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For those who may not have heard one of my rants regarding how valuable a tool Pinterest can be for decorators,  I thought I’d recap.   Because Pinterest is about aspiration and ideas,  it’s a great place to sell the work decorators do.   It’s especially great for sublimation because a lot of people don’t know what dye sublimation is or what can be done with it.   Creating boards on Pinterest allows you to essentially create a lookbook or a gallery where your customers can browse,  learn about sublimation,  and get ideas for products they may want to buy for themselves.   If you’re a sublimation business and don’t have Pinterest boards,  you should set some up immediately.   Here are some tips to get the most out of your Pinterest account.

#1 – Set up a business account –  A Pinterest business account will offer anyalytics and other tools that a regular account won’t offer.  It’s also something you need if you want to offer buyable pins.    Business accounts also allow for advertising,  something a basic account does not do.

#2 – Follow strategically – You’re setting up the accounts to draw in new business and to educate your customers,  so you want to be sure you’re information is getting to the right people.   Figure out who your target market is and where they are on Pinterest and then make sure your information is in those places.    You can have the best boards in the world,  but if they’re not seen by the right people,  it won’t matter.

#3 – A picture is worth a thousand words – Pinterest is all about the visuals,  so make sure you have the best pictures you can possibly take.   While captions and informative descriptions are helpful,  it’s the picture that’s the first introduction to the product.  Make sure that introduction is a good one.

#4 – Educate your customers – A lot of people don’t understand what sublimation is,  so make sure your boards do more than just showcase the products you can create.   Give glimpses of the process and behind the scenes.   Help potential customers understand what dye sublimation is and what it can do.   The more your customers understand what can be done,  the more likely they are to ask you to do it.

#5 – Create boards around a specific theme – If there’s a particular product you like to make,  or a particular market to which you’d like to sell,  create boards that target that theme.   One of the things people do on Pinterest is try to get ideas,  for a party,  for a gift,  for an event and so on.   If you want to do items for family reunions create a family reunion board where you show pictures of families using and wearing your work,  showcase new ideas you have for family reunion themed merchandise,  and maybe even include tips about planning a reunion.   Same for schools or clubs or whatever you might want to target.  Specific boards tend to sell better than general boards,  as you’re narrowing in on a target and providing the info your potential customers need all in one place.

One thing that many embroiderers overlook,  or may not be aware of,  is the fact that using the correct stabilizer can have a huge impact on the success of failure of a stitch-out.   Yes,  there will always be that one embroiderer who uses one type of backing for everything and does well  but,  for the most part,  a good marriage of stabilizer and fabric and design is required for embroidery to appear at its best.    The correct choice of stabilizer can make your sew-out smoother,  faster and provide a finished piece that is of a higher quality.   Because this is such an important decision,  we wanted to offer some things to consider before you choose.

First,  as we already know from this post backing/stabilizer comes in different types.  If you take it down to the most basic level,  you’re dealing with either cutaway or tearaway stabilizer.  Even the specialty backings will most likely be one of these two types,  so knowing when and why you might want to use a particular type is crucial.  Tearaway stabilizer is easier to remove as it tears away,  so it might be a good option for jobs where there are time constraints.  Cutaway stabilizer generally has less stretch to it,  so it may be a better option for performance wear or other stretchy fabrics.   When choosing which stabilizer to use make sure to take into account all the qualities of the fabric,  requirements of the design,  and things like time and effort expended when making your decision.   The right stabilizer choice will improve both your sew-out and your production time.

Second,  stabilizer weight matters too.   Nothing is less attractive than a stitch-out that is weighted down with a wad of backing.   Or a design that is so dense that it’s like a lump of wood attached to the fabric of the garment.   As a general rule,  light weight fabrics should be stabilized by a light weight backing,  and heavier fabrics with a heavier backing.   The goal is to find a backing that will stabilize the stitch-out without weighing down or distorting the fabric.

Third,  don’t forget backing does have a color palette.   Granted,  it’s not much of one,  generally being confined to black,  white and beige,  but there are color choices available.   If the item to be embroidered is thin or if there’s a chance at all the stabilizer might be seen,  it’s best to try to use a stabilizer that is close in color to the item being embroidered.

Finally,  don’t forget that specialty backing can have a huge impact on how well the finished design works.   Poly mesh is a great option for polos and lightweight fabrics. R2000 (a polypropylene stabilizer) is an ideal option for performance wear.   Adhesive backing comes in very handy when there are items like socks of blank patches to be embroidered.  Water soluble topping helps monograms and other embroidery stand out on fleece or towels.    It is entirely possible that you could go your whole embroidery career using only a standard cutaway or tearaway,  but why would you do that?  The specialty stabilizers can offer a variety of qualities that will help make your jobs easier and the execution of the design much smoother.   While specialty backings may,  in some cases,  be a slightly pricier option,  they will pay for themselves in speedier production time and quality finished products.

Remember,  stabilizer is the foundation on which everything else is built.  Just as you wouldn’t build your house on a sinkhole,  don’t build your embroidery on a stabilizer that can’t do the job required of it.   Choosing your stabilizer with care and after thinking about the requirements of the fabric and the stitch-out will ensure that you make a choice which will stand up to the needs of your embroidery and help create a finished product that will delight your customers.

Earlier in June we announced the debut of our new website.   We decided, in part,  to revamp the old site because we wanted to make it easier for our customers to shop with EnMart.   One way to do that,  we thought,  was to add some tools that would help streamline the shopping process for certain products.   I’d like to introduce a few of those tools to you today.

The first tool is our Patch Designer. One of the main issues for people who buy patches has always been figuring out border and fabric color.   Our new Patch Designer tool allows you to do that in real time,  since it adds the colors you pick to a graphic of the patch you want to buy.   That way you can see if purple really does work with aqua,  or exactly what shade of gray you need.  Obviously monitors may skew colors a bit,  but the Patch Designer offers as true a color representation as we could provide.

The Patch Designer tool also walks you through every step in the purchase process,  ensuring you don’t forget to select a backing or don’t leave off a border or fabric color.   Once you’ve added all the necessary information,  this tool for designing blank patches gives you the option to add everything to your cart.   No fuss,  no muss and you can add all your patch details in one place.

Another useful new tool we’ve added is the Thread Color Selector.   This tool offers a color grid on which you can select your desired shade.   Once the shade is selected,  the tool will show you the Iris Thread color numbers that most exactly match your selection.  If you have an RGB number for the color you need,  you can select anywhere with that color area and then use the slider bar to reach the RGB color number needed.    The Color Selector will always show the closest matches available.

The next tool is an update of our Thread Cross Reference Converter.  This is the tool you can use to convert from another brand of thread to Iris.   Currently you can convert from Madeira, Robison Anton,  Isacord and Gunold,  as well as search for a thread color based on a Pantone color.  The goal of this tool is to make thread conversion easy and painless.

All the new tools can be found under the Resources tab in the top menu on the website.

Have you ever had that experience where you redecorate your house and for the first few days you bump into the coffee table because it isn’t where it used to be?  Things are familiar, yet different.   That’s a bit what creating our new website has been like. All the things you love about EnMart are still here, some of them just may be in different places.     And we’ve added some new features that are designed to make shopping with us easier and more fun.

