation paper. Regular printers and inks are not designed to convert to gas under heat, which is necessary for sublimation.

Image Doesn’t Transfer Properly to Your Blank or Looks Faded

Why it happens: Sublimation ink only bonds with polyester or polymer-coated surfaces. Using cotton or an uncoated material prevents the ink from adhering correctly. This can also occur if the heat press doesn’t reach the required temperature or is not pressed for long enough as the ink won’t fully sublimate.

Solution: Make sure you're using a sublimation-ready blank, typically made from polyester or coated with a polymer-based surface. If you are using a sublimation-ready blank, check your temperature and pressing time. If your press isn’t hot enough or you don’t apply enough pressure, the ink won’t fully transfer. A digital thermometer can help verify your heat press is reaching the required temperature. Check the suppliers recommended settings for the blank or take a look at our Dye-Sub Heat Press Guide for temperature, time, and pressure settings →

Printed Image Looks Faded (Before Pressing)

Why it happens: Sublimation ink is designed to activate under heat, so it looks dull on paper before pressing.

Solution: This is normal. The heat-activated ink becomes vibrant once transferred onto the correct blank.

Print Appears Blurry, Grainy, Dull, or Has Streaks

Why it happens: Low-resolution images and incorrect printer settings or low ink levels.

Solution: Check you are using a high-quality image or graphic to start with. Adjust your printer settings to high-quality or photo mode and turn off any fast print mode. If the item is still dull once pressed, you may have pressed it for too much time or at too high a temperature. Keep your heat press closed for the full pressing time. Opening it too soon can disrupt the transfer, leading to blurry edges or misaligned designs. Consistent heat and pressure are key to a perfect finish.

Extra Ink Marks on Your Print

Why it happens: Stray ink from a dirty workspace, heat press platen, or hands can transfer onto the blank.

Solution: Check your workspace and hands for stray ink. Ensure your heat press platen is clean. If desired, you could try covering the mark on the print to avoid it being transferred with the heat. You can do this using some heat transfer tape or a heat-resistant sheet.

My Image Is Flipped

Why it happens: Sublimation transfers the image directly from the paper to the blank, so it's important to check whether it needs to be mirrored. Failing to mirror your design will result in a flipped image, which means text and directional elements may end up reversed, making the final result unusable.

Solution: Always check whether you need to mirror your design before printing. This is especially important for text-based designs. Not all designs require mirroring. Symmetrical patterns and certain graphic elements can be printed as they are without affecting the final look. Always verify your design before printing to avoid unexpected results!

Ghosting (Design Looks Double Printed)

Why it happens: The transfer paper moves during pressing, causing the ink to shift.

Solution: Secure your transfer paper to the blank using heat-resistant tape and open the heat press in one smooth motion to avoid movement.

Tiny Dots on Finished Item

Why it happens: Dust, lint, or moisture can interfere with the transfer process, particularly on fabric blanks.

Solution: Use a lint roller on your blank before pressing and keep your workspace clean. If working with fabric, pre-press for a few seconds to remove any trapped moisture before applying the design. Always follow the pressing instructions provided for the blank.

Odd Lines in the Print

Why it happens: Low ink levels or uneven heat distribution can cause this issue.

Solution: If the lines appear before pressing, check your ink levels. If they appear after pressing, inspect your heat press platen for uneven heating.

The Transfer Looks Splotchy or Uneven

Why it happens: Humidity or trapped moisture can interfere with the sublimation process.

Solution: Pre-press your blank for a few seconds to remove excess moisture before applying the design. Store paper in a dry environment to prevent humidity-related issues.

Colours Look Overly Dark or Muddy

Why it happens: Excessive time or high heat can overcook the ink, distorting colours.

Solution: Follow the recommended time and temperature for your specific blank to prevent over-pressing.

Some Areas of the Print Look Perfect, While Others Are Faded

Why it happens: Your heat press platen may not be distributing heat evenly.

Solution: Check with a heat gun or heat strips and replace the press if needed.

Ink Is Removed from the Blank When Peeling Off Heat Transfer Tape

Why it happens: This typically happens with double-sided items because the ink has not fully set before peeling off the tape.

