What Is DTG Printing?
DTG printing is a digital method that sprays water-based ink directly onto a garment, much as a desktop inkjet printer puts ink on paper. The garment is held flat on a platen, the machine reads your artwork file and builds the image in layers of tiny ink droplets, and the print is then cured with heat so that it becomes fixed in the fabric. Because the image comes straight from a digital file, there are no screens to burn and no limit on the number of colours in a design.
That single fact explains both the strengths and the weaknesses of the method. DTG printing handles photographic images, gradients and highly detailed illustrations that would be expensive or impossible to reproduce with screens. On the other hand, each garment is printed one at a time at a relatively slow pace, so the cost per piece does not fall steeply as the quantity rises. Understanding that trade-off is the key to using the method well.
The figures above describe the typical set-up rather than a fixed rule. Equipment and ink systems differ between print shops, so always ask the printer for its own artwork and fabric guidelines before you finalise a design.
How DTG Printing Works, Step by Step
From a brand point of view the process looks like a single operation, but there are several distinct stages behind it, and each one affects how the print looks and lasts. Knowing the sequence helps you ask better questions when a print comes back with a problem.
The DTG process from file to finished garment
- 1Prepare the artworkThe design is checked for size, resolution and colour, then positioned on the garment in the print software.
- 2Pretreat the garmentA liquid pretreatment is applied and dried so that the ink stays on the surface of the fibres instead of sinking in. It is essential on dark garments.
- 3Load the garmentThe garment is smoothed onto the platen and aligned so the print lands in the right place.
- 4PrintOn dark colours the machine prints a white underbase first, then the colour layers on top. On white and pale garments it can print colour directly.
- 5CureHeat from a press or a tunnel dryer sets the ink. Time and temperature follow the ink maker's instructions.
- 6Inspect and packPrints are checked for banding, misalignment, ink bleed and handfeel before folding and packing.
Stage names vary between print shops. Cure settings depend on the ink and equipment, so they are not given here.
Pretreatment and White Underbase on Dark Garments
Two terms come up in almost every DTG conversation. Pretreatment is a liquid, usually sprayed or rolled on, that is dried onto the print area before printing. It helps the pigment ink bind to the surface of the fibres, which keeps colours bright and edges sharp. A white underbase is a layer of white ink printed first on coloured garments, so that the colour layers on top look vivid instead of being absorbed by the dark fabric.
Both steps add time and cost, and both are visible in the finished garment. A heavy underbase can give a slightly raised, plasticky feel, and a pretreated area can sometimes show as a faint square or halo, particularly on dark fabric if the process is not controlled. Ask for a sample on the actual garment colour you plan to use, not on a white test shirt, and wash it before you approve the print.
What the garment colour means for DTG printing
| Garment colour | Pretreatment | White underbase | What to expect |
|---|---|---|---|
| White or very pale | Often applied for sharper colour | Usually not needed | Most accurate colour and the softest feel |
| Mid-tone | Required in most set-ups | Usually needed under light colours | Good result; colours sit slightly muted |
| Dark or black | Required | Required | Bold results are possible, but handfeel is heavier and fine detail needs care |
| Heather or melange | Depends on the printer | Often needed | Fibre flecks show through; colour can look softer |
General pattern for water-based pigment DTG inks. Individual printers may work differently, so confirm with yours.
DTG vs Screen Printing vs HTV and DTF
Most brands end up choosing between four ways of putting a graphic on a garment: DTG, screen printing, heat transfer vinyl (HTV) and direct to film (DTF) transfers. They suit different quantities, designs and fabrics, and none of them wins on every measure. The table sets out the main differences in plain terms.
Four print methods compared
| Method | How it works | Best for | Main limits |
|---|---|---|---|
| DTG | Water-based ink printed directly into the garment | Full-colour, detailed art on cotton in short runs | Slower; weaker on polyester; handfeel on dark garments |
| Screen printing | Ink pushed through a stencil screen, one screen per colour | Bold designs, spot colours and larger runs | Set-up per colour; poor for photographic detail on small runs |
| HTV | Cut vinyl pressed onto the garment | Names, numbers and simple shapes | Not suited to fine detail; sits on top of the fabric |
| DTF | Design printed on film, powdered and pressed on | Full colour on many fabrics, including blends | Transfer sits on the surface; handfeel varies |
General comparison. Results depend on the equipment, inks and the skill of the printer.
For a deeper look at the transfer methods see our guide to heat transfer vinyl vs DTF, and for the screen printing side of the comparison read screen printing vs embroidery vs DTG.
How DTG Printing Rates on the Factors That Matter
The matrix below turns the comparison into a quick visual. It is indicative only and describes typical shop-floor behaviour on suitable fabrics, but it shows clearly why DTG is attractive for detail and flexibility and less attractive for volume.
Indicative strengths of four print methods
1 dot = low, 5 dots = high
| DTG | Screen print | HTV | DTF | |
|---|---|---|---|---|
| Detail and colour range | ●●●●● | ●●●●● | ●●●●● | ●●●●● |
| Suitability for short runs | ●●●●● | ●●●●● | ●●●●● | ●●●●● |
| Suitability for large runs | ●●●●● | ●●●●● | ●●●●● | ●●●●● |
| Soft handfeel | ●●●●● | ●●●●● | ●●●●● | ●●●●● |
| Works on dark garments | ●●●●● | ●●●●● | ●●●●● | ●●●●● |
| Works on polyester | ●●●●● | ●●●●● | ●●●●● | ●●●●● |
Indicative ratings based on typical process characteristics, not test results.
Which Fabrics Suit DTG Printing?