One new thing is the Patch Designer, a tool that allows you to see your color choices in real time before you make your purchase.   Wondering if aqua and pink works better than navy and red?   This tool will tell you.    Another tool we’re excited about is the Thread Color Selector.   You pick a hue from the color chart and the selector shows you the Iris threads that are the closest match.   If you want to purchase, you simply click the color chip for the color you want and it adds to your cart.   Add in our redesigned Thread Conversion Engine and you’ve got a great system for finding or converting thread colors, all created to make your shopping experience more stress free and streamlined.

You may notice that the website navigation is different too.   Our menus have been redesigned to assist our customers in quickly finding what they need.  Also, did we mention we’ve added vinyl to our product offerings?  We know a lot of our customers are multi-hyphenates, embroiderers-sublimators-quilters or sublimators – crafters or some other combination.   Adding vinyl to the products we offer means we’re that much more of a one stop shop for our customers who work in more than one decoration discipline.

Finally,  there’s the new logo.   A more modern take on the EnMart name,  while still keeping a bit of the flavor of the old logo.   We think it’s a great fit with the new look of the website and for the way EnMart has evolved.

Welcome to the new EnMart.   Thank you for shopping with us.

Images and sewouts provided by Carolyn Cagle of Strikke Embroidery.

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If you want to duplicate this project –  You can find Cubbies or Remembears here!  Also,  don’t forget your Iris Thread to create those colorful embroidered patches!

As one of the most popular of all sublimation blank items, mugs are available in a variety of styles and rim, handle, and/or interior colors.  But the most common of them all is the omnipresent 11 ounce white “C” handle coffee mug.  These are available from a wide range of manufacturers, distributors, and resellers, in almost as wide of a variety of quality levels.  All of these mugs are not created equal, and if you find some bargain mugs and have problems with image quality, soft coatings, or shape irregularities, any cost savings go out the window.

So just how do you go about the task of choosing mugs to sublimate?  Here are 5 basic tips that will ensure you pick the right mugs.

1. Buy from a reputable supplier. First and foremost, you want to buy your mugs from someone who has a reputation for selling quality products at a good price, with great customer service in case you do have questions or a problem.   Someone like us here at EnMart.  Yes, I am admittedly biased, but to be fair, there are some other reputable suppliers out there as well.
2. Mugs should be perfectly round with straight and smooth sides. All mugs have a slight taper or curve to the top rim and bottom edge.  This is to assist removing the mugs from the mold when they are made.  That curve should be very minimal though, with the area between the top and bottom of the mug as smooth and straight as possible, and perfectly round.  That lets your press provide even pressure and heat to produce the best image quality, with full top-to-bottom printing around the entire mug being easily achievable. Lower quality mugs can have uneven sides, larger curves and tapers on either the top or bottom, and can even be out of round.  All these things can make it challenging to get a good print, and nearly impossible to print full top-to-bottom.  If this happens to you, then you are buying the wrong mugs, and should definitely give our high quality mugs a try.
3. Mugs should always have a hard coating. All coatings are not made equal either, and there’s a big difference in how a hard and soft coating sublimates.  Soft coatings typically require lower temperatures to sublimate, or you’ll wind up softening the coating up so much the paper will stick to the mug to where you may never get it off. Hard coatings, on the other hand, don’t get soft until a much higher temperature, so your paper isn’t likely to stick at all.  Another huge plus is that hard coatings are dishwasher safe, and the images you put onto these mugs will last for years – much longer than any softer coated mugs.
4. Mugs should always have a smooth, even coating. Inferior coatings may have visible blemishes, or even thin areas in the coating.  You may even see spots where there is no coating, and no coating equals no sublimation.  You want to see a smooth, glossy finish with no imperfections.
5. Mugs should sublimate with full, rich color. Even if you follow all of the above tips, there is no substitute for sublimating a mug and seeing what it looks like.  Assuming all of your settings are correct and there are no issues with your sublimation system, you should see rich vibrant color similar to the image on your monitor.  If not, you might have mugs with a lower quality coating.

The bottom line is that if you are using the correct settings, proper sublimation ink, quality sublimation paper, and a well made mug press, then you should expect no less than great results when you sublimate your mugs.  If you have light areas of thin color, can’t print all the way to the edge, have poor and dull colors, or any other quality issue, then it might be time to look for a new mug.  After all, the price difference between a soft coated economy mug and a high quality hard coated mug usually isn’t more than a few cents anyway, and that can easily be recouped by eliminating wasted mugs and time, along with gaining a reputation for selling quality products.

Tom Chambers is EnMart’s sublimation guru,  the guide and mentor regarding all things sublimation.   Tom was instrumental in introducing inkjet sublimation to industrial laundries, and has been working with the process since the early days of thermal ribbon sublimation. 

One of the more mysterious things about stabilizer,  for some people anyway,  is weight and what that means when it comes to selecting and using stabilizer for a particular job.   On the surface,  backing weight seems pretty simple,  ounces are a familiar weight measurement,  so saying a type of backing is 2.5 ounces seems fairly easy to understand.  What complicates things is when you start factoring backing weight into the success or failure of an embroidered project.   Will using a 2.0 oz. backing rather than a 2.5 oz. backing mean the doom of your design?  Does the weight you choose to use really have that much impact on the success or failure of your project?  Manufacturers go through the bother of weighing stabilizer so the weight much have some impact on the function.

The first thing to understand about stabilizer weight is how manufacturers determine what that weight should be.  The weight of a piece of backing is measured by the square yard.  This means that,  should you have 1.5 oz. backing of the same type but from different manufacturers,  each square yard you weigh should weigh 1.5 oz.   Heavier weight backings,  a 3.0 cutaway for instance,  will be thicker and less flexible.   A lighter weight backing,  say a 1.8 oz. tearaway,  will be thinner and have more flexibility.

Obviously,  the weight of the backing will impact the functionality of the backing as well.  If,  for instance,  you’re sewing a sweatshirt, and the design is dense,  a heavier weight backing will pair with the fabric better and be more suited to holding a dense design.   Suppose,  however,  that you’re sewing on a lightweight polo shirt,  with a bit of a drape.  Then you’ll want a lighter weight stabilizer that is able to move with the drape of the fabric and not interfere with the lines of the garment.  Weight impacts drape and flexibility and the ability to hold a certain number of stitches or a dense design.   All these elements can impact the success or failure of your finished design.

The construction of the backing also has a little bit to do with the weight of the backing,  and a lot to do with the quality.  Machine embroidery stabilizer is typically made up of polyester fibers which are held together with viscose or wood pulp.  High quality backing will have more poly fibers and less viscose,  in lower quality backing the ratios will be the reverse.  What determines the quality of the stabilizer is the length of the poly fibers and the amount of polyester versus filler that is in the material.

A quick and easy test to determine quality is the light test.  Take the piece of stabilizer you want to examine and hold it up to a strong light source.   If the piece you’re examining is high quality,  the stabilizer will have even density and feel smooth when you run your hand over it. A lower quality backing will have thin spots and dense spots making for a more uneven sheet.   This uneven density can impact the quality of your sew-out significantly.

