The Dye Sub Column


The three things every sublimator needs to understand


Understanding the process can turn any printing from a good product to a great one. When it comes to dye sublimation, there are three main things to consider as Anuj Ghaghada, director at Longforte, explains.


Getting your measurements right


Give the heat a chance


Time determines how long the blank is exposed to the required temperature. A thin aluminium panel heats very differently from a thick ceramic product, which is why pressing times vary so much between blanks.


Too little time may prevent the transfer from fully developing, while too much can cause colour changes or unnecessary heat exposure. This is also why settings shouldn’t simply be copied between products because they look similar. Different materials absorb and retain heat differently.


The variable people forget T


here’s a familiar moment in sublimation printing. You lift the heat press, remove the transfer and the result isn’t quite right. The colours look washed out, part of the image hasn’t transferred properly, or there’s an unexpected mark. The immediate reaction? Turn up the temperature and try again. Sometimes that works. Quite often, it makes things worse. After nearly two decades in the sublimation industry, one of the most common misconceptions we encounter is that there is a perfect time and temperature for every product. In reality, successful sublimation depends on three variables working together: time, temperature and pressure. Understanding their relationship is far more useful than memorising press settings.


Recommended settings are a starting point A reputable supplier should provide pressing instructions for its blanks, and these are always the best place to begin. But think of them as a starting point rather than an absolute rule. Two heat presses set to 190°C won’t necessarily behave identically. Heating elements age, temperature readings can vary and pressure differs between machines.


If a supplier recommends 190°C for 60 seconds, start there. If the result isn’t right, diagnose what you’re seeing before changing the settings.


Hotter isn’t always better


Sublimation requires enough heat to turn the solid dye into a gas and allow it to bond with the polyester or polymer coating. That doesn’t mean more heat creates a better print.


Too little heat can produce pale or incomplete transfers. Too much can cause colours to shift, images to lose definition or substrates to scorch, warp or discolour.


If a print looks faded, don’t automatically reach for the temperature control. The problem could equally be insufficient time or incorrect pressure.


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Pressure is perhaps the least understood of the three. The aim isn’t simply to squeeze the blank as hard as possible. You need sufficient, even contact between the transfer and printable surface so heat can do its job consistently.


Too little pressure can leave areas pale or patchy, while excessive pressure can damage certain blanks or leave unwanted marks on textiles.


Uneven products add another complication. Seams, zips and raised edges can prevent consistent contact, which is why pressing pillows and silicone mats can be useful.


One thing at a time


This is probably the most useful troubleshooting habit a sublimator can develop.


If a print goes wrong and you simultaneously increase the temperature, extend the pressing time and tighten the pressure, your next print might be perfect – but you still won’t know what fixed it. Instead, start with the manufacturer’s recommended settings and adjust one variable at a time. Keep a simple record of what you changed and the result. Once you’ve found the combination that works reliably with your equipment, you’ve created your own proven setting for that product.


Sacrificing one or two blanks during testing can feel wasteful, but it’s considerably cheaper than discovering a problem halfway through an order of 100.


Final thoughts


There is no magic temperature that guarantees perfect sublimation. Great results come from understanding how time, temperature and pressure work together – and recognising that your press and the blank itself influence the outcome.


Use recommended settings as your starting point, learn to read what the finished print is telling you, and resist the temptation to simply add more heat whenever something goes wrong. Sometimes the smartest adjustment isn’t turning the temperature up. It’s understanding why the print needed adjusting in the first place.


September 2026 | 51 |


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