Solution: Allow the item to cool longer before pressing the second side. Removing the tape too soon can lift ink that hasn’t properly adhered to the blank.

Why is Pressure Important?

Pressure ensures even heat distribution and proper application of heat transfer materials like heat transfer vinyl (HTV) and dye sublimation prints. Depending on the type of material and transfer you are using, different levels of pressure are required:

• Low Pressure – Used for delicate fabrics, sublimation on hard surfaces, or lightweight transfers.
• Medium Pressure – Common for most heat transfer vinyl (HTV) and standard sublimation prints.
• High/Heavy Pressure – Necessary for thick materials like neoprene, leather, and certain specialty transfers.

How to Measure Pressure on a Manually Adjusted Heat Press

Most manually adjusted heat presses do not have a built-in pressure gauge, so you’ll need to rely on feel and a few simple tests. Here’s how you can determine the right setting:

Step 1: Start at a Loose Setting (Low Pressure)

• Turn the pressure adjustment dial counterclockwise to loosen it. Please note: We recommend checking your user manual for specific instructions on adjusting the pressure dial as it may differ.
• Close the press with minimal resistance. If it shuts easily with one hand and little effort, this is low pressure.

Step 2: Increase for Medium Pressure

• Gradually turn the dial clockwise to add more pressure.
• Close the press again—there should be slight resistance when pushing down, but it should still be manageable with one hand.
• This is typically the right setting for HTV and standard transfers.

Step 3: Set for High/Heavy Pressure

• Continue turning the dial clockwise for higher pressure.
• Closing the press should require significant effort, often needing two hands.
• This is ideal for thicker materials or applications requiring a firm transfer.

Testing Pressure with the Paper Method

A simple way to test your pressure on thin items is by using standard printer paper:

1. Place a sheet of paper inside the press, leaving a portion of it hanging out for access.
2. Close the press and try to pull the paper out.
   • If it slides out easily, you have low pressure.
   • If it offers some resistance but can still be removed, it’s medium pressure.
   • If it’s firmly held and cannot be pulled out, you have high pressure.

Tips for Achieving the Best Results

• Always check your transfer material's recommended pressure settings.
  View our HTV Applications & Pressing Times Guide →
  View our Dye-Sub Heat Press Guide →
• Adjust pressure slightly for different fabric thicknesses.
• For multi-layer HTV designs, use medium pressure to prevent imprinting or distorting previous layers.
• Regularly test your pressure settings to ensure consistent results.

By understanding and properly adjusting your heat press pressure, you can improve the durability and quality of your transfers, ensuring professional results every time.

Myth 1—I need to know how to sew to use an embroidery machine

Reality

It is entirely unnecessary to know how to construct a garment or even a pillow for that matter. Beyond threading the machine and loading a bobbin, there isn't much in common between the two. With embroidery, the machine guides the fabric.

My husband was my first machine operator and he didn't know the first thing about sewing machines or sewing - nor could he tell a knit from a woven! - yet he quickly picked up the technique (after inserting the hoop upside down, a needle backwards, and a bobbin in wrong -very scary considering that machine cost as much as my first house!)

Myth 2—When hooping always stretch the fabric tight as a drum in the hoop and tighten the screw as much as possible for embroidery

Reality

Stretching fabric during hooping distorts most fabrics resulting in puckering once the fabric relaxes back to its natural size when it is removed from the hoop. This puckering is magnified when sewing with polyester thread, especially if your machine tensions are too tight and you are sewing at a high speed. (See article on tensions.)

Exceptions to the no stretching rule include Lycra and other fabrics that are worn stretched on the body, which should be stretched to that degree in the hoop. 

Tightening the screw does not evenly distribute tension around the perimeter of the hoop. In fact, it actually loosens the fabric in the area of the screw! Don't believe me? Try it yourself. Hoop a piece of fabric in a loosened hoop, then tighten the screw. Gently run your fingers over the hooped fabric and you'll notice it feels spongy near the screw.

Myth 3—Use 1 tearaway for wovens, 2 for knits... the thinner the fabric, the heavier the stabilizer... the heavier the fabric, the thinner the stabilizer

Reality

Ahhh, if only it were this simple! However, there are no rules for selecting backings. Your choice should be based on fabric stability and the design selected. For example, sweatshirts are thicker than nylon organza but sweatshirts are stretchy and organza is stable. You may only need stabilizer for organza to keep it from slipping through the hoop since it is so thin and slippery.