Keep in mind that the sheerness and weight of a backing does not always determine the number of stitches that can be stabilized. Take,  for instance,  the poly mesh backing that EnMart sells.  This backing is embossed,  which means if you hold it to a light source,  you’ll see a textured pattern in the material.   The texture allows the poly mesh to hold substantially more stitches than an unembossed piece of the same weight would be able to hold.

In the end,  weight is just one factor that impacts how a stabilizer will perform for a particular job.   The make-up of the fibers and the construction of the backing can also be critical.   And whether or not the stabilizer has any added features like embossing or texture can also make a difference in the density of the designs that can be used.  When deciding what stabilizer to use for your job,  make sure you take all these factors into account.

Sublimation paper can be the bane of the sublimation decorator’s existence if it doesn’t work right and fails in some manner.  Having a good quality paper is critical.  But the most expensive papers don’t always give you the best results, and the cheapest papers can leave you wanting something better.  Other issues can arise if your trusted paper brand suddenly and inexplicably changes their formulas, or wink, wink 😉 gets the paper from a different, i.e. cheaper, upstream supplier.

Here at EnMart, we know what it’s like when that happens; it’s happened to us in the past, and I’ve had to go on a quest for a new paper on more than one occasion.  I’ll spare you the long detailed stories and just tell you that one of the most important things you need in a sublimation paper is “stability”.  In other words, the paper you buy next year needs to have the same properties as the one you like to use today.

EnMart only uses and sells sublimation paper with the brand name of MPRÉS-II.  You know, kind of like “iMPRESs” which can mean “iMPRESsing” your artwork onto something, or maybe you’ll be “iMPRESsed” with how it works, and “iMPRESs” your customers with the quality of your finished products.  At any rate, we thought it was a clever name for a product that we were impressed with.  (Also, the “M” is a nod to our Merlin sublimation system that is used by rental uniform companies to create their own sublimated emblems for uniforms.)

MPRÉS-II is our brand name, but we don’t make it – and it is sold elsewhere under various other names for a variety of prices.  We try to sell it for a fair price relative to its cost though, even though we could probably package it in fancy boxes with full color labels and sell it for more money.  Instead, we’d rather pass along the savings to our customers, and even though our packaging is rather generic looking, it doesn’t mean the paper is generic at all.

So what’s with the “II” (2) in the name?  Well, years ago, the paper we called MPRÉS stopped working the way it was supposed to because the manufacturer changed something.  Remember those paper quests and long stories I mentioned earlier?  At any rate, about a decade or so ago upon finding our current paper, one which closely mimicked the best properties of the original MPRÉS, we named it MPRÉS-II.  And that paper is the same today as it was last year, and the year before, and the years before that, all the way back to when our parent company, Ensign Emblem, began using it for making thousands of sublimated patches every day (which they still do).

What I’m saying is that MPRÉS has that required stability, and if someday it changes (which is VERY unlikely with the current manufacturer), then we’ll either find or make a paper that has similar properties and call it MPRÉS-III.  In other words, you don’t have to worry about sublimation paper stability when you buy MPRÉS from EnMart.

Ok, stability schma-bility you say, but what about quality, and how does it perform?  That’s a fair question, so let me tell you.

MPRÉS-II is what we call a hybrid sublimation paper, with some properties of a high release paper and some of the best properties of a quick drying (low release) paper. Because it is a hybrid, it isn’t quite as fast at releasing the sublimation dye as high release papers, where you have to worry about the ink remaining wet, smudging, curling, or even blow-out due to too much dye on the surface of the paper having nowhere to go when it releases so quickly.  At the same time, it still dries quickly and gives you a quicker release than low release, fast drying papers that take longer in the heat press, which can affect image quality.

MPRÉS-II is really the best of both worlds.  And that makes it a great choice for the only paper you ever need to use for sublimation – whether it’s fabrics, ceramics, glass, or metal.

For more in-depth reading on MPRÉS-II and sublimation paper in general, check out these two Sublistuff articles I wrote on this very subject all the way back in early 2010:

The Quest for Fire… er… Sublimation Paper, Part 1

The Quest for Fire… er… Sublimation Paper, Part 2

If you would like to try a sample few pages of MPRÉS-II paper, email us at mpres@myenmart.com and include your name, complete address, phone number, and mention this article.  We can’t send it to you without an address, and while this may seem like stating the obvious, you’d be amazed at just how many people just send an email saying “I’d like your sample pack” and nothing else.  We’d love for you to try our paper, but we aren’t psychic, so unless you tell us what to send and exactly where to send it, we have no idea.  After you try it, we’d appreciate it if you drop us a note letting us know what you think of it too.

Every once in a while,  someone will tell me that they don’t go to trade shows,  either as an attendee or an exhibitor,  because they simply don’t have the time.  My response to that is that time spent at a trade show is always worth it,  both as an attendee and as a vendor.   I admit,  I’ve spent more time as one than I have the other,  but I feel like I also have some insight into what attendees get from a show because I’ve met and talked with so many of them over the years. So,  if you haven’t been to a trade show yet,  or haven’t been to one recently,  here is my short pitch for why you should be attending trade shows,  either as an attendee or as a vendor.

If you’re an attendee,  a trade show is a great place to make connections,  both with fellow decorators and with employees of the suppliers with whom you want to work.  A trade show will almost always have a robust slate of seminars,  so it’s also a place where you can learn more about disciplines you already do,  or get a start on trying something new.   It’s also a place to brush up on your business skills,  be it sales and marketing,  using social media,  or figuring out how to communicate your pricing.

If you’re a vendor,  there’s no better place than a trade show to connect with new and current customers.   Depending on the show,  you may be able to sell on the show floor,  which has the potential for the dispersal of a large amount of inventory in a short amount of time.  A trade show can also be a terrific way to establish a presence in a part of the country where you may not have a facility.  It’s also a place to meet industry media and establish connections with industry stars.

Attending a trade show is definitely worth the time and money, whether you’re an attendee or a vendor.  Shows like DAX Chicago and NNEP EmbroideryMart look for venues that offer affordable accommodations for attendees.   Some shows will also offer load in methods for vendors that minimize the cost of bringing a booth and product to sell to the show.  The first thing to do is to take a look at the shows you might want to attend or vend at,  and then compare pricing with what’s being offered.   Your aim should be to find a show that will allow you to accomplish your goals without breaking your budget.

If you’re wondering where EnMart will be in the next few months,  we will be at DAX Chicago May 3-4 and highly encourage everyone to join us in booth 701.   We will also be at the NBM Meadowlands Show in New Jersey in July.

So you’ve decided to enter the world of sublimation.  Now what?  Where do you start?  What do you do first?  And most importantly, how do you make it a success?

There is so much information on the internet about sublimation these days that it can be overwhelming.  In fact, it’s much easier to be overwhelmed and confused than it is to just do it.  Yes, it really is that easy – and it’s fun too.

The purpose of this article isn’t to tell you how to create a business plan, how to go out and sell sublimation, or specifically what to charge for it.  It IS however a general guide to using your system to create a successful business.

A good starting point once you understand just what sublimation is (and isn’t), is to ask yourself these 6 questions.  But what if you’ve already done all your research, purchased a sublimation system and blanks, and now you are wondering where to go next?  In that case, here are some tips that will help you on your way to success.

