The safest way to compare custom apparel quotes is to turn each one into the same all-in total: garments, decoration, artwork preparation, sampling, packing, freight, GST and any deadline-related charges. A quote that looks cheaper per shirt can cost more once missing items are added.

Ask every supplier to price the same garment, quantity, sizes, colours, decoration method, artwork and delivery address. Then check what is included in writing before approving production. This is particularly important for Australian orders, where GST, metro versus regional freight and imported goods can affect the final amount.

Start with a like-for-like quote request

Suppliers cannot compare accurately if one quote is for basic cotton tees and another is for heavier workwear, or if one includes front and back decoration while the other covers only a single logo. Prepare a short brief and send exactly the same information to each supplier.

• Garment type, brand or quality level and preferred fabric weight.
• Colour and the number of garments in each colour.
• Quantity by size, including a clear total.
• Every decoration location, such as left chest, full back, sleeve or cap front.
• The artwork file, or a description of what needs to be created.
• Whether individual names, numbers or different logos are required.
• Your delivery suburb, postcode and required arrival date.
• Whether garments need to be folded, bagged, labelled or sorted by person.

Request a written quote with an expiry date and a list of assumptions. If a supplier has priced an alternative garment or decoration method, it should be clearly identified rather than quietly substituted.

Check the garment before comparing decoration

The garment is often the largest difference between two apparently similar quotes. Compare fabric, weight, fit, sizing, stitching, colour range and intended use—not just the product name.

For a staff uniform, ask whether the garment is suitable for repeated washing and daily wear. For an event, comfort and availability may matter more than maximum durability. For outdoor work, check whether the requested garment is appropriate for the conditions and any relevant workplace requirements.

Confirm whether the quoted price includes the garment itself. Some suppliers quote decoration only, expecting you to provide blank apparel. Others include supply and decoration in one per-item price. Neither approach is automatically better, but they must not be compared as though they are the same.

Also check size surcharges. Extended sizes, unusual cuts and specialised garments may be charged differently. Ask whether a replacement garment supplied after a sizing mistake will attract another decoration charge.

Separate the decoration costs

Decoration is not one single cost. A quote should show the method, number of placements and any setup or preparation fees.

Embroidery

Embroidery pricing can depend on stitch count, logo dimensions, garment type, thread changes and placement. A small left-chest logo is not equivalent to a large back design. Caps, jackets and thick or lined garments may require different handling from polos or tees.

Ask whether digitising is included. Digitising converts artwork into an embroidery file, and it may be a one-off charge or included above a minimum quantity. Check whether the file is retained for future orders and whether edits, colour changes or resizing count as new setup work. For a useful list of the cost categories commonly checked in an Australian embroidery quote, compare this embroidery pricing guide.

Screen printing and transfers

Screen printing may involve setup per colour, while transfer methods can vary according to the size and type of artwork. Ask whether the price covers one print colour, full colour or a particular print area. A quote for a small chest mark should not be compared with a full-front print.

Check how artwork with gradients, fine lines or very small text will be handled. If the supplier recommends simplifying the design, ask for a proof before production. The cheapest method is not useful if important details disappear on the finished garment.

Sublimation and fully customised garments

For custom jerseys or all-over designs, confirm what is included in the base price. Names, numbers, sponsor logos, player changes and size variations may be included—or treated as extras. Ask whether a revised player list after approval attracts an amendment fee.

Find the hidden setup and artwork charges

Artwork is a frequent source of extra cost because “logo supplied” can mean very different things. Some suppliers need production-ready vector artwork. Others will redraw a low-resolution image, remove a background or adjust colours for a fee.

Ask these questions:

• Is artwork checking included?
• Is conversion to a print or embroidery file included?
• Does the price include one proof or unlimited revisions?
• Will colour matching or design clean-up cost extra?
• Is there a fee for each separate logo or placement?
• Will changes after approval incur an artwork or production charge?

Get a digital proof showing the artwork, position, approximate size, colours and wording. For names and numbers, provide a final spreadsheet or list and ask the supplier to confirm that it has been checked. A proof is also your chance to catch mirrored artwork, spelling errors and an unsuitable logo size.

Ask about minimum quantities and price breaks

A low unit price may depend on ordering a larger quantity than you need. Request pricing at the actual quantity, plus one or two realistic alternatives if you might reorder. For example, compare the cost of 20, 30 and 50 units, but do not order extras solely to reach a price break unless they have a clear use.

Check whether minimums apply per garment colour, design, size or decoration method. A supplier might accept 20 garments overall but require a minimum for each separate logo or colourway.

Ask how repeat orders are handled. If the artwork is already set up, a later order may avoid some preparation costs, but the supplier should confirm this rather than leave it assumed. Garment availability and price can still change.