Design size and stitch count and/or density also affect stabilizer choice. A low impact design such as redwork or appliqué requires less stabilization than a high impact design. The latter includes designs with registration critical details (running stitch outline) and/or designs with high stitch counts, large fills, layers of stitches (lots of shading and/or highlights), or fills running in many varying angles.

• Tip: if you are new, use cutaway for everything!

Myth 4—Serger thread makes the perfect bobbin thread for embroidery

Reality

As in baking, the best embroidery is achieved when using appropriate ingredients. Bobbin thread for embroidery is:

• The right weight (approximately 60 wt)
• The right strength
• Smooth and slub-free
• Made for embroidery!

Myth 5—A good design sews out perfectly on any machine, fabric, colour, and texture every time. If not, it's a digitizer problem.

Reality

No design sews absolutely perfectly – ever! Embroidery is an art, art is not perfect. Consider, too, that the hoop is moving and the fabric is being distorted by the tension of the stitches pulling and pushing it.

That said, there is obviously a difference between good embroidery and producing a professional looking result, as it is a partnership between the digitizer and the embroiderer. Factors that can affect embroidery quality include:

• Needle can be deflected by previous stitches or the weave of the fabric forcing a stitch to be created
• Thread tensions/jerks can cause a needle deflection
• An old/dull/damaged needle can cause skipped stitches
• Overly tight needle/bobbin can cause gaps and poor alignment, known as registration issues
• Poor hooping techniques can result in fabric slipping during embroidery
• Poor selection/use of backings and toppings can cause gaps and poor alignment
• The wrong fabric/design combination can result in a disaster, at worst
• Textured fabrics and high contrast colours require different digitizing techniques than average fabrics

Proper digitizing is only a small part of producing high quality embroidery!

Myth 6—When outlines are off, it always means a poorly digitized design.

Reality

Reputable companies test their designs (how do you think they get the pictures of their embroidery for their catalogues?) Outlines may be misregistered due to:

• Fabric slipping in the hoop
• Backing breaking down and compromising stability before the outline sews
• Backing not stable enough for fabric
• Needle/bobbin tensions too tight and causing excessive pulling

Solutions

• Test the design on a stable, neutral coloured fabric with the fabric grain running up and down
• Make sure the machine is clean, tensions are perfect, and the needle is new
• Make sure the fabric does not slip in hoop
• Sew on calico, broadcloth, or the fabric recommended with 1 cutaway
• Don't expect perfection but do demand quality
• Needle deflections will cause slight deviations

If it sews well, it is not a design problem.

Myth 7—Always use a size 90 embroidery needle.

Reality

You should use a needle that is large enough to carry the thread through the fabric without damage to either thread or fabric. This means finer threads/fabrics require a finer needle while heavier threads/fabrics use a heavier needle.

I find that for heavy or sturdy fabrics, I switch to an 80 needle with 40 weight thread otherwise I most often use a size 75. I do use an embroidery needle for nearly every project, even when sewing with metallic threads.

Myth 8—Heat-fusible and sticky back tearaways are the best solution for knits.

Reality

Fusible tearaways offer a false sense of security because they will keep the fabric from stretching during the hooping process. However, as stitches perforate the tearaway, it no longer supports the fabric, which will then stretch. Instead, I prefer a light weight fusible cutaway for light weight knits (often combined with a crisp tearaway) and a medium to heavy cutaway with a temporary embroidery spray adhesive for heavier knits.

Myth 9—Looping is caused by poor digitizing

Reality

Looping is caused by maladjusted machine tensions. Looping is usually more problematic in fills and running stitches with stitches longer than 3.5mm. Some home machines are not mechanically capable of longer stitches in fills and compensate by programming in tension. However, this generally only works on designs created in their software; outside or converted designs will not be corrected. (A good reason for choosing a multi-needle embroidery machine!)

Why do digitizers use longer stitches? Longer stitches (greater than 3.0mm) in fills create more coverage with a softer feel, reduces stitch count, and help combat bullet-proof embroidery. Longer stitches may also be the result of enlarging a design.