1. Set up your system. Yes, first, you have to take the system out of the box and set it up.  While that may seem obvious, you’d be surprised at the number of people that let it sit unused for months or years, whether from subli-timidation or some other reason.  But if you don’t set it up, you definitely won’t be successful, and the sooner you do it, the sooner you will succeed.
2. Understand your equipment, and how to operate it. Realistically, if you are even slightly tech savvy, you can probably set up your sublimation system, turn on your heat press, and start sublimating something all without reading a single word.  But those instructions contain details that are important, like turning off color management in your chosen graphics program for example. So for the best results, read the instructions, follow them in order, and understand what you are doing – not just on your printer and computer, but your heat press(es) as well.
3. Learn to use your chosen graphics program. There are several graphics programs available, but these 3 are the most common in sublimation.  A little study and practice will pay off many times over with better quality artwork, which ultimately translates into better looking products and hopefully more money for you.
4. Practice, practice, practice. Experiment on your chosen blanks, and make sure you always have extra.  Don’t assume that you will never make a mistake or ruin something – you will.  And don’t be afraid to make mistakes either.  It’s ok, and all part of the process.  No matter how many settings charts you manage to obtain, depending on the exact mix of equipment, blank products and manufacturers, you will likely have to do some troubleshooting and make a few adjustments that only reveal themselves with practice.
5. Make samples. Whether you are selling on Etsy, Amazon, at a fair or trade show, or in your own storefront, you will need samples to make photos of and to show people.
6. Sublimation is best suited for smaller orders and custom work. While that doesn’t necessarily mean you should turn down that order for 1000 mugs of the same design, most people expect a price reduction when ordering larger quantities.  Since sublimation costs you virtually the same amount of money per item to produce no matter the quantity, any price breaks come directly out of your pocket.  Sublimation is especially well suited for doing small orders and custom work.  As a result you can charge a premium price for it, and increase your profit margin.  So unless you have a wide format system and a large shop devoted to mass sublimation production, focus on smaller and custom orders for the most profit.
7. Know your market. Simply put, know who you are selling to, what they want to buy, and how much they’re willing to pay.  That’s easier said than done though, and will likely require some research on your part – but this step is very important to your success.  Just because you have 3 other people doing sublimation on your block doesn’t mean there isn’t room for you too – especially if you are doing something they aren’t.  And if everyone you know is doing performance apparel – that doesn’t mean you should too (unless there’s more business to go around than your competition can handle).
8. Don’t compete solely on price. Ah, the price trap.  Many people make the mistake of falling into this pit of constantly lowering prices until there really isn’t any incentive for you to do sublimation any longer.  Here’s the thing – there will ALWAYS be someone that will beat your price, somewhere.  Set your prices for the item you are selling and area you are in and the amount of profit you require.  If you can’t compete on service and quality in this case without losing on pricing, then consider making other items that aren’t as highly competitive on price.
9. Offer good service and quality. Service and quality go a long way to make up for price differences.  There will always be those people who buy solely on price, but chances are that whomever they do wind up buying from will wind up sacrificing either or both service and quality in the process, and sooner or later that customer will most likely wind up back at your shop or website.

Obviously this isn’t an exhaustive list, but the 9 basic principles here will create a sound foundation for you to build on.  Or maybe you have already created a successful business doing sublimation, and if so, we’d love to hear from you in the comments with your own steps to success.

Tom Chambers is EnMart’s sublimation guru,  the guide and mentor regarding all things sublimation.   Tom was instrumental in introducing inkjet sublimation to industrial laundries, and has been working with the process since the early days of thermal ribbon sublimation. 

Once upon a time,  some years ago and on another blog, we offered a series of posts about stabilizer.   The goal was to enumerate the types of stabilizer,  discuss why specialty stabilizer existed and why it was used,  and generally explain stabilizer to help our customers who purchased it use what they purchased more effectively.

Fast forward to 2019,  and we’ve added some new stabilizers to the mix, and definitely a number of new customers,  so it seemed worthwhile to revisit this series with updates as required.  As Mary Poppins (the original,  not the Emily Blunt version) advised, the best place to start is the very beginning,  so we’ll start with a brief overview of broad categories of stabilizer.  Subsequent posts will deal with specialty stabilizers,  why stabilizer weight matters,  how the materials used to create your stabilizer make a difference in the finished product and how stabilizer and fabric work together for successful embroidery.  The goal,  by the end of the series,  is to leave you with an understanding of the importance of stabilizer, and the ability to choose which stabilizer you need for which project.

At the most basic, stabilizers can be separated into two categories,  cutaway and tearaway.  As the names imply,  one type (tearaway) can be torn,  while the other type (cutaway) requires cutting with scissors to be removed. Every type of stabilizer falls into one of these two categories,  with the exception of water soluble,  which requires water to be removed.  Water solubles also tend to be toppings,  used to keep stitches from sinking into pile fabrics,  or used for standalone projects like freestanding lace.

A lot of embroiderers like tearaway backing because removal can happen fairly quickly,  since the excess stabilizer can simply be torn away.  A lot of the efficiency and quality of a tearaway can be shown by how quickly and cleanly it tears. A tearaway stabilizer that doesn’t tear cleanly will leave fuzzy edges that can fray or just make the embroidery look messy.   You also want a tearaway that stabilizes and holds stitches but which requires only a minimum amount of force to tear.  If you have to yank hard to tear away the excess,  you risk pulling out stitches or distorting the finished product.

Tearaway stabilizers are generally offered in light-weight,  medium-weight and heavy-weight options.  The medium and heavy weight options may also often be called “hat” or “cap” backing.  These are the weights that will most often be used when adding embroidery to a hat.   The cap backings are generally heavier, stiffer and more paper-like,  so they tear cleanly and easily.

Unlike tearaway stabilizers cutaway stabilizers require a little more work to remove. Cutting away the excess stabilizer is the most common method of removal,  and cuts can be as close to the stitches or as far away as desired.  Some embroiderers will cut their stabilizer to slightly larger than their design before they embroider,  which lessens the need for cutting after the stitch-out is finished.

Cutaway stabilizer is often used with lighter or stretchy fabrics as it is sturdy and provides the fabric with increased stability.   This type of stabilizer is also a popular choice for heavy weight fabrics like sweatshirts.   A 2.5 oz. weight is considered to be a universal or multipurpose cutaway and,  for some embroiderers,  is the only stabilizer they use.

While it is tempting to continue this discussion with an in depth look at the types of specialty stabilizers available,  each of which fall into one of these two main categories,  I think we’ll leave that for another post.  Stay tuned for the next entry in this series,  which will discuss specialty backings,  why they’re used, and how they help you create better embroidery.

This article is intended to be a summarized comparison between two very popular methods of garment and promotional decoration.  While much of it has already been covered in more detailed fashion elsewhere in this blog, this summary is a general guide to better enable you to make an informed choice between two very different methods.

Sublimation

Sublimation is both a process and a bit of science, and is a unique method of decorating.  When you sublimate, you print a dye onto a special paper.  When you put the paper on something made of or coated with polyester or a polyester polymer, and put it in a heat press, the heat turns the dye into a gas, which then permanently dyes the item by penetrating and bonding with the polyester molecules.

