Author: Site Editor Publish Time: 2026-01-14 Origin: Site
Plastisol transfers are still screen printed—the only twist is that you print the design onto heat transfer paper (not directly onto the garment), then apply it later with a heat press. That one change makes your shop far more flexible: you can prep designs ahead of time, handle repeat orders fast, decorate tough items (like hats), and avoid guessing sizes at live events.
This guide is written for real production: you'll learn the single-color workflow, how to choose hot peel vs cold peel vs hot split, why you must gel (not fully cure) during transfer production, and how to troubleshoot the failures that waste the most paper. Along the way, I'll naturally reference common shop consumables (mesh, squeegees, coating troughs, transfer paper) and how to pick them—if you already source from Hanze, you'll be able to map these choices to your existing inventory.
Plastisol transfers are screen-printed designs printed onto a coated transfer sheet that releases the ink when heat-pressed. Compared with direct printing, transfers shine when you want speed and flexibility after the art is already made: repeat orders, small runs, or situations where you don't know garment sizes in advance. They're also great for "tough substrates" (fleece, performance wear, hats) where a traditional push/pull stroke can distort fabric or reduce edge crispness—heat pressing a prepared transfer is often cleaner.
The two "non-negotiables" are:
• Your artwork must be mirrored, or it will apply backwards.
• Your transfer production needs controlled ink deposit (often heavier than direct printing) so the final pressed print looks opaque and consistent.
Direct Print vs Plastisol Transfer
| Factor | Plastisol Transfers | Traditional Screen Printing |
|---|---|---|
| Best for | Small runs, repeat orders, live printing, customization (names/numbers), tough substrates | Large orders, fastest unit cost at volume |
| Workflow | Print on paper → powder (optional but recommended) → gel → store → heat press | Print on garment → cure |
| Profit model | Adds materials + one extra step, but saves setup time on reorders | Higher margin at scale, fewer consumables |
| Detail limits | Generally less friendly for very fine/complex halftones (depends on setup) | Better for high-detail, production halftones |
| Key risk | Over-gelling / paper moisture / release issues | Mis-registration on garment, curing mistakes |
These tradeoffs align with industry guidance: transfers are still screen printed, just applied later, and are commonly recommended for small runs, live events, and tough garments; traditional printing is better for high volume.
You don't need exotic gear, but you do need the right "transfer-specific" consumables.
Essentials
• Screen mesh + frame + emulsion (dual-cure is commonly used)
• Film positive (remember: mirror image)
• Plastisol ink (standard plastisol works; transfer-specific plastisol can help if you only do transfers)
• Squeegee (many shops prefer softer blades for heavier deposit on transfers)
• Transfer paper (hot peel/hot split/cold peel)
• Heat press (clamshell or swing-away)
Strongly recommended
• Transfer adhesion powder (improves durability; commonly recommended)
• Conveyor dryer (more even gelling; also used to pre-dry paper)
• Coating trough with a thicker edge option (helps build a thicker stencil; common transfer technique)
If you remember one rule, make it this: Transfers need a controlled, heavier ink deposit—but the ink should be gelled, not fully cured, during transfer production.
"Gelling" means heating plastisol just enough for the ink film to become stable—dry to the touch and resistant to smearing—without reaching a full cure. In transfer production, the goal is to print the design (and apply adhesive powder if you’re using it), then gel the ink so the sheets can be handled and stored, and the final cure happens later during the heat-press application.
Temperature guidance varies by ink system, but the industry commonly describes gel/flash temperatures around ~220–230°F (104–110°C) for many plastisols, while full cure is higher and depends on the formulation. This is why transfer production is easier when you keep paper flat (dry it first, don't overheat it) and use consistent gelling equipment.
Infrared temp gun reading ink film temperature on transfer sheet
Transfer paper absorbs moisture from the air, so many pros run it through a conveyor dryer briefly to dry it—warm, not rippling hot—especially for multi-color work where stability matters most. If you skip this, you'll see paper wave/ripple that can mess with registration and deposit consistency.
A thicker stencil helps you push more ink in one stroke without resorting to print/flash/print. One common method is coating the print side multiple times (the side closest to the garment during printing) and at least one coat on the squeegee side, often with a dual-cure emulsion. A thicker-edge coating trough makes it easier to lay down more emulsion per pass.
Pro check: If you add stencil thickness, you may need to adjust exposure to match your emulsion and light source.