Myth 10—Bobbin thread pulled to the top is caused by a bad design/poor digitizing

Reality

If you have bobbin thread showing on the front of your embroidery, you have a tension problem. Look for a bobbin thread tension that is too loose and/or a needle thread tension that is too tight. You are most likely to find this more problematic in narrow satin columns and on the edges of fill areas where the stitches reverse direction.

While there are touch-up pens that are great for occasional repairs, the best solution is balanced tensions. You may find it helpful to have a second bobbin case that is adjusted specifically for embroidery. And contrary to some dealers advice, you will not damage your machine if you adjust the tension screw on the bobbin case.

Myth 11—All thread breaks are due to bad (poorly digitized) designs

Reality

While a thread break can occur from digitizing techniques, many occur for other reasons unrelated to the design, including the following:

• Damaged needle
• Old, dry thread, cheap thread or bruised thread from rough handling or dropping
• Particular thread colours some dyes weaken threads more (red, black)
• Rough spot on machine (hook, throat plate) from a needle break
• Poor thread feeding, jerk in thread during sewing

The two most common causes of design-related thread breaks are short stitches (less than 1mm) and overly tight densities (stitches packed too closely together).

Myth 12—All needle breaks are due to bad (poorly digitized) designs

Reality

Like thread breaks, it is possible to break a needle in very thick areas but there are other reasons not related to the design:

• Damaged needle
• Cheap needles
• Needle too small for the fabric
• Overly tight tensions, or a jerk in the thread during sewing can cause the needle to bend and hit the throat plate
• Birds-nest, which is a wad of thread building up under the hoop due to a tension problem

I once broke a wing needle in a fil tire pattern and that was most definitely not a density issue!

Myth 13—Coffee filters, dryer sheets, and freezer wrap are perfectly suited to backing and are more economical

Reality

Once again, quality ingredients produce quality embroidery! The best embroidery results are achieved when using appropriate supplies. Paper products can dull the needle and will not provide stability that proper backings can, while dryer sheets have chemicals that may irritate sensitive skin.

Stabilizers are inexpensive when purchased in quantity and contribute significantly to the final embroidery quality!

Myth 14—You can sharpen dull needles with fine sand paper.

Reality

Yes, believe it or not, I found this gem on the internet on a site dedicated to sewing. Needles are precision instruments that are a critical and integral part of the machine necessary to form proper stitches. Why waste your time? Needles purchased in bulk are very economical.

Myth 15—Testing designs is a waste of time; the designer has already thoroughly tested the design

Reality

The designer tested the design on her machine with her fabric and thread. Even when I personally digitized a design that has been sewn many times in the past, I still retest when sewing it anew. Testing is critical to make sure the design transferred properly to your machine.

Card based machines are more susceptible to corrupted designs when the design has a high stitch count. If there is a power fluctuation (which could be an iron or air conditioner turning on), it may cause the design to transfer improperly. The larger the design, the longer the transfer time and the greater the potential for a glitch.

That your machine is operating correctly (tension check).

The design works well with chosen fabric texture/colour (test for shrinkage!), thread colours, and backing and hooping methods.

Myth 16—When making practice piece, you can use regular sewing or serger thread and any fabric oriented willy-nilly in the hoop, and you can skip the backing. This conserves expensive embroidery supplies.

Reality

Testing this way is a waste of time and resources. The purpose of a test is to make sure that all your selections work together successfully!

Myth 17—Any design can be scaled at least by half or double its original size and still sew with the same quality as the original. The digitizer should guarantee that the design can be scaled any size and with any brand of resizing program.

Reality

If digitizers had to guarantee this you would see pretty boring designs. Beautiful, intricate, and interesting designs are created with a wide range of stitch types and lengths, which can reduce the scalability of a design. For example, if the design has stitches of 1 mm, it should not be reduced in size. Stitches longer than 10-12 mm may cause sewing problems if the design is enlarged. 

You will get the best results if you have the same software in which the design was created, which is quite rare unless you created the design yourself. The next best option is to use a good resizing program that has a stitch processor.