• Sublimation requires a system comprised of a printer, special ink and paper, graphics software on a computer, a heat press and/or an oven, and a variety of blank products to sublimate.
• Sublimation is NOT a “transfer”. There is no transfer paper with a transfer film. There is no feel or residue.
• Sublimation works only on polyester (such as performance apparel), or special polymer coated blank items. If you sublimate 50/50 poly-cotton, you’ll get 50% reduced image quality for a worn look (or use ChromaBlast paper for a hybrid subli-transfer solution).
• Once fabric is sublimated, it IS permanent. Bleach won’t even faze it.
• Sublimation looks best on white or light colored items. There is NO white ink. You can NOT sublimate onto anything darker than the actual color(s) you are trying to sublimate.
• Sublimation is arguably one of the least expensive, yet most versatile methods of decoration available, capable of decorating thousands of different items in addition to apparel, with photo quality artwork.
• Sublimation is perfect for smaller orders and custom work with high profit margins.

Printed Transfers

Printed transfers are, as the name implies, printed, and then transferred.  Other than the fact that you print your artwork and press it, there is very little similarity with sublimation at all.  Transfers are printed onto a special paper, and then the actual print itself is transferred over to the item when you press it.

In general, printed transfer systems can be divided into a couple of types.  Inkjet – ranging from home printers to pro systems such as ChromaBlast; and Laser – both home and professional laser transfers, and also ones that print white that eliminate the need for transfer film based papers and trimming.

• All transfer systems regardless of type require a printer, ink or toner, transfer paper, a heat press (an iron can be used for some small home based systems), graphics software, and various products to transfer to.
• There are many different transfer papers available, usually specific to the type of system. Most have a film that carries over the ink or toner to the t-shirt or other item that must be trimmed to avoid leaving excess film residue.  Utilization of a self-weeding type paper can eliminate the need for trimming, but can have mixed results depending on the paper and process used.  Laser printer self-weeding papers tend to produce better results vs. inkjet self-weeding paper.
• Whether you are doing white and light colored items or dark colors determine the type of transfer paper you will use on many systems. A vinyl cutter is also recommended for trimming the paper close to the edges of your design (except for self weeding paper types).
• Dark shirts or items require either a white transfer layer to print on, or the ability for the printer to print white. Designs on dark fabrics using the white transfer layer will have a heavier feel to them as a result.  Laser transfers printed with white ink instead are not as thick, but do still have some feel to them (as will any method of printing transfers for dark t-shirts).
• Printed transfers are a relatively inexpensive method of producing full color graphics for small to medium size orders of t-shirts and other cotton and cotton blend goods at a lower price point. Some can even transfer to polyester as well.

Inkjet

• Home Office: Simply use your existing regular printer and ink, buy some transfer paper designed for this method from an office supply store or other source, and use an iron or heat press.  Results vary, but generally this method doesn’t create long-wearing and lasting transfers, and is more for occasional hobby use and novelty gifts.  This is the least expensive type of transfer method and system, and quality can be an issue.
• Pro: There are a variety of larger, professional inkjet systems on the market with different inks and transfer papers that provide a wide range of results that are used mostly for cotton and cotton blends.  This system is somewhat more expensive, but in general you should expect longer lasting designs and better overall quality vs. the home office type setup.  Some inkjet systems purport to be able to transfer to other blank goods besides garments.
• Chromablast: A pro level inkjet system that is sold by EnMart is the ChromaBlast inkjet transfer system, which offers a high quality long lasting transfer with a soft feel.

With ChromaBlast, a strong, yet stretchable and breathable bond forms between the film, the ink, and the cotton, and most of the extra untrimmed residue where there is no ink will wash out with the first washing.  This wash also makes the transfer feel even softer.

ChromaBlast is designed for use on light colored or white COTTON fabrics ONLY, utilizing proprietary ChromaBlast Transfer Paper.  It CAN be used on dark garments though with other specialty transfer papers such as ChromaDARK, which will have a heavier feel and should be closely trimmed for best results.  In spite of those limitations, ChromaBlast is relatively inexpensive and higher quality compared to many other systems.

Laser

• Home Office: Similar to the home office inkjet, you can purchase transfer papers from a variety of places to work with your single color or color home laser printer.  Slightly better results than the home office inkjet, but still not a pro level system.
• Pro: One of the more expensive printed transfer type systems to purchase, it has some of the best results overall on both light and dark colors.  Excellent self-weeding papers are available that eliminate excess transfer film without having to trim.  Having no restrictions as to cotton or polyester, and added abilities to do laser transfers to mugs and many other items are a bonus.
• White: Simply put, these laser print transfer systems come with all the advantages of the Pro Laser category, and also have the capability of printing white toner – eliminating the need for that thick white transfer film on the transfer paper.  There is no trimming needed either, and you have the ability to do full color printing onto both light and dark colors.  Even though this extra ability comes at a significant increase in system cost, the finished per unit cost is low enough to provide good profit margins.

Tom Chambers is EnMart’s sublimation guru,  the guide and mentor regarding all things sublimation.   Tom was instrumental in introducing inkjet sublimation to industrial laundries, and has been working with the process since the early days of thermal ribbon sublimation. 

Occasionally when people are researching sublimation and asking questions, I hear variations of this one:  “Can I sublimate cotton?”  While the short answer is “no”, as with most things, there’s more to it than that.

Usually some follow up questions reveal that the goal is to do sublimation onto sublimatable blanks, and to also be able to do cotton (or 50/50 poly cotton) t-shirts, because the cotton and cotton blend shirts are cheaper than higher quality, longer lasting polyester t-shirts, and they believe they need to create an inexpensive t-shirt to sell to a market that doesn’t want to pay much for it.  That in turn opens up a whole other discussion involving the differences between the two main types of t-shirts and their respective markets.

On the one side, you have polyester t-shirts with a comparable feel and look to cotton, that for a variety of reasons cost significantly more than cotton or blended cotton t-shirts.  However, most polyester t-shirts are of a much higher quality, will last a lot longer, and of course can be sublimated – which is permanent, and has no “feel” to the design.  Not to mention being able to accept full color photo quality artwork.  This more than compensates for the relatively small difference in price – but because of the higher price, you’d have to charge more for the shirt – effectively changing the target market.

On the other side, you have cotton and poly-cotton blended t-shirts.  These are available everywhere from a wide variety of manufacturers with a lower price per unit, and as a result, many decorators use these shirts to create inexpensive products that sell for a low price.  Unfortunately, you can’t sublimate them.  Or can you?  More on that later.

These two sides create a myth of two seemingly irreconcilable shirt types.  The truth is that each shirt is well suited for its own particular market and decoration method.  Cotton lends itself to mainstream, mass production, and discount markets due to the lower cost, whereas polyester is well suited to a completely different market that is willing to pay more for a higher quality, longer lasting shirt that can be decorated in full color photo quality graphics and customized very easily.  The shirt types aren’t irreconcilable – the two different markets are.

