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Prepare artwork for sublimation printing | Chamevo Support Center
Prepare artwork for sublimation printing
Learn how to prepare artwork for sublimation printing, including color mode, resolution, mirroring, and substrate requirements.
Updated April 27, 20265 min read
Sublimation printing converts solid ink into gas under heat, which bonds permanently with polyester fibers. The result is a print that does not crack, peel, or fade because the ink becomes part of the fabric. Preparing artwork correctly is essential because sublimation has unique constraints that differ from other print methods.
How sublimation works
The design is printed onto sublimation transfer paper using special sublimation inks.
The transfer paper is placed on the product (garment, mug, phone case, etc.).
A heat press applies high heat (180–210°C / 356–410°F) and pressure for 30–60 seconds.
The heat converts the solid ink to gas. The gas penetrates the polyester coating or fibers and bonds at a molecular level.
When the press opens and the product cools, the ink solidifies inside the material. It is now permanent.
Because the ink becomes part of the substrate, sublimation prints have no texture — the surface feels the same as an unprinted product.
Key constraint: polyester only
Sublimation ink bonds with polyester molecules. It does not bond with cotton, nylon, or other natural fibers.
Substrate
Works with sublimation?
Notes
100% polyester fabric
Yes
Best results — vivid, durable
Poly-cotton blends (65/35+)
Partial
Colors appear faded. Cotton fibers do not absorb ink
100% cotton
No
Ink washes out or does not transfer
Polymer-coated hard goods (mugs, phone cases, tiles)
If a product is marketed as "sublimation-ready," it has the right coating or fiber content. If you are unsure, ask the supplier.
File format requirements
Requirement
Recommended
Notes
File format
PNG or JPEG
PNG for designs with transparency or sharp edges. JPEG for photographic artwork
Color mode
RGB (sRGB)
Sublimation RIP software handles conversion to the printer's ink set
Resolution
300 DPI at final print size
200 DPI minimum for larger items (mugs, pillows)
Background
Depends on product
White backgrounds print as the substrate color (typically white). Transparent areas also show the substrate
Bleed
3–5 mm on all sides
Sublimation transfers are trimmed or aligned manually — bleed prevents white edges
Why RGB, not CMYK
Sublimation printers use their own ink set (typically CMYK but with different pigment characteristics than offset printing inks). The RIP software converts from your input color space to the printer's ink channels.
Providing sRGB input gives the RIP the widest color information to work with. Pre-converting to a generic CMYK profile discards color data that the sublimation RIP could have used — resulting in duller prints.
Sublimation-specific artwork rules
No white ink
Sublimation printers do not have white ink. White areas in the design are simply not printed — the substrate color shows through.
This means:
On white polyester fabric, white areas in the design appear as the white fabric. This usually works well.
On colored polyester fabric, "white" areas take on the fabric color. A design with white text on a blue garment will show blue text — the white is absent, not printed.
On white mugs or phone cases, white areas appear as the white product surface.
Design accordingly: if your design relies on white, the product must be white or light-colored. There is no way to print opaque white with sublimation.
Mirroring
Sublimation transfers are printed face-down. The ink side of the transfer paper presses against the product.
For hard goods (mugs, phone cases, tiles): the design must be mirror-flipped (horizontally reversed) before printing. The RIP software usually has a mirror option. If it does not, flip the image in your design tool before export.
For fabric (garments, cut-and-sew): most sublimation workflows for fabric do NOT require mirroring because the fabric absorbs ink from both sides. Check with your printer — this varies.
If text or logos appear reversed on the final product, mirroring was applied incorrectly (or not applied when it should have been).
Bleed is required
Unlike DTF (where transparency defines the design edge), sublimation transfers are physical sheets that must be positioned on the product. Alignment is never perfect.
Add 3–5 mm of bleed on all sides:
Extend background colors and patterns past the intended trim or edge.
For mugs and wraparound products, extend the design past the wrap boundary.
For garments, extend the design past the seam allowances if printing cut-and-sew panels.
Without bleed, a small alignment shift during pressing creates a visible white stripe along one edge.