Check GST properly

Never compare one quote including GST with another quote that is ex GST. Look for an explicit statement such as “including GST” or “plus GST”, and calculate the final amount rather than relying on the headline unit price.

If a quote is ex GST, make sure every line is treated consistently. Do not assume GST applies only to the garments: decoration, artwork, packing and delivery may also be part of the taxable invoice. If you are buying for a club, school or community group, confirm who will receive the tax invoice and whether your organisation has particular purchasing requirements.

Unpack freight, delivery and imported-order charges

Freight should show what is being delivered, where it is going and whether the price is an estimate or a fixed amount. Ask whether delivery is to a business address, residential address, post office, depot or rural location. Access restrictions, tail-lift requirements and re-delivery can affect the final cost.

If the apparel is being imported, ask who is responsible for customs clearance, import GST, duty, biosecurity-related charges, port or terminal fees, local transport and storage. These charges do not apply identically to every shipment, so an apparently cheap overseas quote needs a clear landed-cost calculation before you compare it with a local quote.

Also check whether the freight price covers one delivery. Split shipments, back-ordered sizes or a late change to the address can create a second charge. Confirm the carrier service, tracking arrangements and what happens if nobody is available to receive the parcel.

Include packing and fulfilment in the comparison

Basic packing may be included, but individual fulfilment often is not. Ask whether garments will arrive loose in cartons, grouped by size, or separately bagged and labelled for each wearer.

For a team or workplace order, request a line-by-line fulfilment price if you need:

• Individual names on bags or labels.
• Orders sorted by department, class or player.
• Separate cartons for different locations.
• Folding, tagging or barcode labelling.
• Direct shipping to multiple addresses.

Decide whether that service saves enough time to justify the cost. For a small order, sorting it yourself may be simple. For a large order with many recipients, an upfront packing charge may prevent mistakes and reduce volunteer or staff workload.

Test the delivery promise

“Two-week turnaround” is incomplete unless you know when the clock starts. Ask whether it means business days or calendar days, and whether it begins after payment, artwork approval, garment arrival or sample approval.

Confirm the production date, dispatch date and expected arrival date separately. If your order is for a tournament, launch, worksite opening or event, give the supplier a hard arrival date rather than only the event date. Build in time to inspect the goods and deal with a shortfall.

Ask what happens if a garment is unavailable, an artwork approval is late or a courier is delayed. Express production and priority freight may be available, but they should be listed as optional costs rather than appearing unexpectedly on the invoice.

Compare samples, proofs and quality controls

A sample can expose differences that a quote cannot. If possible, check the actual garment or an accurate sample before committing to a large order. Examine fabric feel, sizing, colour, seam quality and the position and finish of the decoration.

Ask whether a pre-production sample is included and whether it is made on the same garment and using the same method as the final order. A digital mock-up confirms layout, but it cannot confirm fabric weight or how the decoration feels after washing.

Clarify the process for faults, missing items and incorrect sizes. Ask how soon you must report a problem, what evidence is required and whether the supplier will replace or credit faulty goods. Keep the approved proof, final order list and invoice together.

Build a simple comparison table

Put each quote into a spreadsheet with the same headings. Useful columns include:

1. Garment supply.
2. Decoration per placement.
3. Artwork, digitising or setup.
4. Additional names and numbers.
5. Sample or proof.
6. Packing and labelling.
7. Freight and insurance.
8. GST.
9. Rush or other surcharges.
10. Final delivered total.
11. Cost per finished garment.

Mark each line as included, excluded, not applicable or to be confirmed. Do not leave blanks: a blank can hide an assumption. Add a notes column for garment substitutions, minimum quantities, lead times and conditions.

Know when the cheapest quote is not the best value

Once all extras are included, compare more than the total. Consider garment durability, decoration suitability, communication, proofing, delivery certainty and the cost of fixing an error. A supplier who gives a clear scope and realistic date may reduce risk even if the first unit price is higher.

Be cautious of a quote that is vague about GST, garment specifications, artwork ownership, delivery timing or what happens when stock is unavailable. Ask for clarification before paying a deposit. If the answer changes the price, update the comparison table rather than relying on a verbal promise.

Practical summary

Request identical specifications, confirm the garment and decoration method, list every artwork and setup charge, separate packing from freight, check GST, and calculate the delivered total. Finally, get a proof, a firm production timeline and the supplier’s process for faults in writing. A quote is comparable only when you know exactly what the final invoice will buy.

Approve a pre-production sample only when it matches the written order, not merely when it looks good at a glance. Check the garment, colour, artwork, measurements, construction, labels and finish in a consistent order, then record every required change in writing before bulk production begins.

