Textile printing on dark clothing: what pitfalls should you avoid?

1. Technical specifications for printing on dark textiles

Printing on dark textiles can offer a super-quality result with vivid colours if it is done properly. Unlike white textiles, which are like a perfect canvas for bright colours, dark clothes tend to “absorb” colours, not literally, but if they are a little transparent then they can get lost against a dark background.

So, do you need a white underlay to print on a black t-shirt?

Absolutely! An undercoat of white is essential for printing on dark clothing - we apply this base which is also called pre-treatment. However, there are sometimes exceptions, such as in the case of very specific techniques or a deliberate tone-on-tone effect.

The function of this undercoat is clear: to create a separation between the dark colour of the fabric and the brightly coloured inks, so as to guarantee a result that is faithful to the desired logo. Without this pre-treatment, even the best inks will end up losing their intensity and blending into the fabric colour. For example, yellow can turn khaki over time, or red can tend towards brown.

Another question you might ask yourself is ‘what ink should I use to print on dark clothing?’ and whether the quality of the ink has any influence in this kind of case. Well, the more pigmented and opaque the ink, the better it will be able to resist the colour of the textile underneath and remain visible without tinting.

So it's not enough to have a good undercoat; you also need good, thick, opaque inks to ensure the best possible resistance over time. With thin inks, even if the result at the end of production is perfect, the colours could fade and lose intensity with washing.

Another problem that can arise when printing dark textiles is the crushing of fine details, making logos and text illegible. The only way to counter this problem and guarantee a clean, faithful image is with a good white undercoat.

Some inks are specifically formulated for dark textiles (screen printing or DTF). At INKOO, we choose water-based inks - more respectful of the environment and the textile - which require particular expertise to obtain good results on dark backgrounds.

In screen printing, there are more opaque water-based inks. This choice is a commitment to quality and the environment, but it requires greater rigour in the preparation of files and in the technique used.

In DTF, opacity depends above all on the quality of the film and the accompanying white in the file/print - it's not the ink alone that does the job.

Dark textiles require more rigour: the colour of the fabric has a direct influence on the legibility, intensity and hold of the inks. Hence the importance of a white base, well-pigmented inks and a good choice of textile. This is where we get to the heart of the recommended techniques.

2. The main textile printing techniques and their limitations

🎨 Screen printing (with white base)

Screen printing is a technique that will always work on dark textiles, but the application of a white base is essential to guarantee a rendering faithful to the initial request. We only use water-based inks, which are more responsible but require greater precision in preparation and application. As the undercoat is white, the frame must be positioned as precisely as possible to avoid an “inset” effect around the visual. But don't worry, at Inkoo we know what we're doing!

🔥 DTF (Direct To Film)

Direct To Film is a technique that includes a layer of white directly in the visual, which gives a very good result on almost all materials. It's a good solution for complicated or multi-coloured visuals to maintain good colour intensity. Be aware that the feel of the final result may be slightly plasticised depending on the film used, but overall it remains a very good choice for intermediate or varied series.

🖨️ DTG (Direct To Garment)

As a reminder, Direct To Garment is a technique that prints directly onto the textile with a very natural result. But of course, on dark textiles it requires meticulous pre-treatment and a top-of-the-range printer. This technique needs to be tested beforehand, as a number of factors can affect production, such as the type of fabric, humidity, etc. Suitable for small runs, but not always for synthetic textiles, so not necessarily the best technique for printing dark garments.

🧴 Sublimation

Unfortunately, sublimation really isn't a technique that's suited to dark textiles. I'm mentioning it here as a warning because it's often considered suitable when in fact it only works on white or very light polyester because the ink is semi-transparent. It cannot be applied to cotton or dark backgrounds because the colours disappear into the fabric. Sublimation is still a good technique for rigid objects or light-coloured sportswear.

3. Pitfalls to avoid

🔹 Logos or visuals that are not very visible

If your visual is too thin, with precise contours or in pale colours, contrast errors may appear or the colours may simply disappear in the textile. This will be even more pronounced without a white undercoat or if the ink is not opaque enough. For example, an off-white or beige logo on a black t-shirt can become completely illegible from a distance.

🔹 Poor colour fastness

If the quality of the ink and the white undercoat are not up to scratch, the colours may fade very quickly when washed. The result: bland, dull visuals that detract from the perception of the quality of the finished product, which can be annoying in a pro or resale context.

🔹 Sticky, rigid or ‘cardboard’ effect

Another error that often occurs is the over-application of ink or poor compatibility between the fabric and the printing technique.

This can create a visual that is stiff to the touch, unpleasant to wear and often visually unsightly (thick relief, plasticised appearance). This problem can be exacerbated if the undercoat is too dense or poorly distributed.

4. Our advice for a professional result

🎯 1. Choosing the right ink

To print correctly on dark textiles, the choice of ink is crucial. We recommend well-pigmented, opaque inks that are specifically designed to resist the visual absorption of the dark background. We always recommend a compatibility test with the chosen fabric as some inks react differently depending on the type of textile (cotton, polyester, etc).

⚪ 2. Never neglect the white base

OK, now I'm starting to repeat myself, but you'll get the idea: the white base is really super important for a good print on dark clothing. From screen printing such as DTG to DTF (integrated directly into the file), the white undercoat completely determines the way the colours are rendered and held. Its thickness is crucial: too thin -> the visual will be faded; too thick -> potential “cardboard” effect that is unpleasant to wear.

👕 3. Choosing the right fabric

The quality and material selected are also fairly important, and we advise you to avoid fabrics that are too thin or too coarse, which absorb poorly or can distort the desired visual. Low-end synthetic fabrics sometimes react badly to heat (DTF) which can lead to defects or poor hold over time.

🧪 4. Always test before full production

At Inkoo, before launching production, we necessarily carry out a test to ensure that the final rendering will be as close as possible to the visual desired by our customers. This allows us to validate the colours, ink-fabric compatibility and the final feel. By carrying out these tests and having them validated by our customers, we avoid entire orders being rejected or failing.

Mini conclusion

Printing on dark textiles is quite an art - but with the right techniques, a bit of rigour and an expert eye, the result can be spectacular.

At INKOO, we know that every detail counts. So it's a good idea to master them so that you can turn constraints into professional (and wow) results.