Be aware that some stitch processors will cause the loss of custom stitch patterns in fills. Even with either of these scenarios, the industry guidelines for resizing are no more that 20% up or down. Scaling beyond 20% can result in details that are no longer proportionate, gaps/holes in designs where stitches are not properly recalculated, and outlines not registering properly.

Without a stitch processor, the recommended max is 10% up or down.

Whatever amount you scale the design, know that you are altering that design from the way the digitizer created it and all bets are off, so to speak. Always test resized designs!

Resizing is probably the most oft-made change to a design and while you may think it is a trivial task, it can be quite a challenge when done in foreign software.

Myth 18—Embroidery designs for home machines don't need underlay. (Hard to believe, but this one came from a competitor!)

Reality

Machine type is not a determinant for underlay! Think of it this way: a shed needs support framework as does a mansion. Underlay requirements are primarily determined by:

• Stitch type
• Fabric type
• Desired effect
• Impact of upper stitches on the fabric

Unless a design was digitized in the same software you are using, it is unlikely you will be able to modify the underlay without some digitizing experience, and even then, it's not likely to be easy.

A similar myth I'm now hearing in some on-line software classes is that if a design is too thick, you should just get rid of the underlay to lighten it up. Chances are that if a design is too thick, it is the upper layers of the design that are too dense and/or there are too many layers of stitches in an area.

Removing the underlay is like taking the framework out of your house, it will only make the rest of the structure more shaky. Instead, reduce the density in the cover stitches and create voids (holes) under stacks of elements.

Myth 19—You must use the same brand and colours listed on the colour sequence instructions for the design.

Reality

There are no thread colour police! You may use any brand, any colour but make sure the thread size is the same. You can even interchange rayon and polyester threads without much issue (unless one is used for a special technique). To convert between thread brands, refer to thread colour databases on the web or check your software.

Be sure to test your colour combinations first if the shading is critical, such as in a realistic animal or flower because there will be variations between brands. Note that if you substitute two-colour twist (not variegated), these threads are typically 35 weight and will make your design feel slightly thicker and stiffer if the colour sequence called for 40 weight.

Myth 20—Embroidery is as simple as putting some fabric in the hoop, loading some embroidery thread, and pushing a few buttons.

Reality

Only if you are very lucky! Successful embroidery results require:

• Knowledge
• Patience
• Preparation
• Attention to detail!

Parting comments

Don't believe everything you hear especially off the internet! Be sure to evaluate the source of the information for reliability and experience. Even experienced teachers have learned incorrect information and techniques and may pass them on.

Be sure to use the supplies and accessories made for embroidery. This is the quickest and easiest way to improve your embroidery. Better supplies equals better embroidery, or as they say in the computer world, garbage in, garbage out.”

Always keep in mind that embroidery is a process not an event! Start simple and small so that you can experience success and not frustration. Then proceed at your own pace and try to learn something new each session.

As I always tell my students, make it sew or you won't know. I truly believe there are two kinds of embroiderers: those who test, and those who wish they had!

Practice doesn't make perfect but it does make you faster and better and it teaches you solutions to problems. Don't be afraid of mistakes, instead, use them as learning tools. Some of the coolest tricks I learned were from a mistake!

View all machines →

Dye sublimation is a game-changer for creating custom, high-quality products like shirts, mugs, coasters, mouse pads, ornaments, and so much more! Whether you're just getting started or already an expert, this technique delivers vibrant colours and lasting results.

Using the Brother SP-1

Using the Sawgrass Sublimation Printer

Shop Online:

In this article, we'll explore a technique for using HTV vinyl scraps, allowing you to unleash your creativity and make the most of your materials. Get ready to transform your scraps into something beautiful and functional!

We'll be using the lips design available in our FREE SVG pack 1. This design will serve as the perfect artwork for combining your scraps. Learn how to access your downloads from your Echidna account.

Products Used:

[%SET [@product_skus@]=' E-RHFT, EC-VW-Bundle, E-PAS, VRC24650, E-Rotary28, PT-Turbo, SCHP, SDX2250D, FREE-SVGPACK1 '/%] [%load_template file:'cms/embeds/product_list.template.html'/%]

Firstly, gather all your scraps. It is easiest if all the scraps are the same kind of HTV. For example Poli-Flex Turbo HTV. 

The best scraps to use for this type of project are long and skinny strips. Trim scraps with rotary cutter and quilt ruler if necessary.