This sample is your last practical opportunity to catch an expensive mistake while the order can still be adjusted. A misplaced logo, unsuitable garment colour or incorrect size spec can affect every piece in the run. Treat the sample as the physical version of your agreement with the supplier, rather than as a rough preview.

Start with the approved order details

Before inspecting the garment itself, gather the information you are checking it against. Keep the quote, order confirmation, artwork files, size chart, colour references, decoration instructions and any previous written approvals together. If details were discussed by phone or in messages, summarise the final decision in one document.

Your checking sheet should state:

• The garment style, fabric description and intended fit.
• The colour or colours, including any agreed colour references.
• Each artwork file and its approved version.
• Print or embroidery locations and the required dimensions.
• Size range and garment measurements.
• Labels, tags, packaging and any special finishing requirements.
• The quantity, delivery date and destination for the bulk order.

Do not rely on memory or a sample that was approved for a different colour, size or artwork version. Mark the sample with its style, size, colour and date, and photograph it before sending feedback.

Check the garment before the decoration

Look at the blank garment as though you were buying it off the shelf. Confirm that the style is correct: neckline, sleeves, hem, pockets, closures and overall shape should match what was ordered. Compare the fabric weight, stretch, softness and opacity with the agreed specification. A sample can have excellent artwork but still be wrong if the base garment has changed.

Inspect the garment in natural or neutral light where possible. Strong coloured lighting can make a fabric appear warmer, cooler, darker or brighter than it really is. Compare it with an approved physical swatch or colour reference, not just a screen image.

Run your hands over seams and edges. Look for loose threads, skipped stitching, uneven hems, puckering, damaged fabric, marks and poor alignment. Check that the garment sits evenly when laid flat. A minor construction issue on one sample may point to a larger production risk, so ask whether it is a sample-only detail or the intended bulk standard.

Confirm the garment colour

Colour is one of the easiest details to approve incorrectly. Screens display colour differently, and photographs can be affected by daylight, indoor lighting and camera settings. If colour is important to your event, team or visual identity, inspect the sample beside your approved reference under more than one light source.

Check the base garment and decoration separately. A print may look different because it sits on a coloured fabric, while a thread may appear brighter or duller against the same base. Look for:

• A base colour that is too warm, cool, pale, dark or saturated.
• Visible variation between panels or matching garments.
• White artwork that looks grey, transparent or uneven.
• Colours in the design that have shifted or lost contrast.
• Thread, ink or transfer colours that do not match the agreed result.

If an exact colour cannot be guaranteed because of the fabric, decoration method or production process, that limitation should be understood before approval. Do not write “looks fine” as your decision. State whether the colour is approved, rejected or approved subject to a specific adjustment.

Measure the garment, do not just try it on

A sample can feel comfortable and still fail the size specification. Lay it flat without stretching it and use the same measuring method as the supplier’s size chart. Take measurements from consistent points, such as half chest, body length, shoulder width, sleeve length or waist, depending on the garment.

Record the measurement, the expected measurement and the allowed tolerance. If the supplier has not provided a tolerance, ask for one before approving the sample. Fabric stretch, washing and measuring technique can all affect results, so a shared method matters.

Check more than one size if the order covers a broad range. A medium may be correct while the larger sizes have poor proportions. Look for:

• Body length that becomes too short or too long as sizes increase.
• Sleeves, cuffs or neck openings that do not scale sensibly.
• Shoulder seams sitting too far forward or back.
• Excessive tightness across the chest, hips or upper arms.
• Artwork that becomes too close to a seam or edge on another size.

If the sample is not the size most people will wear, use it to check construction and request measurements for the remaining sizes. Do not assume the artwork will be positioned proportionally across the range unless that has been agreed.

Check artwork placement and scale

Measure the artwork from fixed garment landmarks. For a front design, check the distance from the neckline, centre line and side seams. For a sleeve, check the distance from the shoulder seam and hem. For a back design, confirm its relationship to the neckline and any seam or pocket.

Do not judge placement while the garment is being worn only. Fabric tension can pull a design off-centre, particularly on fitted garments. Check it laid flat, then view it on a person or mannequin to see how it behaves when the fabric moves.

Confirm:

• The artwork is facing the correct direction.
• It is centred where required, rather than centred only within a seam or panel.
• It has the approved width and height.
• It is not too close to a collar, pocket, zip, hem or sleeve seam.
• Text is legible and not distorted.
• Multiple logos or design elements have the correct spacing.
• The artwork has not been accidentally mirrored, cropped or replaced with an old file.

Use a ruler or tape measure and write the results down. “Move it a little higher” creates room for interpretation; “move the top edge 15 millimetres lower from the neckline seam” gives the production team a clear instruction.

