For designers: hand over artwork that prints
The usual reason artwork comes back is not taste, it is physics: a line thinner than the mesh will hold, or more shades than the job has inks. Both are visible in advance.
What to check before you hand it over
- Ink count. How many are really needed for the image to still be itself — and how much area each covers.
- Thin lines and gaps. Anything below what the mesh holds will vanish or fill in on the print.
- Isolated dots. Small detail with no neighbours does not survive making the screen.
- Resolution. Whether there are enough pixels for the line count it will be printed at.
All of it is free: only exporting the finished files is paid, and a designer rarely needs that — knowing the artwork will pass is usually the point.
Talking to the printer in numbers
Instead of "something does not print" — specifics: how many inks, what line count, where exactly it is too thin and by how much. The preview shows what the print will look like in that number of inks, and can be shown to a client before anything is committed.
What to bring
PNG or JPEG at print resolution — 300 ppi at the size of the print is the usual mark. Export vector to raster first. Transparency in a PNG is respected: fully transparent areas read as places with no ink rather than as white.
How many inks is not a matter of taste
Every ink is a separate screen, a separate pass and a separate registration. So the ink count sets both the price of the job and its risk: on eight inks any misregistration shows far more than on three.
Once you can see how much area each ink covers, it becomes obvious which are working and which were added just in case. An ink covering one and a half per cent usually changes nothing in the print — and costs the same as any other.
Dark garments are their own problem
On dark fabric, colour inks go dull without a white base under them: the cloth shows through the film of ink. So a base goes down first, and it is an ink of its own — it counts in the price and in the design.
The finest light detail on dark is the first thing to disappear: it lives on the smallest halftone dots, and those image worst. If the artwork has a delicate light gradient on black, check it before you show it to a client.
FAQ
Do I have to buy anything?
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Not to check artwork. Opening it, picking inks, previewing and validating are free and unlimited. Only exporting films is paid — and that is usually the printer’s job.
Can I hand the archive straight to the printer?
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Yes. It contains the films, a preview, an ink map and a report with print order, angles and line count — enough that the shop does not have to come back with questions.