Cut a piece of hot fix transfer tape to the desired size for your project, this will be used to hold all the HTV together. Place the piece of hot fix transfer tape on your cutting machine's mat, clear side down, this is helpful to stop the tape from moving while you add the HTV strips.

Remove the backing from the hot fix transfer tape to expose the sticky side.

Place your HTV strips onto the hot fix transfer tape, clear backing side down; be sure not to overlap these otherwise they will not press properly. You can purposely leave gaps if that is the look you desire.

Continue repeating until the exposed hot fix transfer tape has been covered with HTV strips.

Load your design onto your cutting machine, adjust your settings for HTV, and proceed with cutting. For Brother ScanNCut users simply load the .svg into CanvasWorkspace and send it to your machine via Wireless. For HTV remember you will need to mirror the design and turn on the half-cut option. Learn more about cutting HTV with the ScanNCut.

Using your vinyl weeding tool simply remove the excess vinyl, this is known as weeding.

Now to press our HTV creation onto a fabric garment. We will be using a cotton drawstring bag. Place the item onto the press and cover it with your protective applique sheet. Preheat the garment by pressing for 2-3 seconds. Open the press, move the protective applique sheet to the side, and place your HTV scrap creation onto the garment, media side down in the desired location. Again cover with your protective applique sheet and press. The amount of time needed will depend on the HTV used. View our HTV pressing times guide.

Open the press, remove the protective applique sheet and take the garment out of the press. You will now need to remove the two layers of protective backing from the design (one from the HTV and the hot fix transfer tape), exposing the finished design. 

You have now created a one-of-a-kind creation using all your HTV scraps.

When making your own dye-sub blanks, you have two options: you can sublimate the fabric first and then sew it into a blank, or you can construct the blank first and apply your design afterward. Each method offers different benefits depending on the project.

In this article, we’ve gathered a selection of projects that showcase different ways to create and personalise your own dye-sub fabric blanks—perfect for adding a creative touch to your handmade items.

Zipper Pouch

Create a custom zipper pouch using polyester fabric for vibrant dye sublimation designs. Perfect for personalised storage, makeup bags, or travel pouches!

Warning: If pressing dye sublimation after the blank is made, be sure to use a heat-resistant zip—regular zippers may melt under high temperatures.

Learn More

Tote Bag

Design your own unique tote bag for sublimation with durable polyester fabric. Ideal for personalised gifts, stylish shopping bags, or daily essentials!
Learn More

Dog Bandana

Using polyester fabric, create a trendy dog bandana and personalise it with vibrant sublimation designs. A great way to add a personalised touch to your pet’s accessories!
Learn More

Pillowcase

Customise your home decor with a sublimated cushion or pillow. Ideal for styling your space or even as a thoughtful personalised gift!
Learn More

Blank Badge

Combine dye sublimation with embroidery by creating a custom badge blank. Great for patches, uniforms, or decorative embellishments!
Learn More

Looking for Polyester Fabric?

These samples were made using the following white polyester fabrics.

Want to know more about dye sublimation? View our article on Dye Sublimation 101 – A Beginner’s Guide for more insights on how the process works.

Sublimation Printers

The heart of any sublimation setup is a dedicated printer that works with sublimation inks. Popular choices include the Brother sublimation printer and Sawgrass printers, both of which offer reliable performance and excellent colour output. When choosing a printer, consider:

• Project size: Opt for a model capable of printing large designs if needed. Domestic models are available up to A3 size.
• Volume needs: High-capacity printers are ideal for frequent or bulk printing.

A sublimation printer ensures that your designs are accurately reproduced with vibrant, true-to-life colours.

View Sublimation Printers →

Sublimation Ink

Not all inks are created equal, and dye sublimation requires specialised inks that turn into gas when heated. This gas embeds into polyester or polymer-coated surfaces, creating permanent and vivid prints.

• Compatibility: Ensure the ink matches your printer model.
• Quality: Premium inks produce richer colour saturation and better print durability.

Using subpar inks can result in faded colours and uneven transfers, so investing in trusted brands is key.