Inspect print, embroidery or transfer quality

Examine the decoration from close range and at normal viewing distance. The correct standard depends on the method, but the result should be clean, even and suitable for repeated wear and care.

For printed artwork, look for sharp edges, solid coverage, clean fine details and consistent colour. Check for cracking, pinholes, smudges, unwanted marks, patchiness and ink extending beyond the artwork. Rub the print gently only if the supplier has advised that this is an appropriate sample check; avoid damaging the only sample and record any agreed testing method.

For embroidery, inspect thread tension, density, edges, lettering and the reverse side. Small text can close up or become difficult to read. Check that the backing is tidy and that the design does not create uncomfortable stiffness on the inside of the garment.

For transfers, look for lifting edges, bubbles, creases, incomplete adhesion and a visible outline around the design. Check whether the decoration changes the garment’s stretch or hand feel in a way that affects comfort.

Ask how the sample was produced if the process affects the result. A digitally printed sample, for example, may not represent the final screen print, embroidery or transfer. Approval should be based on the decoration method intended for the bulk order, or the difference should be clearly accepted in writing.

Review labels, trims and finishing

Small details can still create a large rework problem when repeated across an order. Check neck labels, size labels, care labels, swing tags, patches, drawcords, buttons, zips and other trims against the order details.

Confirm that labels are the right size, wording, orientation and position. Make sure care information is suitable for the garment and that the size marking agrees with the size chart. Check that tags are attached in the requested place and that trims are secure without scratching or pulling the fabric.

Look inside the garment as well as outside. Inspect seam finishes, overlocking, label stitching and loose threads. If the garment will be worn for sport, work or outdoor use, consider whether the inside finish is comfortable and durable enough for that setting.

Test how the garment behaves

If timing allows, carry out simple practical checks before approval. Wear the garment for movement, sit down, raise your arms and check whether the artwork folds, stretches or becomes uncomfortable. Look at the decoration after gentle washing or the care process recommended by the supplier, particularly if wash durability is central to the order.

Do not treat one successful test as a guarantee that every bulk garment will be identical. The purpose is to identify obvious problems and confirm that the proposed combination of fabric and decoration is suitable. Ask the supplier what production controls will keep the bulk result consistent.

For larger or higher-risk orders, it can be useful to request an early sample from actual bulk production as a separate check. A top-of-production sample explained here is different from a pre-production sample: it checks whether the approved standard has transferred to the production line. It does not replace careful pre-production approval.

Record corrections clearly

Send feedback as a numbered list, with a photograph or marked-up image for each issue. Identify the location, current result, required result and whether the change applies to every size and colour.

For example:

1. Front logo: move 10 millimetres lower from the neckline seam on all sizes.
2. Artwork colour: use the approved darker blue reference; current print is too bright.
3. Body length: adjust size large to the agreed measurement of 76 centimetres, measured from the shoulder point.
4. Care label: replace the current wording with the approved file and place it in the left side seam.

Ask the supplier to confirm each correction and provide a revised sample when the change could affect fit, colour, placement or decoration quality. Do not approve a sample with a note saying “fix in production” unless the correction is specific, acknowledged and controlled. Ideally, the final approval record includes the sample photographs, measurement table, artwork version and the date of approval.

Know when to reject the sample

Reject or hold approval when the garment is materially different from the order, the colour is unsuitable, the artwork is incorrect, measurements fall outside the agreed tolerance, the decoration is defective or the supplier cannot explain how the bulk result will match the sample.

A rejected sample is not a failed project. It is an early warning that gives you time to make a correction. Approving a sample simply to protect a deadline can leave you with hundreds of garments that are late, unusable or expensive to replace.

Before signing off, ask one final question: if this exact garment arrived in the full quantity, would you be comfortable distributing or selling it? If the answer is no, record why and keep the order on hold.

Practical summary

Use the approved order as your benchmark. Check the blank garment, colour, measurements, artwork placement, decoration, labels and finishing in that order. Measure rather than guess, inspect under suitable light, photograph the sample and send numbered corrections. Approve only after every change is confirmed in writing, because the sample should define the standard the bulk order is expected to meet.

The best print size and placement depend on three things: the garment’s size, the amount of detail in the artwork and how the apparel will be worn. A small left-chest logo can look polished on a work polo, while the same artwork may disappear on a T-shirt. A large full-front graphic may suit a streetwear-style design but feel crowded on a fitted women’s garment.

Before ordering, measure the intended print area, view the artwork at its real size and check it on the smallest and largest garments in your run. Do not approve a mock-up simply because it looks balanced on one standard-sized T-shirt. The result needs to work across the full range of apparel you are buying.

