Company, school and team shirts: how to prepare an error-free order

A group shirt order is a small production project

A group order involves much more than a shirt and a logo. It combines garment selection, several fits and sizes, one or more print positions, optional names or numbers, an event deadline and a budget. A single error in the order list can then be repeated across dozens of garments.

A useful brief therefore starts not with “how much does it cost to print a shirt?”, but with five decisions:

• what the garments will be used for and how often they will be worn;
• who will wear them and which fits and sizes are required;
• what the design should look like, where it will be placed and whether it varies between items;
• when the complete order—not only the first sample—must be ready;
• whether the same garment or design will need to be reordered later.

The earlier these points are settled, the easier it is to select a suitable process, prepare a reliable quotation and protect the deadline.

Define the purpose before choosing from a catalogue

A shirt for a one-day conference has different priorities from workwear, a sports jersey or a camp collection. For corporate clothing, continued availability of the same model may be important for future employees. Schools and camps often need both children’s and adult sizes. Sportswear adds requirements such as stretch, moisture management and the material’s response to heat processing.

When comparing garments, consider:

• the exact fibre composition, not only labels such as “cotton” or “performance”;
• fabric weight, stretch, surface and garment construction;
• women’s, men’s, children’s or unisex fit;
• availability of all required colours and sizes;
• the manufacturer’s washing and drying instructions;
• the likelihood that the same model will remain available for repeat orders.

A size letter is not a measurement. One manufacturer’s M can fit differently from another’s. Collect orders using the size chart for the exact garment model and, ideally, provide samples for fitting.

Quantity alone does not determine the printing method

Quantity matters for pricing, but it is not enough on its own. Design colours, detail, garment material, print position, personalisation and expected care all affect the decision. In our textile printing production we use screen printing, DTF transfers, dye sublimation, cut heat-transfer vinyl and solvent-printed transfers.

Screen printing

Each colour requires its own screen and machine setup. Screen printing therefore usually becomes economical for a repeated design in medium and larger runs. It works well for corporate logos, lettering and artwork that can be separated cleanly into colours. The ink system, substrate, curing and garment construction all influence the result; the term “screen printing” alone does not promise an identical outcome on cotton and stretch polyester.

DTF transfer

The design is digitally printed in reverse onto a carrier film, coated with hot-melt adhesive, cured and then heat-pressed onto the garment. DTF handles full-colour artwork, gradients and design variants without a separate screen for every colour. It is often suitable for individual pieces and smaller runs. The film, adhesive, temperature and actual fabric still need to be compatible.

Dye sublimation

On suitable light-coloured garments with a high polyester content, heat converts the dye so that it bonds within the fibres. The print does not form a separate surface layer, which can be comfortable on sportswear. Fibre composition and garment colour are limiting factors; in our production we primarily use sublimation on white textiles containing at least 60% polyester.

Cut vinyl and solvent-printed transfer

Cut vinyl is useful for simple single-colour designs, names, numbers and special finishes such as reflective or metallic effects. Solvent-printed transfer complements DTF when a different material system is required; we also use it for selected sublimation-dyed textiles such as sports jerseys.

The most reliable choice comes from the actual garment, artwork and required result—not from a generic online chart. For unusual materials or an important production run, a process test is a sensible step.

Artwork must work on fabric, not only on screen

A logo that looks clear on letterhead may not remain readable as a small chest print. Fine lines, tiny text, semi-transparent shadows and complex gradients can change both the suitable process and the required design size. Dark garments also commonly require a white underbase or a white transfer layer.

For production preparation, supply:

• the source logo as vector artwork where available;
• raster artwork at sufficient resolution at its final print size;
• defined corporate colours and an indication of whether precise matching is critical;
• the required design dimensions and placement;
• a visual of every variant where text, number or colour changes;
• confirmation of whether the garment colour should show through as part of the design.

A colour preview on an ordinary monitor is not a physical sample. Garment material and colour, the underbase and the print surface can all affect the final shade. If a specified brand colour is critical, agree in advance how the match will be assessed.

Approve placement on the actual garment shape

“Logo on the left chest” is not yet a production measurement. The neckline, seams, pockets, zips, jersey panels and the difference between the smallest and largest size all affect placement. The same design can look too large on a child’s shirt and too small on a men’s 3XL.

Before production, confirm:

• the print position: front, back, chest, sleeve or another area;
• the width or height of the design;
• whether the same dimensions apply to every garment size;
• its distance from the neckline, seam or another reference point;
• obstacles such as zips, pockets, hems or perforated panels;
• the design orientation when the garment is worn.

For unusual cuts, caps, bags or technical jerseys, it is best to decide with a physical item in hand. A photograph helps with orientation, but it cannot accurately show stretch, surface texture or how the material behaves in a heat press.

Personalisation needs one locked master list

Names, numbers, roles or departments can turn one design into dozens of production variants. The greatest risk is often not the printing process but an ambiguous spreadsheet: two spellings of the same name, a missing size, a duplicate number or a change sent after production has begun.

Use one master file with exactly one garment per row. Useful columns include:

• person’s name or identifier;
• garment model and fit;
• garment colour;
• size;
• personalisation text or number;
• personalisation position;
• quantity;
• a note only for a genuine production exception.

Before submission, check spelling, accents, capitalisation, numbers and duplicates. Mark the file as final and manage any later changes through a controlled revision. An email saying “please change Peter’s one as well” is not dependable production data.

The schedule must include approval and garment availability

Production lead time does not start with the first phone call. It starts when the selected garments are available, quantities are final, artwork is ready and the proof or sample has been approved. For group events, collecting sizes and dealing with last-minute changes is often the longest part of the process.

A robust schedule includes these milestones:

1. confirm the purpose, budget and event date;
2. select the exact garment model and verify availability;
3. lock sizes, colours and personalisation;
4. check and prepare production artwork;
5. approve placement, dimensions and printing method;
6. produce a sample or test the supplied material where necessary;
7. complete production, quality control and packing.

If the event date cannot move, state it in the initial enquiry. Production may be able to recommend another available garment, simplify the design solution or split the order—but this needs to be known before everyone is waiting for the final size.

Durability depends on the garment and its care

A claim such as “lasts a certain number of washes” is not comparable without test conditions. The garment, ink or film system, curing, detergent, temperature, drying and mechanical stress all affect the result. The same printing method can therefore perform differently on two garments.

Follow the garment label and the care instructions supplied for the specific print. If the clothing will undergo industrial laundering, frequent tumble drying, outdoor use or another demanding regime, state this before production. For workwear, sports jerseys and repeat corporate runs, approving a physical sample and agreeing the inspection method may be appropriate.

What to send for a fast, accurate quotation

For an initial assessment, prepare:

• the garment’s purpose and the date by which the order must be complete;
• estimated quantities broken down by model, colour and size;
• whether you will supply the garments or want us to propose them;
• the exact composition and product reference of customer-supplied garments;
• artwork files and a visual of the required result;
• the size and position of every design;
• a list of names, numbers or other variable data;
• washing, usage and future reorder requirements;
• packing or sorting requirements for branches, classes or teams, where relevant.

You do not need to decide in advance whether screen printing, DTF or another process is best. Once we know the garment, design, quantity and intended use, Tiskárna Jelínek can compare the processes available in our own production and recommend a solution based on the required result. You can also browse our wider selection of gifts, textiles and accessories.