Color considerations
Sublimation colors are generally vivid on white substrates but have specific behaviors to be aware of:
Light colors are subtle. Very light yellows, light grays, and pale pastels may appear nearly invisible on white substrates. Increase saturation or darken light colors slightly.
Black can vary. Achieving a true, dense black in sublimation is difficult. The result is often a very dark gray or slightly warm/cool black. Increasing ink density in the RIP helps, but oversaturation causes bleeding and paper sticking.
Neon and fluorescent colors are not achievable. Sublimation ink sets do not include fluorescent pigments. Neon designs will print as their closest achievable saturated equivalent.
Color shifts between batches. Sublimation output is sensitive to humidity, paper type, press temperature, and press time. Test prints are important for color consistency.
Full-coverage (all-over) prints
Sublimation excels at all-over prints — designs that cover the entire product surface with no blank areas. For apparel, this requires cut-and-sew production:
Print the design on large sublimation paper.
Sublimate onto flat polyester fabric panels.
Cut the panels to the garment pattern.
Sew the panels into the finished garment.
This avoids the limitations of pressing onto a pre-sewn garment, where seams, folds, and wrinkles create unprinted areas.
For all-over prints, the artwork must include seam allowances and bleed for every panel (front, back, sleeves).
Common sublimation artwork problems
White areas appear as the garment color
Problem: The customer designed white text on a dark background. On a colored garment, the white text shows the garment color instead.
Fix: Sublimation cannot print white. Inform the customer that white elements only work on white or very light substrates. Re-design with an opaque colored background, or switch to DTF printing which supports white ink.
Colors are duller than expected
Problem: The print looks washed out compared to the screen preview.
Fix: Check the substrate. Poly-cotton blends produce faded results — use 100% polyester. Also check press temperature and time. Under-pressing causes incomplete ink transfer. Finally, ensure the artwork was provided in sRGB, not a pre-converted CMYK.
Design appears reversed (mirrored text)
Problem: Text or logos are backwards on the final product.
Fix: The mirror setting was incorrect. For hard goods, enable mirroring in the RIP. For fabric, disable it (unless your specific workflow requires it). Print a test before running production.
White edges around the design
Problem: A thin white border appears along one or more edges of the print.
Fix: The transfer was slightly misaligned during pressing. Add 3–5 mm of bleed to the artwork so that small alignment shifts are hidden by extra design coverage.
Ghosting (double image)
Problem: A faint shadow or duplicate of the design appears offset from the main image.
Fix: The transfer paper shifted during pressing. Use heat-resistant tape to secure the paper to the product. Ensure the heat press closes evenly. Avoid moving the product immediately after opening the press — let it cool briefly first.
Image appears faded or incomplete
Problem: Parts of the design are missing or extremely light.
Fix: Common causes: (1) press temperature too low — sublimation requires 180–210°C, (2) press time too short — typically 30–60 seconds depending on the product, (3) ink not fully dried before pressing, (4) using non-sublimation ink or paper.
Q: Can I sublimate on cotton?
A: No. Sublimation ink bonds with polyester fibers. On cotton, the ink will not transfer or will wash out immediately. Use at least 65% polyester content, or choose DTF or screen printing for cotton.
Q: Why is there no white in my sublimation print?
A: Sublimation printers do not have white ink. White areas in the artwork are simply not printed — the substrate shows through. This is a physical limitation of the process, not a defect.
Q: Do I need to mirror my design?
A: For hard goods (mugs, phone cases, tiles), yes — mirror the image. For fabric, it depends on your workflow. Most fabric sublimation does not require mirroring. Check with your printer.
Q: Can sublimation print on dark garments?
A: Not effectively. Without white ink, colors on dark fabric are invisible or heavily distorted. Sublimation works best on white or very light-colored polyester. For dark garments, use DTF or screen printing.
Q: How long do sublimation prints last?
A: Sublimation prints are effectively permanent. Because the ink is embedded in the polyester fibers (not sitting on top), it does not crack, peel, or fade under normal washing conditions. UV exposure over years can cause gradual fading, as with any dyed fabric.