Start with the purpose of the garment

Placement should support the way people will use the apparel. Ask what needs to be noticed first, how close the viewer will usually be, and whether the design needs to be comfortable under a jacket, apron or backpack.

• Workwear and uniforms: a left-chest logo is usually restrained and easy to identify. A back print can carry a larger business name or contact detail for visibility when staff are moving around.
• Events and teams: a front or back print can make the group easy to recognise. Names and numbers may need their own placement rather than being squeezed into the main graphic.
• Merchandise: choose the location that gives the artwork enough space to feel intentional. A detailed illustration often benefits from a larger central print.
• Everyday casual wear: comfort matters. A large print placed under a heavy bag strap or directly over a pocket can crease, rub and become less visible.

Think about the garment itself as well. A polo, hoodie, singlet and T-shirt do not offer the same usable area. Seams, pockets, zips, collars, buttons and hoods all reduce the space where artwork can sit cleanly.

Understand the main print placements

Left chest

The left chest is a dependable choice for logos, initials and simple marks. It looks professional without dominating the garment, which is why it is common for uniforms, polos and corporate apparel.

A typical left-chest logo is around 7.5–10 cm wide. Very small lettering can lose clarity, particularly when the design includes thin strokes, fine outlines or several words. If the artwork is wider than about 11–12 cm, it may stop looking like a chest logo and begin to compete with the front of the garment.

Placement should be judged from the collar seam and the centre line of the shirt, not from the shoulder seam. A useful starting point is roughly 7.5–10 cm down from the collar and the same distance in from the centre, then adjusting for the garment’s shape and neckline. Always check the position on the actual blank garment, as a deep V-neck, polo placket or curved side seam can change the visual balance.

Centre chest

A centre-chest print sits higher and is usually smaller than a full-front graphic. It works well for a short slogan, badge, simple icon or small illustration. It can also be paired with a larger back print, giving the garment a clear front detail without filling the entire front.

Keep enough space below the collar so the design does not look trapped against the neckline. If it sits too high, it may be partly hidden when the wearer moves, folds the garment or wears an open overshirt. If it sits too low, it can look like a full-front design that was scaled down without reconsidering its position.

Full front

A full-front print is the most flexible option for illustrations, large type and artwork that needs to be read from a distance. On adult garments, a common starting range is roughly 25–30 cm wide, with the height determined by the design’s proportions. Larger prints may be possible, but the press area, garment construction and printing method can impose limits.

Do not make every full-front print as large as possible. A compact design with generous empty space can look stronger at a moderate size than when enlarged until it nearly touches the side seams. Leave a comfortable margin around the artwork so it does not look crowded, especially on lightweight T-shirts that move and drape.

For a standard adult front print, the top of the design often begins around 5–8 cm below the collar seam. This is only a starting point. A tall design may need to begin higher, while a wide logo may look better slightly lower. A printable placement template can make these decisions easier; for example, a T-shirt with integrated transfer size charts can help compare artwork across chest, front, back and sleeve locations before production.

Back print

The upper back is useful when the design needs to be seen while someone is walking away or working in a group. It is a strong location for a business name, team identity, event title or larger illustration.

Measure from the back collar seam and account for the neckline, yoke seam and any hood. A print that starts too close to the collar can be covered by a hoodie, jacket or hair. A print placed too low may be hidden by a chair, tool belt or backpack.

For a design that combines a small front logo with a back graphic, make the two elements part of the same visual system. Matching type, colour and spacing will make the garment look planned rather than like two unrelated prints.

Sleeve

Sleeve printing suits short words, small logos, flags, numbers and narrow vertical graphics. The available area is limited, and the sleeve curves around the arm, so details that appear clear on a flat screen can become difficult to read when worn.

Keep sleeve artwork simple and avoid long sentences. Measure the sleeve when it is laid flat, but remember that the design will not face directly towards every viewer. Placement near the upper sleeve is generally more visible than artwork close to the cuff, where it can be affected by folding, watches and frequent contact.

Scale the artwork to the garment size

One print width for every garment size is convenient, but it can produce an uneven range. A design that looks balanced on an adult Medium may look undersized on a 3XL and overwhelming on a Youth Small. Ask your printer whether the artwork will be scaled by size, particularly if your order includes children’s garments, extended sizes or both fitted and relaxed cuts.

Scaling does not always mean making the design proportionally larger or smaller. A logo with small text may need a minimum size to remain readable. On a small garment, the better solution can be removing a secondary line, simplifying the artwork or using a different placement. On a large garment, increasing the width may be necessary so the design does not look lost in the available space.