View Sublimation Inks →

Sublimation Transfer Paper

Sublimation transfer paper acts as the intermediary between your design and your substrate. This specially coated paper holds the ink until heat and pressure transform it into a gaseous state.

• Paper type: Look for paper designed explicitly for sublimation printing.
• Size: Match the paper size to your printer and project dimensions. Using the wrong paper can lead to blurry images or incomplete transfers.

View Sublimation Transfer Paper →

Heat Transfer Tape

Heat transfer tape is an indispensable accessory for dye sublimation projects. This specialised tape helps hold your sublimation transfer paper securely in place on your substrate during the heat-pressing process, ensuring precise alignment and minimising movement that could cause smudging or ghosting.

• Heat resistance: Designed to withstand high temperatures without melting or leaving residue.
• Secure application: Keeps your design exactly where it needs to be during pressing.

Using heat transfer tape is particularly useful for smaller or curved items like mugs, where maintaining alignment is more challenging.

View Heat Transfer Tape →

Heat Press

The heat press is crucial for transferring your design from the paper to the substrate. These machines apply the necessary heat and pressure to bond the ink permanently.

• Flatbed presses: Ideal for flat items like T-shirts, mousepads, and coasters.
• Specialty presses: Mug presses or cap presses cater to curved or unique substrates.
• Adjustability: A press with variable temperature and pressure settings provides flexibility for different materials.

A reliable heat press ensures precise and professional results every time.

View Heat Presses →

Sublimation-compatible Substrates or Blanks

Not all materials are suitable for sublimation. Polyester-based fabrics and polymer-coated items work best. Popular options include:

• Clothing/Fabric: T-shirts and hoodies with a high polyester content.
• Hard goods: Mugs, photo panels, keychains and ornaments.
• Specialty items: Luggage tags, mousepads, and puzzles.

Always confirm that your chosen substrate is compatible with dye sublimation for optimal adhesion and colour vibrancy.

View Sublimation Blanks/Substrates →

Design Software

Designing for dye sublimation doesn’t have to be complicated. Pre-designed graphics or photos are an excellent starting point for most projects, allowing you to achieve professional results without advanced skills. Many websites offer sublimation-ready designs, while beginner-friendly tools like Canva can help you make quick edits or add personal touches.

Some sublimation printers also come with proprietary design software, which streamlines the process of preparing and aligning designs for printing. These tools are particularly useful for first-time users or those looking for an all-in-one solution.

When using pre-made designs, it’s essential to consider copyright laws. Licensed designs are typically for personal use only and cannot be resold. Be cautious of unlicensed or illegally distributed designs, as using them could lead to copyright infringement.

There’s no need to invest in professional-grade software unless you plan to create intricate, custom graphics. For most projects, pre-made designs or basic editing tools will suffice, ensuring you achieve impressive results with minimal effort.

Starting your dye sublimation journey with the right equipment sets you up for success. By prioritising quality and functionality, you’ll enjoy seamless workflows, vibrant prints, and satisfied customers or gift recipients. So, gather your tools, get creative, and watch your sublimation projects come to life!

When sublimating different blanks, several variables can affect your results. Heat press settings can vary between brands and models, just as sublimation blanks may require different conditions depending on the supplier. Because of this, time, temperature, and pressure may need to be adjusted to achieve the best outcome. Testing and fine-tuning your settings for each blank is essential to ensure consistent, high-quality results.

Sublimation requires precision, but with the right settings and preparation, you can achieve professional-quality results. Always use a lint roller on fabric items to remove any dust or fibres that could interfere with the transfer. Remember to remove any plastic film from blanks before heat pressing to avoid melting or damaging your design. By following these tips and adjusting time, temperature, and pressure as needed, you’ll be able to consistently produce vibrant, high-quality sublimation prints.

What is Dye Sublimation?

At its core, dye sublimation is a heat-transfer process that uses special dyes to bond directly with polyester or polymer-coated materials. These materials, often referred to as substrates or blanks, allow the dye to bond at a molecular level. Unlike traditional printing, where ink sits on the surface, sublimation dye converts into a gas when heated. This gaseous dye infuses into the substrate, producing images that are:

• Vivid and vibrant: Rich colours with high-definition clarity.
• Durable: Resistant to fading, peeling, or cracking, even after frequent use or washing.

