April '22

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G R A P H I C S - P R O. C O M 2 0 2 2 S U B L I M A T I O N R E P O R T 6 9 optimal color reproduction from the origi- nal image. With RIP software, you can create your own ICC proles. 5 Add a small bleed around your image to help line it up with the substrate on your printed trans- fer before sublimation. e bleed should be enough to accommodate substrate ex- pansion in the heat press and can be be- tween 0.01" and 0.03" (3-8mm) wide, de- pending on the size of your substrate. 6 Print images in JPEG, EPS, and PDF formats (without compres- sion). For ver y large media, TIFF images with LZW compression are preferred. 7 For rigid substrates, use lower weight paper (100gsm or less) with minimal surface texture. Use higher weight paper (120-150gsm) for larger format substrates, as it is easier to handle and less likely to tear. Avoid tacky paper used for fabric sublimation, as it does not work well with most rigid sub- strates. Look for papers labeled "multi- purpose," as they function well for most any sublimatable substrate. 8 Ensure that your heat press de- livers even pressure and consis- tent heat. Depending upon the size, hard substrates may require longer press times and lower temperatures for op- timum output. 16" X 20" 406 X 508mm 2400 X 3000 4800 X 6000 20" X 30" 508 X 762mm 3000 X 4500 6000 X 9000 30" X 40" 762 X 1016mm 4500 X 6000 9000 X 12000 40" X 60" 1016 X 1524mm 6000 X 9000 12000 X 18000 48" X 96" full sheet 1220 X 2440mm 7200 X 14400 14400 X 28800 Media size - inches Media size - mm Good quality (150 DPI) resolution in pixels Best quality (300 DPI) resolution in pixels Good quality: You will see no no- ticeable pixel grain unless you look at the image from a short distance. Best quality:e human eye should not see any noticeable pixel grain, even from short viewing distances. Be sure to ask your distributor for assis- tance if you have any further questions. SR Peggy Waters is a marketing professional with over 20 years of experience, eight of which are in dye- sublimation. Currently, she's the senior marketing manager for Glantz Sign Supplies. Before joining Glantz, she was the senior communications manager for Universal Woods for almost nine years. Good Quality Bad Quality

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