To put it another way, someone that wants a cheap $10 t-shirt isn’t going to pay enough for the sublimated polyester t-shirt to cover your costs plus enough extra for you, the decorator, to make it worth your time.  Likewise, someone wanting a nice custom full color t-shirt isn’t looking for something they can make themselves with some transfer paper from an office supply store, the ink in their home printer, and an iron.

It all boils down to knowing what your market is, and selling it what it wants.  Sometimes it’s one type of t-shirt, sometimes the other, and sometimes both.

But what if you are just starting out, and want to do both types and sell to both markets, without buying 2 systems?  There is a way.  Earlier I mentioned that you couldn’t sublimate onto cotton.  Technically, you can’t – it’s a scientific impossibility and it will never happen – but you can fake it.

So how do you achieve this wizardry?  It’s simple.  Take your sublimation system, with sublimation ink, and sublimation paper, print onto ChromaBlast transfer paper, and transfer to 50/50 poly-cotton t-shirts.  The sublimation ink will “sublimate” to the polyester part of the shirt, and the film from the Chromablast transfer paper will bond to the cotton part and carry the rest of the ink over that way.

It’s a hybrid type of transfer method that will let you use one system to print two different things, and works well when you are starting out until you get enough volume to justify a dedicated system for each.

Use your sublimation system and ink with sublimation paper to produce all those premium quality custom promotional items and polyester t-shirts that you can sell for top dollar, and use the same system and ink, with ChromaBlast paper, to produce those t-shirts you plan to sell at a lower cost.

Tom Chambers is EnMart’s sublimation guru,  the guide and mentor regarding all things sublimation.   Tom was instrumental in introducing inkjet sublimation to industrial laundries, and has been working with the process since the early days of thermal ribbon sublimation. 

What’s cuddly and cute,  easily personalized and a great gift or souvenir?   If you answered a Remembear,  you’ve obviously already seen the adorable new embroiderable stuffed animals that EnMart now carries.

Like the popular Cubbies line,  which has been a staple at EnMart for the past several years,  Remembears have a zipper in their bottom and a stuffing pod which can easily be removed for decoration.  The material of the animals is suitable for embroidery,  as well as sublimation and vinyl.  The tags on Remembears say they are hand wash only,  but we tested one in washing machine on the delicate cycle and it came through without an issue,  so the Remembears can be washed,  albeit gently.

One characteristic of the Remembears worth noting is their large size.   These animals are 16 inches tall and offer a larger sewing field.   As the picture with this post shows,  the size difference can be quite striking.   Remembears are definitely a good option for any sort of display or memento,  as the size of the animals makes them stand out noticeably.  Theyre also a good option for larger size fonts or more wordy quotes,  as there is more space on which to work.

You should also keep in mind that Remembears offer some specialty items like the angel bears, which are bears with wings and gold or silver noses.   The angel bears are an ideal option for a memorial,   as they contain a small pocket which could be used to hold a portion of a loved one’s ashes,  or a small memento of that person.   An angel bear could be a lasting memorial to someone who’s gone,  that not only can be displayed,  but also hugged.

The variety of Remembears available means there are a lot of options for sales to different groups and organizations.   The cow could work for a dairy or ice cream shop. The moose or the wolf could work as school mascots or to commemorate a graduation.  The giraffe and the zebra would be great offerings for a zoo.  A natural history museum would love the green triceratops.   The possibilities for these animals are limited only by your imagination.

Since Remembears can also be decorated via methods other than embroidery,  they offer a flexible personalization option.   Buy some sublimation supplies and sublimate a photo or complicated design.  Get a heat press and try some rhinestones.   And,  for those that work with embroidery,  Remembears are a great blank canvas just waiting to be decorated with your favorite thread.  The possibilities are endless,  and the Remembears are here,  at EnMart,  waiting for their furever homes.

Of the 3 major stages in the process of creating sublimated goods, the last two are easy to learn and do – pressing with a heat press, and printing your design on your sublimation printer.  Then there’s the first stage, where it all starts – the part where you have to design and set up whatever it is that you want to print.

Yes, sublimation is easy and (almost) anyone can do it.  Designing your artwork?  That is a different thing altogether.  The world of graphics design can be a secretive, wonderful, complex, difficult, and on occasion even a seemingly magical realm of gurus, self-help videos, seminars, and even college level classes.  So where do you start, and which program should you choose?

Full disclosure – I’m biased.  I use CorelDRAW Suite because that’s what I learned 20+ years ago, and I keep using it because I like it, it’s easy (once you know how), and it’s inexpensive for what you get.  I’ve designed everything from custom drawn artwork to full color brochures, magazine ads, and 8’x10′ popup banners in it.  But that wasn’t always so.

In the beginning, I tried to teach myself Corel.  After a couple months I could do some basic stuff, but I wasn’t really happy with what I could (or couldn’t) do.  I struggled with some things until I finally took a series of in-depth classes lasting 4 days.  After that, the sky was the limit and the whole thing became just plain fun.

To do sublimation, your graphics program needs to be able to handle two types of images – vector and raster.  Simply put, vector is clipart-type drawings, and raster refers to images made up of pixels, like photos.

You also need to be able to turn off color management in the graphics program – OR it needs to be able to handle the color correction required for sublimation either on its own, or by using a color profile designed for it.

Here is a list of the 3 most popular graphics programs for sublimation, and the pros and cons of each.

1. Adobe Creative Suite – Adobe Illustrator (vector) and Adobe Photoshop (raster)

Pros:  This is the flagship, top of the line graphics program suite, with the most features, power, and overall support.  Widely taught in colleges and other institutions and used by many graphics designers everywhere, it’s easy to find classes, self-help books, and videos.  You can literally design everything from magazines to full color banners for skyscrapers; retouch photos, and create original artwork.  This is what made the word “photoshopped” a part of mainstream vocabulary.  Completely control your color output with use of custom profiles, or turn it completely off.  If you can fully master these programs, you will most likely be at the top of the graphics design world.  Versions are available for both PC and Mac.

Cons:  The learning curve is steep and long.  Think Mount Everest here with years of preparation.  You will likely need lengthy training and many classes unless you are gifted that way, have lots of time, and can teach yourself.  The programs and features are complex, and not always intuitive.  Color management and settings are almost as difficult as the programs themselves.  It is expensive, and all recent versions are now subscription based.

2. CorelDRAW Graphics Suite – CorelDRAW (vector) and Corel PhotoPaint (raster)

Pros:  This suite is probably the most widely used in the decorated apparel industry for a variety of reasons including a more attractive price point, availability in both purchase and subscription models, and being easier to master with a shorter, gentler learning curve.  While possible to teach yourself, classes or videos will shorten that time dramatically.  You can design almost anything in Corel that you can in Adobe, and the tools are more intuitive and easier to work with.  Color management can be turned completely off, or configured in a myriad of custom ways with or without profiles.  Settings are a little easier to work with and more intuitive.  Update:  Available for PCs, and finally as of early 2019, Corel is also available for Mac. 

Cons:  Corel can occasionally act up in ways that will remind you how important it is to save your work often.  Outside the decorated apparel industry, it is less widely used and supported.  It can be difficult to find classes in your area, forcing you to use online classes if you can find them, or self-help options like webinars, videos and books.