Lock the paper down (platen adhesive or vacuum board) so it can't shift. Use a setup that supports heavier deposit (mesh, squeegee durometer, pressure). Hanze suggests beginners often succeed in the 86–156 mesh range; many start around 110 for easier ink deposit. Flood, then print cleanly—aim for "enough ink" without crushing detail.
After your last print stroke, apply adhesion powder to the wet ink. This powder is widely recommended to improve bonding and wash durability. Tap off excess and keep powder dry/clean.
Run the powdered transfer through a dryer to gel the ink, not cure it. Hanze describes gelling around 180–240°F and stresses that the transfer is ready to store or apply once gelled.
Store flat in a dry place. Note: some sources warn transfers can develop an "oil halo" as oils migrate into paper over time, which can reduce usability.
Most shops start heat pressing plastisol transfers in the 320–350°F range with firm pressure and a short dwell time, then calibrate by results (press quality varies). For example, Industry Standards suggests 10–12 seconds at 320–350°F as a starting point. Hanze's example uses 180°C (356°F) with a longer dwell (20–30 seconds) depending on press performance.
| Paper type | Peel timing | Look & feel | Best for |
|---|---|---|---|
| Cold peel | Let cool, then peel | Often a fuller, heavier deposit | Opaque looks, easy repeatability |
| Hot peel | Peel immediately | Faster workflow | Speed-focused production |
| Hot split (often grouped with hot peel) | Peel hot; ink "splits" | Softer hand, more "embedded" look | Retail feel, softer finish |
Hanze notes multiple paper types (Hot Peel/Hot Split and Cold Peel) and emphasizes that the key difference is how the paper releases after pressing.
3 finished prints on same garment: cold peel vs hot peel vs hot split
Multi-color transfers are where paper stability becomes critical. Hanze explicitly advises pre-drying the paper and avoiding overheating (ripples) because flat, stable paper is "a must" for multi-color. Their newer multi-color guide frames two methods to produce vibrant transfers without sacrificing registration.
Practical shop moves that improve success rate:
• Pre-dry paper consistently (same belt speed/heat each run).
• Keep deposit consistent by standardizing mesh and squeegee choice (e.g., Hanze mesh + a dedicated transfer squeegee you only use for this process).
• Think in reverse: the design is printed mirrored, and the "last ink printed" ends up being the first ink contacting the garment during application—so plan color order accordingly.
• Build a "parameter card" for each paper type (temp/pressure/time/peel timing) and run quick wash tests before producing big batches.
| Symptom | Likely cause | Fix (fast) |
|---|---|---|
| Transfer won't release cleanly | Paper moisture; over-gelled/overheated; wrong peel timing | Pre-dry paper; reduce gelling intensity; follow hot vs cold peel timing |
| Print feels brittle / cracks after wash | Press settings off; insufficient bonding; inconsistent gelling | Add/optimize adhesion powder; recalibrate time/temp/pressure; gel consistently |
| Edges look blurry | Too much pressure; stencil too thick without control; paper shifted | Lock paper down; reduce pressure; tune stencil thickness & exposure |
| Powder doesn't stick evenly | Ink too dry before powder; powder damp/clumped | Apply powder immediately; keep powder sealed/dry |
| Multi-color misregistration | Paper rippling/heat instability | Pre-dry paper lightly; avoid overheating; keep paper flat |
| Transfers "halo"/oil stain over time | Oil migration into paper; storage too long/too warm | Store cool/dry; rotate stock; discard transfers showing halo |
Not strictly—many guides note transfers can be printed with standard plastisol, though transfer-specific plastisol exists for shops focused heavily on transfers.
Because the design is printed on paper and then flipped onto the garment; without mirroring, the final print is backwards.
Gelling is reaching a stable, dry-to-touch state so the transfer can be stored and later heat pressed; curing is full cure. Multiple sources explicitly say gel, not cure when producing transfers.
Some printers can get results without it, but it's commonly recommended to improve adhesion and durability, especially for synthetic fibers.
One common recommendation is starting around 110 mesh, with a usable range roughly 86–156 depending on ink deposit and detail needs.
Because paper absorbs moisture; lightly drying it helps prevent ripples and improves multi-color stability.
A common starting point is 320–350°F with firm pressure and short dwell time, then adjust for your press/paper.
They differ mainly in peel timing and the resulting hand feel/finish; hot peel/hot split is peeled immediately, while cold peel waits to cool.
Transfers can be stored, but shelf life depends on how gelled/dry they are and storage conditions; some guides warn about "halo/oil stain" changes over time.
Yes—industry guides call out hats, neck labels, and names for sport apparel as strong use cases.
