Printed on the surface
Digital printing lays ink directly onto a flat surface — paper, card, vinyl, magnet stock — in a single pass, the same way a high-end office printer works but with pigment inks and far better registration. It is the most faithful method we offer: full colour, photographs, real transparency and genuinely fine detail all reproduce, and the printed sheet is what you designed. The design work is mostly about the edges, because most of these products are cut after printing and the cut has a tolerance.
Three boundaries matter on anything that gets trimmed. The bleed is the outermost band — artwork should run into it, but nothing important should sit there, because it is the part the blade may remove. The print area is everything that gets ink. The safe area is the inner region where you can be certain a trim will not reach; all text and any element you would notice losing belongs inside it.
The reliable habit is to extend backgrounds and patterns fully into the bleed and keep content inside the safe area. Doing both means a trim that lands anywhere in its tolerance still produces a clean edge with nothing cut off and no unprinted white sliver.

On square and round stickers, the size shown includes the backing paper, so cover the whole printable area with artwork unless you specifically want a white border. Anything left unprinted reads as a deliberate white margin in the finished sticker.
Kiss-cut stickers are cut through the vinyl but not the backing, following the shape of your artwork. Upload a PNG with a genuinely transparent background and no stray specks — a single stray pixel becomes its own tiny sticker. Elements that do not touch are cut as separate stickers, so if a design is meant to come away as one piece, make sure its parts actually connect.
When you deliberately want several stickers on one sheet, leave enough space between them for the blade: roughly 65 px on a 600 px sticker, 110 px at 900 px, 150 px at 1,200 px and 200 px at 1,800 px, and about 75 px on sticker sheets. Tighter than that and the cutter cannot reliably separate them.



This method holds detail better than any other we offer, so fine line work, small type and subtle tonal shifts are all fair game. Real transparency works too — a gradient that fades to nothing fades to nothing, with no underbase to show through.
Design in RGB and export in RGB. If you want to see roughly how the print will sit, convert a copy to CMYK to preview the shift, then undo and export the RGB original — printing from a converted CMYK file gives you the shift twice.