Prepare a size plan before requesting a quote. List the garment style, size range, placement and proposed print dimensions. For example:

• Youth garments: use a reduced width and check that the top of the design does not run into the neckline.
• Adult small to medium: use the standard artwork size only after checking it against the narrowest body width.
• Adult large and above: consider a larger version if the design looks visually weak when centred.
• Fitted cuts: check the narrowest part of the front rather than relying on a relaxed-fit template.

Let the design detail guide the size

Detail is often the reason a print looks wrong, even when its overall dimensions are reasonable. Fine text, narrow gaps, tiny icons and distressed textures need enough physical space to reproduce cleanly. Enlarging the design can help, but it cannot fix artwork that is too complex for the chosen process.

Read every word at the intended print size, not only at 100 per cent on a large monitor. Ask whether a person standing a few metres away needs to read it, or whether it is decorative detail that only needs to be appreciated close up. A slogan should normally be larger and simpler than a small label intended for a chest position.

Consider contrast as part of sizing. A dark design on a dark garment may need a light outline or a different colour treatment, while a thin one-colour mark may need more width to remain visible. Do not rely on a digital mock-up that shows perfect contrast if the final garment colour and print method will produce a softer result.

Check the visual balance before approving

Print placement is not only a measurement exercise. The design should look centred in the usable area and visually balanced, which is not always the same as being mathematically centred on the garment.

Large text at the top of an artwork can make the whole design feel higher than its measured centre. A heavy dark illustration may appear lower or heavier on one side. Curved artwork may need a different position from a rectangular design. View the garment from a normal standing distance, then inspect it close up for awkward gaps and crowded edges.

Use a physical test whenever the order is important or the quantity is large. Print the artwork at its proposed size on paper, cut it out and place it on the garment. Check it on several sizes, including the smallest and largest. This simple test can reveal that a chest logo is too wide, a back print is too low or a full-front graphic needs more breathing room.

Allow for garment features

• Pockets: do not place artwork over a pocket unless the printer has confirmed the equipment and finish can handle it. A pocket can also hide part of the design.
• Hoodies: allow for the hood, kangaroo pocket and thicker seams. A front print that works on a T-shirt may need to sit higher or be reduced.
• Polos: keep clear of the button placket and choose a chest size that does not compete with the collar.
• Singlets: account for narrow straps and deep armholes. A standard T-shirt template can place the artwork too close to the edge.
• Long sleeves: check whether the print will crease at the elbow or be covered by a jacket cuff.

Also consider how the garment will be washed and worn. Artwork placed across a high-friction area, such as under a shoulder strap or on a sleeve cuff, may receive more rubbing than a central front print. Follow the printer’s care instructions, wash garments inside out when recommended, and avoid treating printed apparel like work rags if you want the design to remain sharp.

Questions to ask before ordering

1. What is the finished print width and height, in centimetres?
2. Is that size the same for every garment, or will it be adjusted by size?
3. Where will the placement be measured from: the collar seam, pocket or another reference point?
4. Will the artwork fit around seams, pockets, buttons and zips?
5. Can small text, fine lines and negative spaces reproduce at the proposed size?
6. Will the print method require a different artwork treatment or minimum size?
7. Can I approve a mock-up showing the smallest, middle and largest garment sizes?

Get the final dimensions written into the approval proof. A visual mock-up is useful, but it can be misleading if it is not drawn to scale. Confirm the garment model, colour, placement, print width and print height before production.

Practical summary

Choose left chest for a restrained logo, centre chest for a compact focal point, full front for artwork that needs room, back for visibility from behind and sleeve for short, simple details. Measure from garment seams, scale artwork across the size range, keep detailed designs large enough to read, and test the smallest and largest garments before approving the order. A few minutes with a real garment and a paper template can prevent an expensive print that looks too small, too crowded or out of balance.

The safest way to wash a custom printed shirt is to turn it inside out, use cold water and a mild detergent, then air-dry it away from direct heat and harsh sun. These simple settings reduce rubbing, heat and chemical stress—the main causes of faded, cracked or peeling designs.

That routine works well for most everyday printed cotton shirts, but the care label should always come first. It may specify a different method for the fabric, trim or print finish. If the label is missing or difficult to read, treat the shirt gently until you know how it responds.

Before the first wash, check the shirt

New custom apparel can have different combinations of fabric and decoration. A soft cotton tee with a screen-printed design will not necessarily behave exactly like a polyester performance shirt with a transferred logo. The print may be smooth, raised, rubbery, textured or woven into a patch. Those differences affect how much heat, friction and moisture it can tolerate.

Look for the care label inside the shirt and follow its instructions for washing, drying and ironing. Also inspect the design before putting the shirt in the machine. If an edge is already lifting, a corner is cracked or a section feels sticky, avoid a vigorous wash and deal with the problem carefully first. Washing will not repair existing damage, and rough handling may make it worse.