3. Sawgrass Creative Studio

Pros:  This program is entirely web based, accessible from anywhere on most computers, tablets, and even mobile devices, and handles both vector and raster images.  The price is hard to beat as well – free, with the purchase of any Sawgrass sublimation system.  This is probably the best option out there for anyone new to graphics design that wants to get into sublimation as quick as possible.  And because it’s created by the people who brought you desktop sublimation in the first place, it’s designed specifically with that in mind – giving you access to thousands of clipart and graphic images, and templates for sublimation blanks to make everything as easy as possible.  Additional premium content is even available via a paid subscription plan.

Since Creative Studio is web based, it should work on any operating system on Mac, PC, tablet or smartphone, in Windows, Apple, Linux or Android, as long as the browser is compatible.

Cons:  There is almost always a trade off when something is easy – and that’s normally manifested in a lack of more powerful and advanced features.  While this is no exception, Sawgrass has done a great job of combining necessary features with something relatively easy to learn and use.

If you don’t have a stable high speed internet connection, this option may not be for you though, and if you lose internet, you won’t be able to access the program at all.

So which program should you choose?  The simple answer is “the one that you like that does the best job for what you want”.  If I were just starting out today with no experience, I’d probably use Sawgrass Creative Studio, and maybe at some point in the future, switch to Corel.  Any of the 3 options listed are great choices though.  It really comes down to what you feel comfortable with, and how much time and money you want to invest.

Oscar Wilde once said of absinthe that “After the first glass of absinthe you see things as you wish they were.  After the second you see them as they are not.  Finally you see things as they really are…”  I stopped there with the quote because after that it gets a bit weird, which could have had something to do with Oscar having drank absinthe for 3 days.  But I digress.  That part of the quote, in a kind of absinthe-y way, makes me think about sublimation.  Or perhaps sublimation makes me think about this quote (or maybe absinthe; it is currently New Year’s Eve as I write this).  In any event, let me explain the odd connection between the two in my mind.

After many years of fielding trade show questions, most would-be future sublimation practitioners seem to follow a certain path of research to three basic levels of awareness that I’ve nicknamed “The Three Glasses Stages of Sublimation Absinthe”.  Those may be simply put as:  what you wish sublimation were; what sublimation is not; and finally, what sublimation really is.

Now hopefully the connection to the Oscar Wilde quote is obvious enough to keep you from thinking that this article is really all about absinthe, or that it is all I’m thinking about.

What You Wish Sublimation Were.

At first contact, sublimation can sound to some like an end-all be-all solution for all decorating styles and mediums that is just short of magic, that can put full color photos on anything quickly and easily for little expense.  My previous article addressed this particular wishful thinking in more detail, but for many, the desire and sometimes even belief, is that sublimation does everything.  Dark garments, light garments, cotton, polyester, nylon, spandex, wood, tile, stuff from Home Depot, race cars, signs, awnings, boat covers, walls, airplanes, everything.  It’s pretty easy to get caught up in all that sublimation WILL do (which is a LOT), forget about what it won’t do, and wind up believing that it does everything except wash dishes.

What Sublimation is Not.

Sublimation (ink) is not really even an ink.  It doesn’t have pigments (think screen print ink, direct to garment ink, or paint), and it doesn’t block other colors from showing through. That means no white ink – not now, not ever.  Without white ink or color pigments, you can’t do dark colored garments or other items, because you need those solid color pigments to cover over the background color with some other color.

Sublimation will not work on anything that is not either made out of polyester, or is coated with a similar polymer coating.  Period.  50/50 polyester/cotton or all cotton t-shirts?  Forget about it.  Only the polyester part sublimates.  Floor tiles from Home Depot?  No way.  The science behind the way sublimation works and what it actually is, just doesn’t allow it.

What Sublimation Really Is.

Now we’re to the good stuff.  Not absinthe, sublimation!  What IS sublimation after all?  In chemistry, sublimation is the transition of a solid to a gas without going through a liquid state. Dry ice is a good example.  For our purposes though, sublimation is the transition of sublimation dye particles into a gas, without going through a liquid state.

In other words, when you put the paper that contains your design that is printed with sublimation dye particles into a heat press at the correct temperature, on top of something made out of, or coated with polyester, then those dye particles turn into a gas that penetrates the polymer chains of the fabric or coating.

Put yet another way, you are dyeing the polyester fabric or coating with a gas created when you heat up dye.

Yes, sublimation ink is really a dye.  We only call it an ink because it comes in inkjet printer cartridges suspended in a liquid, the looks of which tricks our brains into thinking it’s ink.  And because it’s easier to call it “sublimation ink” than “sublimation dye particles suspended in a liquid medium contained in an ink cartridge”.

Because it is a dye, you can only dye something a darker color.  Also, that means it is translucent – it allows light to pass through it.  As in whatever color you are sublimating onto will show through the color(s) you are putting onto it, unless those colors are significantly darker.  This is why sublimation is mostly done onto all white goods.  After all, you can make white into whatever color you want – including white, because it started out that way.

Ultimately, there isn’t any better way out there to put full color, photo quality artwork or photos onto such a wide variety of products.  As long as said products are white or light colors; made of, or coated with polyester, and will hold up in a heat press, you’re good to go.

Hopefully this clears up some of the misinformation and myths about sublimation and what it will and won’t do.  If you would like to discuss sublimation (or absinthe) further, please don’t hesitate to contact us.

No absinthe was harmed (or drank) during the writing of this article.

Now that the headline has grabbed your attention, I’m sure you know that there are no “get rich quick” schemes that are even remotely legal, and all earned wealth comes from hard work and creativity, with a little luck thrown in.  Sublimation alone is (probably) not very likely to make you rich either.  So then why bother?

Because sublimation has its own niche – much like embroidery, direct to garment printing, and screen print all belong to separate decoration niches.  Unlike the others however, sublimation only requires a fraction of the startup costs, generally requires less labor, and is a lot easier to learn.  In fact, you’d be hard pressed to find ANY business venture that you could start up for LESS than sublimation that has even close to the same payback potential.

Sublimation, and whether to invest in doing it or not, seems to make for quite the conundrum for some though.  It’s fascinating to me that many people who don’t seem to bat an eye at borrowing or spending thousands of dollars on an embroidery machine, direct to garment printer, or screen print equipment, will suddenly freeze in apparent terror when confronted with the idea of doing sublimation.  It’s almost as if spending money on a sublimation system is somehow the equivalent of lighting a pile of money on fire.  Or maybe they think because it doesn’t cost very much to start out that it can’t really be “all that”.  In reality, nothing could be further from the truth.

Sublimation does things that other decoration methods cannot, although it does come with its own set of limitations, the same as everything else.  Because there is no magic “one size fits all” decoration method that does everything, that’s why you see all those other methods and equipment in use.

For example, screen print is limited to a few colors per image or it becomes impractical, but it is very well suited to large runs and mass production, and works on a wide variety of substrates and products with any color background.  Yes, it IS possible to do full color images but you will typically see a dot pattern and it will not look anything like an actual photo.  A screen print business is also very expensive to start up.