This makes it an ideal method for creating professional-quality results across a variety of applications.

What Materials Work Best for Dye Sublimation?

In dye sublimation, a substrate refers to the material or surface onto which the design is transferred. The substrate is the final product you are printing on—like a T-shirt, mug, or phone case. However, not all materials are suitable for sublimation.

Sublimation works best on:

• Polyester-based fabrics: Ideal for clothing, quilts, and soft signage.
• Polymer-coated surfaces: Necessary for hard items like mugs, keyrings, phone cases, and metal plaques.

The polyester or polymer coating allows the sublimation dye to bond effectively, resulting in vibrant, long-lasting prints. Materials like cotton or uncoated surfaces won't hold the dye and require alternative printing methods.

How Does the Process Work?

The dye sublimation process is simple yet highly effective, involving three key steps:

1. Design and Print
Begin with your chosen image, whether it’s a photograph, artwork, or a custom graphic. The design software you use will often depend on the brand of your printer, as many sublimation printers come with specific software for creating and formatting designs. Ensure your image is high resolution for the best results. Once ready, print it onto sublimation transfer paper using your sublimation printer and ink.

2. Heat Transfer
Next, place the printed transfer paper onto your substrate—whether it’s a polyester T-shirt, a ceramic mug, or a polymer-coated phone case. Both the paper and substrate go into a heat press, where high heat (typically around 200°C) and pressure turn the dye into gas. This gas penetrates the surface, embedding the design permanently. The pressing time varies depending on the material. For example, transferring onto ceramics can take up to 6 minutes, whereas it might only take 45 seconds for materials like polyester. View our Dye Sub Heat Press guide for a more in-depth look at pressing times →

3. Cool and Inspect
Once the heat press cycle is complete, remove the transfer paper and let the substrate cool. The result? A stunning, professional-grade print that’s ready to use or display.

Why Choose Dye Sublimation?

Dye sublimation offers a range of benefits that make it a standout printing method:

• Eye-Catching Colours: Sublimation ink bonds at a molecular level, creating vibrant, true-to-life hues and intricate details.
• Long-Lasting Results: Sublimated designs are built to last, with no risk of cracking, peeling, or fading over time.
• Versatility: From polyester-based clothing and textiles to mugs, phone cases, and metal signage, dye sublimation is suitable for an impressive variety of products.

Is Dye Sublimation Right for You?

Dye sublimation is a fantastic choice for creating personalised and memory-based items, making it perfect for crafters who want to add a personal touch to their projects. If you’re working with polyester fabrics or polymer-coated materials, dye sublimation allows you to print detailed, vibrant designs that stand the test of time. It's ideal for:

• Personalised pillows, cushions, and blankets—perfect for gifting or creating family keepsakes.
• Memory quilts—add custom designs, photos, or quotes to fabric squares, turning your quilts into cherished, one-of-a-kind treasures.
• Custom home décor—from printed cushions to custom wall hangings, dye sublimation lets you create unique pieces that capture special memories.
• Personalised apparel—design custom T-shirts, hoodies, and other clothing items to commemorate special events or create memorable gifts.
• Custom coasters and drinkware—create sets of personalised coasters or drinkware with family photos or special designs for unique gifts or home décor.
• Jewellery and small accessories—print custom designs or photos on polymer-coated earrings, keychains, or pendants for memorable gifts or keepsakes.
• Christmas ornaments—design and print custom holiday ornaments featuring family photos, names, or special messages to make your festive season extra special.

Whether you’re creating a memory quilt for a loved one, printing photos on pillows for a sentimental gift, or designing personalised Christmas ornaments for the holidays, dye sublimation offers a way to immortalise memories in beautifully crafted products. The results are vibrant, long-lasting, and sure to be cherished for years to come.

However, keep in mind that dye sublimation works best on polyester fabrics or polymer-coated materials. For items made from cotton or materials without a polymer coating, other printing methods such as heat transfer vinyl may be more suitable.

Getting Started with Dye Sublimation

professional-quality results in no time. Whether you’re a small business owner looking to expand your product range or a hobbyist exploring new creative outlets, dye sublimation is a powerful way to bring your ideas to life.

Ready to dive into the world of dye sublimation? The only limit is your imagination!