DTF Film, Powder & Ink Types Explained (And Why Suppliers Don’t All Look the Same)

1. Why “DTF from one supplier” can look different to “DTF from another”

When someone tells me “DTF isn’t as good as vinyl” or “DTF always feels thick”, my first question is: which DTF, from where?

1.1 DTF is a recipe, not a single product

A DTF transfer is basically four things working together:

• The film (PET, different coatings, different peel behaviour)
• The ink set (CMYK + white, chemistry, stretch, colour gamut)
• The adhesive powder (melt point, granule size, composition)
• The RIP & settings (how much ink and white underbase is laid down)

Change any one of those and the final print can feel softer or thicker, more glossy or more matte, more stretchy or more brittle.

• Film
• Ink
• Powder
• RIP & profiles

2. DTF film types: hot peel, cold peel, matte, low-temp & more

The film is the part you actually hold in your hand – the clear sheet with the print on it. It looks simple, but the coating and construction matter a lot.

2.1 Hot peel vs warm peel vs cold peel films

We use different films for different jobs in our shop, and we note the peel type clearly when we send out DTF transfers for customers who press at home.

2.2 Matte vs semi-gloss vs gloss finishes

• Matte / low-gloss – tends to look more “screen print” and less “sticker”. Good for streetwear and fashion.
• Semi-gloss – a slight sheen, often fine for workwear, sportswear and bright logos.
• High gloss – can look very “plastic” unless that’s the style you want.

The finish you see after pressing is down to both the film and how you finish press (Teflon vs parchment, pressure, time). We go deeper into this in the DTF Artwork & Pressing Guide.

2.3 Low-temp and “specialty” films

For polyester, sportswear and hi-vis, low-temp films can be a lifesaver:

• They let us press at lower temperatures to reduce dye migration and shiny press marks.
• They pair with specific powders and inks tuned for those conditions.

3. DTF adhesive powders: fine vs coarse, hot-melt behaviour

The powder is what actually glues your print to the garment. It’s usually a translucent hot-melt adhesive that gets sprinkled onto the wet ink, then melted in a curing unit.

3.1 Powder granule size

• Finer powders can give a smoother feel and cleaner edges if applied correctly, but can also clump or over-adhere if not handled well.
• Coarser powders can be more forgiving on application, but may feel slightly grainier if too much is left on the print.

3.2 Melt point and behaviour

Different powders are designed to melt and flow at different temperatures. That affects:

• How well the transfer sticks at certain press temps.
• Whether you can use the same transfer comfortably on cotton and polyester.
• How “rubbery” or “soft” the final print feels.

3.3 Why you sometimes see specks or a “gritty” edge

Specks around the design or gritty edges usually come from:

• Excess powder not shaken off properly before curing.
• Powder sticking to stray ink mist or overspray.
• Low-quality powder that doesn’t flow and level well.

We adjust our powder and curing settings regularly, and we reject batches where the adhesive layer doesn’t pass our wash and flex tests – there’s no point saving a few pennies on powder if it costs you a customer.

4. DTF inks: colour, stretch and durability

Under the hood, DTF uses CMYK inks plus white. But not all ink sets behave the same.

4.1 Colour gamut and density

Some ink sets are tuned for:

• Very high colour saturation – punchy, bright prints, sometimes at the cost of subtle gradients.
• More neutral, accurate colour – better for brand-critical work, logos and realistic prints.

We match our inks to our ICC profiles & colour management workflow so that what you see on a calibrated screen and test swatch is what turns up on your garments.

4.2 Stretch and handfeel

On fabrics that stretch (leggings, sportswear, certain hoodies), ink chemistry makes a big difference:

• High-stretch inks flex more without cracking or breaking.
• Inks with a more rigid feel can look fine at rest but show stress lines when pulled.

In our workwear and streetwear, we lean towards ink sets that balance stretch, wash resistance and colour – we want a print that moves with the garment, not a plastic plate sitting on top.

4.3 White ink & underbase control

The white ink layer under your colours (the “underbase”) is another big reason different suppliers look different:

• Too thin and colours look dull or the garment colour shows through.
• Too heavy and the print feels thick and rubbery.

We control white underbase through both ink choice and the way we tune the RIP software. For certain fabrics and colours we deliberately back off the white or increase it to get the right balance.

5. The RIP and profiles: invisible but crucial

You never see the RIP on an invoice, but it’s the bit that tells the printer how to lay down ink and white on the film.

5.1 What the RIP is doing

• Translating your sRGB artwork into CMYK+W values.
• Deciding how much white ink to put under which colours.
• Controlling ink limits so prints are rich without bleeding or pooling.

5.2 Why this makes suppliers look different

Even with the same film, powder and inks, two shops with different RIP setups can produce:

• Different brightness and contrast.
• Different colour casts (slightly warm, slightly cool).
• Different underbase thickness and feel.

At Brandum we treat the RIP like part of the materials – it’s tuned, tested and revisited regularly, not just left on default settings.

6. Why two suppliers feel different on the same garment

Let’s pull it together with some real-world examples of why you might notice differences.

7. What we prioritise at Brandum when choosing DTF materials

When we test new films, powders and inks for our DTF transfers and in-house printing, we’re looking for three things:

We reject materials that only look good “out of the box” but don’t survive actual use. It’s not our logo on the chest – it’s yours – so the DTF we run has to match that.

8. What you should look for when choosing a DTF supplier

You don’t need to know exactly which factory the film came from – but you can ask smarter questions.