Likewise, direct to garment printing is an expensive investment as well, although you can do full color prints onto garments of all colors without worrying about a dot pattern.  This method is very well suited for one-offs, small quantities, and even some larger orders, but is limited in the number and types of additional substrates that can be used, and can require a lot of maintenance and upkeep.

Embroidery, while long recognized and accepted as a premium product, is a complex endeavor requiring expensive equipment, software, and training, and yet cannot reproduce anything resembling photo quality (although there are some extremely talented digitizers that produce admirable work in this area).  Embroidery is also limited to only substrates that can be stitched – typically items made of fabrics and other similar materials.

With sublimation, there is nothing else out there that allows you to do permanent, full color photo quality printing on such a wide variety of substrates and items.  Basically, if it’s either made of polyester, or coated with a similar type of polymer, is a light color or white, and will hold up in a heat press, then you can sublimate it with any image, artwork, or photo that you can dream up – and it will outlast anything else except possibly embroidery.  That list of sublimatable products includes thousands and thousands of different items, fabrics, and garments, in an almost endless variety of sizes and shapes.

It’s so easy to learn and do that your older kids can even do it as a hobby, or for fund raisers.  Even if it is just for holiday gifts for the family and friends, you can still easily justify the purchase of a system, and then anything else you use it for is just a bonus – especially if you get paid for it.

There is a bit of a learning curve, same as there is with anything – but this curve is more of a gentle bunny slope compared to the black diamond mountain trails of learning that go along with embroidery, screen printing, and direct to garment printing.  Not that you shouldn’t invest in one or more of those too – it’s really all about how many different decoration methods you want to offer your customers, and what you feel comfortable with.

And if you already have a decorating business, here’s why you should add sublimation to it.  Simply put, it makes a great add-on for only a little investment, and offers you a high return rate.  Instead of buying sublimated transfers or referring out that type of work, you can do it yourself, cut out the middleman, and make some of the best margins possible anywhere.  400% or better markups aren’t unheard of with sublimation, depending on your local market environment.

The same as any other business, what you get out of it is directly proportional to what you put into it.  You will need a plan, a market for your goods, and some idea of what that market and those goods would be.  A good place to start is “Top 6 Questions to Ask (And Answer) Before You Buy A Sublimation System”.  Other articles in this blog will provide you with additional valuable information.

Last but not least, as always, if you have any questions, contact us – we’re here to help.

It’s a new year,  and since pretty much every business owner wants every year to top the previous year’s sales,  you’re probably thinking about ways to increase your sales in 2019.   One way to increase revenue,  as has been discussed previously in this blog,  is to add sublimation to the decoration disciplines you offer.   Once you’ve added sublimation,  however,  you have to find places to sell the new products you can make.   That’s where this blog post comes in.

First off,  let’s assume that you did your research before you added sublimation,  so you already have some idea of what markets you might approach.   Maybe you’ve visited someone who already had a system to see how it worked,  or you joined a dye sublimation group on Facebook,  or talked to a company that sold sublimation supplies at a trade show.  So you understand what the discipline has to offer and what products might have potential in certain markets.   As with any piece of equipment or software you buy,  it’s always wise to figure out how you’re going to use it,  and how it can be made to pay for itself before you make the investment.

Once you’ve figured out what markets you want to approach,  the next thing to do is figure out how that approach should be made.   If you’re contacting current customers to let them know about new products you can now offer,  it may be as simple as sending out an e-mail.   All that e-mail would have to do is describe the new products that sublimation will allow your shop to offer,  maybe delve briefly into pricing and turn times,  and include a call to action (possible a percentage off their first order) that gets customers to call you to learn more.

If you are approaching a new market,  the approach might go better if it happened in person.    Say,  for instance,  you wanted to approach a local high school to try and get some of their team or club business.   One way to do this would be to find out who the buyer is for a particular organization you want to approach,  or if there is a buyer who handles all this sort of business.   Once you know who to approach with your pitch,  set up an appointment.  Do not show up unannounced.  Nothing can be more off-putting to people than someone trying to sell something who obviously does not respect anyone else’s time.

Once you have your appointment,  make up samples you can take with you.   Obviously, samples should be made that reflect the kind of merchandise you think the club will want,  as well as showcasing the best work that you can do.  Include a simple one sheet that details pricing,  turn times and art requirements.   Be prepared to leave your samples as well,  so they can be shown to other decision makers in the organization.

After the appointment,  send a follow up e-mail saying thank you for the time that was given to you,  and restate how you can be contacted if there are further questions.   If you were given any kind of information about when the organization might be making a decision,  let them know you’ll contact them on that date.   And then make sure to contact them when you said you would.   Don’t expect them to follow up with you.

The main thing to remember is that you’ve added a new decoration discipline to your shop because you’re excited about the possibilities for new products.  Make sure you share your passion and excitement about what can be done with sublimation with your potential customers.  The more excited about the prospects that you are,  the more excited your customers are likely to be come,  and customers that are intrigued and excited about possibilities are more likely to buy.

One of the basic tenants of sales is that people have to know what you have to sell if they’re going to want to buy.   It’s so basic that people often forget that knowledge is part of the equation.  Particularly when selling something like a decorated garment,  a picture can often be worth a thousand words.  The question is where do you put those pictures so your customers see them,  and how do you use those pictures to impart a sense of your expertise and what you can do for those who choose to work with you?

One way to get the message out about what you can do is Pinterest.   As I’ve said before,  Pinterest is about aspiration and getting ideas for items that you want to make or buy.   Having Pinterest boards for your company (these are EnMart’s boards) allows you to showcase different aspects of what you can do.  You can create boards around a certain event or theme,  or make boards that feature a particular product decorated in different ways. If you have Pinterest boards,  make sure they’re featured on your website and social media feeds,  and refer your customers to them in your printed literature.

Another way to help spread the word about what you can do is to share pictures of what you make with your suppliers.  Or you can use a supplier hashtag (#IrisThread, for instance) to alert your suppliers to a picture that might interest them. I know,  here at EnMart,  we love getting pictures of products that were made with supplies purchased from us.  We also share those pictures on our Facebook feed (22,000+ fans) and our Twitter feed.  Granted not all the people who like any of your suppliers are going to be in your potential market spheres,  but some of them might.  Plus,  having your work shared by your suppliers gives you a bit of decorator credibility.   Your work is good enough that it’s being presented as an example of what can be done.

As a writer for industry magazines,  I know I’m always looking for photos to illustrate the pieces I write,  so this can be another fertile ground for pictures of the items you create.  Most of the time,  when an article writer needs pics for a piece,  they will put out a call on social media,  asking for pictures of work that centers on a particular discipline, type of garment or theme.  If you are planning to submit a photo for publication,  remember it needs to be at least 1 MB, and 300 DPI.  Magazines can work with less,  but the odds of your picture getting used are better if you stick to those guidelines.

One last bit of advice,  which goes for any photo you use anywhere.  Make sure your photos are the best quality they can be.   Yes,  you can take a good photo with the cameras on most phones these days,  but it still might be worth investing in a camera,  especially if you’re offering your products for sale online.   Pictures are often the first impression a customer forms of your products, so make sure you are, visually,  putting your best foot forward.  Taking quality pictures may be more time consuming and perhaps more costly,  but the benefits will far outweigh the drawbacks.