Printed on the surface

Screen printing

Screen printing pushes thick opaque ink through a fine mesh stencil, one screen and one colour at a time. Each colour in your design needs its own screen, so the method rewards a small palette of flat, solid colours and is unsuited to photographs and smooth blends. What it gives back is unmatched: the ink sits thick and dense on the fabric, the colour is more saturated than any digital method can reach, and the print lasts for years.

Colour range: Up to 6 spot coloursOne screen per colour
Photographs: LimitedOnly via halftone separation
File formats: PNG, SVGVector separates most cleanly
Resolution: 300 DPIAt the printed size
Best for: Flat, bold, few-colour artwork

One screen per colour

Before anything is printed, your artwork is separated: each distinct colour is isolated onto its own screen, and the screens are printed in sequence with the garment held in registration between passes. That is why the number of colours, not the amount of detail, is the thing that shapes a screen-printed design.

A design of two or three flat colours is the natural fit. Up to 6 separations are practical; past that, registration between screens gets harder and every additional pass adds a place for a hairline misalignment to show.

Blends and photographs

There is no way to print a smooth gradient with a single screen — the ink is opaque and lays down at one density. Blends are simulated instead with halftones: dots of one solid colour at varying size, which the eye reads as a lighter or darker tone.

A photograph can be screen printed by separating it into halftone screens, but it is specialist work and the result is stylised rather than photographic. If a design depends on a photograph reproducing faithfully, direct-to-garment or direct-to-film printing is the better route.

Designing for the mesh

Ink spreads a little as it is pushed through the mesh, so the thinnest lines close up and the smallest gaps fill in. Keep strokes solid and give small counters — the enclosed spaces inside letters like a and e — a little more room than you would for a digital print.

Where two colours meet, tiny registration shifts between passes can leave a hairline of garment showing. Overlapping the shapes very slightly, rather than butting them exactly edge to edge, makes the join forgiving.

Do this, not that

Do

Design in flat, solid spot coloursEach flat colour becomes one clean screen; each blend becomes a separation problem.
Keep the palette small and deliberateEvery extra colour is another screen, another pass and another chance for misregistration.
Overlap adjacent colour shapes very slightlyA small overlap absorbs registration shift that would otherwise show as a hairline gap.

Avoid

Smooth gradients and soft drop shadowsOpaque ink prints at one density — a fade has to be simulated with halftone dots.
Photographic artworkIt has to be separated into halftones and comes out stylised; a digital method reproduces it directly.
Hairline strokes and tiny countersInk spreads through the mesh, so the finest lines close and small enclosed spaces fill in.

Common questions

How many colours can a screen-printed design have?: Up to 6 spot colours is the practical range, because every colour needs its own screen and its own pass. Two or three flat colours is the sweet spot — it prints cleanly, registers reliably and is what the method is best at.
Can you screen print a photograph?: Only by separating it into halftone screens, and the result is stylised rather than photographic. If faithful photo reproduction matters, direct-to-garment or direct-to-film printing will serve the design far better.
Why is screen printing better for large runs?: The setup — separating the artwork and preparing one screen per colour — is the same effort whether you print ten pieces or a thousand, but the per-piece printing is very fast. That makes it disproportionately economical at volume and disproportionately expensive for a single item.

Related methods

How we know this

BelDisegno production capability record — verified 2026-08-15

Screen printing

One screen per colour

Blends and photographs

Designing for the mesh

Do this, not that

Do

Design in flat, solid spot coloursEach flat colour becomes one clean screen; each blend becomes a separation problem.
Keep the palette small and deliberateEvery extra colour is another screen, another pass and another chance for misregistration.
Overlap adjacent colour shapes very slightlyA small overlap absorbs registration shift that would otherwise show as a hairline gap.

Avoid

Smooth gradients and soft drop shadowsOpaque ink prints at one density — a fade has to be simulated with halftone dots.
Photographic artworkIt has to be separated into halftones and comes out stylised; a digital method reproduces it directly.
Hairline strokes and tiny countersInk spreads through the mesh, so the finest lines close and small enclosed spaces fill in.

Common questions

How many colours can a screen-printed design have?

Up to 6 spot colours is the practical range, because every colour needs its own screen and its own pass. Two or three flat colours is the sweet spot — it prints cleanly, registers reliably and is what the method is best at.

Can you screen print a photograph?

Only by separating it into halftone screens, and the result is stylised rather than photographic. If faithful photo reproduction matters, direct-to-garment or direct-to-film printing will serve the design far better.

Why is screen printing better for large runs?

The setup — separating the artwork and preparing one screen per colour — is the same effort whether you print ten pieces or a thousand, but the per-piece printing is very fast. That makes it disproportionately economical at volume and disproportionately expensive for a single item.