If the shirt is brand new and only needs freshening, it does not always need a long or hot cycle. A short, cold wash is generally gentler than repeatedly subjecting it to high temperatures and heavy agitation.

Turn the shirt inside out

Turning a custom shirt inside out before every wash is one of the most useful habits you can adopt. It places the printed surface on the inside, reducing direct contact with the drum and with rough items in the load.

Friction can come from more than just the washing machine. Zips, bra hooks, metal buttons, denim, towels and garments with abrasive seams can all rub against a design. Over time, that rubbing can make a print look dull, thin or prematurely worn.

Before the shirt goes into the basket, turn it inside out rather than waiting until laundry day. Shake it out so it is not tightly bunched, and close zips or fasteners on other garments. Do not turn a shirt inside out if the care label specifically says not to, but for most ordinary printed tees it is a sensible default.

Choose cold water

Cold water is the safest starting point for most custom printed shirts. Hot water can contribute to colour loss, shrinkage and weakening of some print adhesives. It can also place unnecessary stress on the fabric, particularly when combined with a long cycle or a hot dryer.

Cold washing is especially practical during an Australian summer. It uses less heat, is suitable for regular sweat and dust, and helps you avoid treating a shirt more aggressively than its condition requires. Use a warm or hot setting only when the care label calls for it or there is a specific hygiene reason, and understand that repeated high-temperature washing may shorten the life of some designs.

Choose a gentle or normal cycle according to how dirty the shirt is. A lightly worn event tee does not need the same treatment as a work shirt covered in mud or food. Avoid treating every load as heavy-duty laundry.

Use the right amount of detergent

Use a mild everyday detergent and measure it according to the product instructions and the size of the load. More detergent does not make a shirt proportionally cleaner. Too much can leave residue in the fibres, making the fabric feel stiff or look dull.

Do not pour detergent directly onto the printed area. Add it to the machine’s dispenser or dilute it as directed. If the shirt needs stain treatment, apply the product to the fabric side where appropriate and check its instructions first. Avoid soaking a printed design in an untested chemical for a long period.

Bleach deserves particular caution. Chlorine bleach can damage colours and fibres, while some oxygen-based products may also affect a print depending on the garment and the product. Unless the care label specifically supports it, skip bleach on custom apparel. Fabric softener is not essential for cleaning and may leave a coating that changes the feel of the shirt or affects moisture-wicking fabric.

Sort the load for less rubbing

Do not throw a printed shirt into a mixed load simply because it is the next item in the hamper. Sort clothes by colour, fabric weight and roughness as well as by whether they are light or dark.

• Wash dark shirts with similar dark colours to reduce the chance of colour transfer.
• Keep printed tees away from heavy towels, stiff jeans and garments with exposed zips where possible.
• Wash delicate or lightweight designs with similar fabrics rather than bulky workwear.
• Empty pockets and remove items that could snag or scratch the shirt.
• Do not overload the machine; clothes need room to move through the water.

Sorting does not need to become complicated. The useful question is whether the other items in the load are likely to create extra heat, weight or abrasion. A small load of soft tops is generally a kinder environment for a custom tee than a crowded load of towels and denim.

Drying: air-dry whenever you can

Air-drying is the lowest-risk option for protecting both the shirt and its design. Remove the garment promptly after the wash, turn it right side out if necessary and reshape the collar, shoulders and side seams while it is damp.

Hang or lay the shirt in a shaded, well-ventilated spot. Australia’s strong sunlight can be useful for drying, but direct UV exposure can gradually fade fabric and printed colour. A breezy outdoor area under cover, a shaded clothesline or an indoor drying rack is preferable to leaving the design in harsh afternoon sun for hours.

Be mindful of how you hang it. A thin hanger can leave shoulder points, and hanging a very wet, heavy shirt may stretch the neckline. For a lightweight tee, a broad hanger or a drying rack can help it keep its shape. If the fabric is prone to stretching, lay it flat over a clean rack or towel instead of suspending it by the collar.

If you use a tumble dryer

A tumble dryer is convenient, but heat and repeated tumbling can be harder on printed apparel than air-drying. If you need to use one, check the care label first and choose the lowest suitable heat setting. Remove the shirt while it is slightly damp rather than leaving it in a hot drum until completely dry.

Keep the shirt inside out during the dryer cycle, and avoid adding it to a load of bulky towels if possible. High heat may shrink the base garment, distort its fit or affect a design attached with adhesive. A shirt that looks fine after one hot cycle may gradually become brittle, misshapen or faded after many.

Never place a damp printed shirt directly against a heater or use a very hot hairdryer to speed things up. Concentrated heat can affect one part of the design unevenly. If you are in a hurry, improve airflow rather than increasing temperature.