DTG inks are water-based and designed to bond with natural fibres, so cotton is the benchmark. The higher the cotton content, the better and brighter the result. Polyester behaves differently because it does not absorb pigment in the same way, and dyes in the fabric can migrate into the print as it is cured. Our comparison of cotton vs polyester explains why the two fibres respond so differently to ink.
DTG compatibility by fabric
| Fabric | Suitability | Notes |
|---|---|---|
| 100 per cent cotton jersey | Best | Smooth, tight-knit combed or ring-spun cotton gives the finest detail |
| Cotton-rich blends (for example 80/20) | Good | Fleece and sweatshirt fabrics print well; test dark colours first |
| Heavy brushed fleece | Moderate | Fibres on the surface can reduce sharpness; a smooth face helps |
| 50/50 poly-cotton | Limited | Colour looks duller and dye migration is a risk; ask for a test print |
| 100 per cent polyester | Poor | Not recommended; sublimation or transfers are usually a better route |
| Textured or loose-knit fabrics | Limited | Uneven surface breaks up fine lines and small text |
General guidance. The printer's own equipment and ink set decide the final answer.
Preparing Artwork for DTG Printing
Good artwork saves money, because a print that needs rework costs more than one that was set up properly. The most common cause of a soft or pixelated print is a low-resolution image enlarged to fit the garment. As a working target, prepare raster artwork at 300 dpi at the final print size, or supply vector artwork that can be scaled cleanly, and always ask the printer which formats it prefers.
DTG artwork checklist
- Supply the file at final print size and 300 dpi, or as clean vector artwork.
- Use a transparent background for the design so no unwanted box prints around it.
- Avoid very thin lines and very small text; ask the printer for its minimum line weight.
- Check how the printer handles colour mode and ask for a printed proof of key brand colours.
- Remove stray pixels, soft edges and semi-transparent shadows that will turn into visible haze on dark garments.
- State the garment colour and fabric so the printer can plan the underbase.
- Mark print position and size from a reference point such as the collar or hem.
Exact settings differ between printers. Treat this as a prompt for the conversation, not as a specification.
Colour deserves special attention. DTG machines mix colour from a limited set of inks, so they cannot match every brand colour exactly, and metallic or fluorescent effects are generally not possible. If a particular shade matters, ask for a physical sample rather than relying on a screen preview. The alternatives are covered in our decoration method comparison.
Wash Durability and Care
A properly cured DTG print can last through many washes, but durability depends on several variables at once: the quality of the pretreatment, how well the ink was cured, the fabric and how the garment is washed. A weakly cured print will crack, fade or feel stiff after a few cycles, which is why testing matters more than any claim from a printer.
Ask for a wash test on your own garment, using the care instructions you intend to print on the label. Typical care advice for DTG prints includes turning the garment inside out, washing at a moderate temperature, avoiding harsh detergents and bleach, and not ironing directly over the print. Our guide to garment testing, shrinkage and colour fastness lists the checks worth requesting before a bulk order is released.
A print that looks excellent on day one tells you little about week ten. Wash one sample several times, compare it with an unwashed twin, and note any cracking, fading or change in handfeel before you approve the design for production.
Choosing DTG Printing by Order Size
Order size is usually the deciding factor. DTG avoids per-colour set-up, which makes it economical for small quantities and many different designs, while volume work tends to favour screen printing because the set-up cost is spread over more garments. The table uses qualitative bands rather than numbers, because the crossover point depends on the number of colours, the garment and the printer.
Which method fits which order size?
| Order size | DTG printing | Other options to consider |
|---|---|---|
| Sample or one-off | Excellent: no set-up, easy to test a design | HTV for a simple logo |
| Small batch | Strong choice for multi-colour or photographic art | DTF transfers for mixed fabrics |
| Mid-size run | Possible, but compare cost with screen printing | Screen printing for a few solid colours |
| Large run | Usually not the most economical or fastest route | Screen printing or embroidery for a consistent brand mark |
Qualitative guide only. Ask the printer to quote both methods at your real quantities.
If you are still deciding between a made-to-order model and producing stock, our guide to print on demand vs manufacturing your own clothing compares the two business models.
Common DTG Problems and How to Spot Them
Most DTG faults can be caught at sample stage if you know what to look for. Inspect the sample in daylight, stretch the print gently and run your hand across it, then wash it according to the intended care label and inspect it again.
DTG faults to check at sample approval
| Fault | What it looks like | Likely cause |
|---|---|---|
| Banding | Faint horizontal stripes across solid areas | Print head issues or print speed settings |
| Cracking or peeling | Print breaks up after washing | Under-cure or poor pretreatment |
| Halo or square | Visible rectangle around the print on dark fabric | Pretreatment not fully hidden or cured |
| Dull colour | Colours look flat compared with the proof | Wrong fabric, weak underbase or colour profile |
| Misregistration | White underbase shows at the edges | Garment shifted on the platen |
| Stiff handfeel | Print feels thick or plastic | Heavy ink layer on a dark garment |
If a fault appears on the sample, ask the printer to explain the cause before approving a second attempt. A good printer can tell you whether the issue is the artwork, the fabric or the machine settings, and will suggest a fix such as a lighter underbase, a smoother garment or a changed cure. Record the approved settings alongside the signed-off sample, so that a repeat order is printed the same way.
How Ruhrose Approaches Decoration
Ruhrose develops hoodies, jersey (t-shirts, polos and joggers), denim and woven casualwear, with production in Bangladesh and buyer support in the UK. We treat decoration as part of garment development rather than an afterthought: the fabric, colour and finish are agreed first, then the print or embroidery is sampled on the actual cloth before bulk. If your quantity is small enough that DTG printing on blanks from a local print studio is the better route, we will say so. For wider planning, our custom hoodie guide shows how decoration fits into a full specification.