We love textile printing. Printing on textiles can be done in a few different ways: direct print, which involves applying ink like latex or solvent directly to the fabric; direct dye-sublimation (dye-sub), which involves sublimating the ink directly onto the fabric; and transfer dye-sub, which involves printing a graphic on sublimation paper first, then sublimating it into the fabric's fibers using an external heat press.
The transfer dye-sub method is renowned for its exceptional results and the long-lasting connection it creates between the ink and the cloth through sublimation. The extra step of printing on dye sublimation paper is necessary, though.
We often focus on the printing technologies and the inks that enable dye-sub, but here we look at the sublimation transfer paper that makes the transfer dye-sub process possible. This media is coated to carry an image printed with dye-sub inks so that it can be transferred to the final media when heated.
Many considerations go into selecting the best transfer paper for a job, including weight and tack, and it is often based on the end product, such as apparel or signage.
According to Lily Hunter, product manager of Roland DGA Corporation for textiles and consumables, dye-sub transfer paper can weigh anything from 45 to 160 gsm, but 90 to 110 gsm is the most typical weight. She also mentions that certain dye-sub transfer sheets contain a mild tack that is heat-activated. Ghosting may be avoided with the use of this kind of paper, which is perfect for garment applications. She continues, saying that it's crucial to keep in mind that for the best results when sublimating, coated sublimation transfer paper must be used and 100% polyester fabric must be utilized.
In terms of cost, she estimates that quality sublimation paper will range anywhere from 10 to 12 cents per square foot—for non-tack, and tack typically runs about a penny higher per square foot. “Using high-quality sublimation paper ensures consistent results and releases at least 90 percent of the ink,” explains Hunter.
Potential Challenges
As with any process, technical challenges arise with transfer dye-sub. Multiple steps and materials leads to additional potential for error. Ghosting and blurring are common issues if the proper transfer paper is not used.
“Loss of color or graphic integrity are also areas to monitor for superior image quality,” offers Bruce Walker, Apps Tech and client solutions – NE, Sihl Inc.
Rob Repasi, VP of global sales, Beaver Paper & Graphic Media, Inc., suggests that bad output is often attributed to poor color management between paper, ink, printer, substrate, heat press, and the RIP. “If any or all are out of sync, the result is bad or less-than-optimal performance,” he warns. “Sharpness and definition is based on how well the paper transfers the image printed. If printers can’t translate a good image to paper, then that is as good as it gets.”
“Users are often reluctant to invest in custom ICC profiles for different fabrics and attempt to use generic profiles, resulting in poor image quality and high ink consumption,” says Michael Pender, president, Supply55, Inc. “Properly profiled fabric results in superior image quality during the sublimation process.”
Pender views environmental controls, such humidity and room temperature, as a typical difficulty in addition to color management. "Humidity and room temperature play a role in the quality of the finished product," he says, noting that high-quality pictures during the sublimation process are produced by a well-managed print environment that includes appropriate color management, humidity, and temperature.
Residue of ink on the paper is also a concern. “If the paper does not transfer well, meaning more ink gets left on the paper, that will adversely affect your end results,” says Hunter. She explains that both high opacity and vibrant colors are important when sublimating, especially for apparel applications. “Likewise, if you’re dealing with backlit signs or see-through flags, the colors need to be dense in order to pop.”
“It is always best to select leading brand inks and paper that are manufactured to the highest standards,” adds Howard Gerson, president, BestBlanks. “This will go a long way to avoid issues,” he adds.
With poor quality paper, Hunter admits fine lines and detail will not transfer well. “This could result in having to redo the job several times to achieve the desired result. You may also have to lay down more ink to get the intended vibrancy, which there are dangers associated with, including buckling of the paper,” she continues.
Selecting on Specifications
The choice of transfer paper is influenced by several factors. Together with tack, which lessens the chance of ghosting in clothing, fast-drying characteristics allow for continuous printing at high speeds.
Products made with transfer paper vary in their intended uses. Walker emphasizes that the capacity to create a high-quality product is impacted by adequate compatibility. "During the transfer process, the tackiness of what we call our Sport version sticks to the cloth. Stretchy fabrics have the potential to misalign and distort the picture during the calendaring or transfer process," he says.
Similarly, Repasi says Beaver Paper’s TexPrint TT Thermo Tack products are ideal for apparel. “This product, when heat is activated during the transfer process, will stick to the garment of a cut apparel piece in a flatbed or clamshell heat press.”
For those that need faster print speeds, transfer papers with fast drying options are best. Walker says Sihl’s Superdry version is available for fast production. “Anything less for high-speed transfers would not have stable graphics and could ghost the image or muddy the colors,” he suggests.
“Printer speed directly impacts paper dry time,” agrees Pender. Supply55’s Prime Sublimation Transfer Paper utilizes Full Release Technology, which provides, “superior dry time and ink release during the sublimation process.” It is available in 105g tacky paper, 105g non-tacky paper, and 85g non-tacky paper and compatible with all aqueous dye-sub ink, polyester-based fabrics, and polyester-coated substrates.
According to Hunter, Roland's DSM-RTP Roland Texart Sublimation Transfer Paper weighs 95 gsm, making it "just right for handling a wide range of applications" rather than being overly heavy or light. In order to handle larger ink loads without impeding production, it also dries quickly.
Sihl provides Universal, which is lightweight and delicate for high-end fashion and appropriate for light materials; Sports; Superdry; and Fashion, which is ideal for casual everyday usage. According to Walker, they are made to be receptive to aqueous dye and solvent/aqueous ink sets, which may be applied to textiles made of polyester or blended materials.
SpectraJet offers three types of sublimation papers. SilverBack3 is used with oil, water, and solvent sublimation ink. Roll sizes are available from 17 to 126 inches. Lite 40 is available for water- and solvent-based sublimation ink. Guy Spinelli, president/CEO, SpectraJet, says that Lite 40 is about 20 percent less expensive than most sublimation paper.
It is important to note that you can only transfer onto light substrates with sublimation. Repasi explains in most cases it would be white, but if you had a range of light shirts to print onto, than each color should have its own profile for optimal color.
Gerson warns that sublimating to a dark fabric—including black and other dark colors—results in the image not showing.
Walker points out that there are printable transfer media options outside of dye-sub transfer. “Printable transfer media is different for light and dark fabrics as the entire printed transfer media adheres to the fabric. The easiest way to describe this from Sihl is an ‘iron on’ transfer for sports jersey numbers and other applications,” he says.
Surface Control
While the primary focus of this article surrounds dye-sub for textiles, it is also possible to use the process on hard surfaces, including metal, glass, and ceramics.
Walker suggests that fundamentally hard surface transfer paper can be used interchangeably with paper used for textiles. “Pay attention to the application process and notice the behavior of the substrate to be transferred to,” he explains.
If there seems to be a tendency for the transfer paper to shift or slip due to transferring on a vertical surface or incline, or due to rapid production of multiple items, an individual may wish to choose a slightly tackier transfer paper to help ensure stability. “For quick, clean separation, one may alternatively decide not to go with a tacky transfer paper,” advises Walker.
Spinelli agrees that the paper for both hard and soft surfaces is interchangeable, however the user may need to adjust ink loads and heat press time when working between the two.
Hunter says that with soft substrates, both tack and non-tack papers are used, whereas most hard substrates use non-tack paper. “Sometimes tack paper can leave a residue or hue. Hard substrates are less forgiving and tend to show imperfections, so heat tape is used to secure the paper to hard surfaces instead of tack paper,” she offers.
Repasi claims that the only papers suitable for hard substrate printing are those with firm surface coatings. The majority of sublimation papers are coated with cellulose, also known as carboxymethyl cellulose. They are incompatible with all hard surface printing. TexPrint XPHR is the solid surface coated paper by Beaver Paper. This product is a multipurpose paper that may also be applied on pliable materials.
Transitional Aspect
To transport the printed image to its intended location, heat transfer paper is treated. The substrate in question necessitates careful consideration based on its intended use; nevertheless, appropriate color management and environmental control are also necessary for best outcomes.
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