Ironing and steaming

Do not iron directly over a printed design. Direct heat and pressure can make some prints stick to the iron, become glossy, smear or lift from the fabric. If the shirt is creased, turn it inside out and use the lowest suitable temperature for the fabric, keeping the iron moving.

Place a clean cloth between the iron and the shirt if the care label permits ironing. Avoid pressing over raised edges, vinyl-like sections or textured decoration. Steaming can be gentler for some garments, but keep the steamer at a sensible distance and follow the garment’s instructions. When in doubt, smooth the shirt by hand while damp and allow it to dry flat.

How to deal with stains

Act early, but do not scrub the print aggressively. Blot liquid spills with a clean cloth, then rinse from the reverse side with cool water if the fabric allows. Rinsing from behind can help push some fresh residue away from the design rather than driving it further into the print.

For a greasy or coloured mark, test a small amount of suitable stain treatment on an inconspicuous section first. Never assume a strong solvent is safe because it removes the stain quickly. Solvents, abrasive powders and stiff brushes can remove colour or roughen the design along with the mark.

After treating a stain, wash the shirt as usual and inspect it before drying. Heat can set some stains more firmly, so do not tumble-dry the garment until you are satisfied that the mark has gone. If a faint stain remains, repeat a gentle treatment instead of escalating immediately to harsh chemicals.

Store printed shirts without crushing the design

Store the shirt clean and completely dry. Dampness trapped in a drawer can create musty smells and may encourage fabric problems, particularly in humid weather. Give recently washed clothes plenty of time to dry before folding them away.

For most printed tees, folding is preferable to leaving them on a narrow hanger for long periods. Fold the shirt with the design facing inwards or place a soft, clean layer of fabric between heavily textured prints so they do not rub against one another. Do not pack the drawer so tightly that the design is pressed into a sharp fold.

Keep stored apparel away from direct sunlight, heat sources and damp cupboards. Avoid leaving a custom shirt in a hot car, on a sunny windowsill or in a closed sports bag. Those environments can expose the fabric and print to unnecessary heat, moisture and odours.

Common mistakes that shorten a print’s life

• Washing the shirt right side out in a load containing zips and denim.
• Using hot water for every wash, regardless of the care label.
• Adding excessive detergent, bleach or untested stain remover.
• Overloading the machine so garments rub together heavily.
• Drying the shirt on high heat or in direct summer sun for long periods.
• Ironing directly over the artwork.
• Scrubbing a stain with a hard brush across the printed surface.
• Putting the shirt away while it is still damp.
• Leaving sweaty apparel scrunched in a closed gym bag or laundry basket.

For a fuller basic routine, this guide to washing printed shirts also recommends starting with the care label, washing most everyday graphic tops inside out in cold water and using only the detergent you need.

A simple routine for Australian summers

1. Turn the shirt inside out as soon as you take it off.
2. Hang it in the shade to air briefly if it is damp with sweat, rather than sealing it in a basket or bag.
3. Sort it with similar colours and soft fabrics.
4. Wash it in cold water on a suitable gentle or normal cycle.
5. Use a mild detergent in the recommended quantity.
6. Remove it promptly, reshape it and air-dry it in a shaded, ventilated place.
7. Fold it loosely once fully dry and store it away from heat and sunlight.

Practical summary: Read the label, wash custom shirts inside out in cold water, use mild detergent, minimise rubbing and skip unnecessary bleach. Air-dry in the shade whenever possible, keep direct heat away from the print, avoid ironing the artwork and store the shirt clean, dry and loosely folded.

Collect shirt sizes with a simple, garment-specific form, give people clear fit instructions and set a firm response deadline. Before ordering, reconcile every response against your group list, check unusual sizes and confirm the final quantity for each garment, colour and cut.

That process is more reliable than guessing from a standard size split. It also prevents a common ordering problem: having enough shirts overall, but not enough of the sizes people actually need. A size count is only useful when it is tied to the exact shirt being printed.

Start with the actual garment

Do not ask people for a generic “shirt size” before deciding what they will receive. A person who normally wears a medium may choose a different size in a fitted women’s cut, a relaxed unisex shirt, a heavy cotton style or a youth garment.

Choose the garment, colour and available size range first. Ask your apparel supplier for the garment’s size chart, ideally with finished measurements. Keep that chart with the order paperwork rather than copying measurements from a different shirt.

Check whether the chart refers to the body or the finished garment. Body measurements describe the person the shirt is intended to fit. Finished measurements describe the shirt itself, and may be taken across the chest, from shoulder to hem or using another method. If the chart is unclear, ask how the measurements were taken before sending it to your group.

Also confirm whether the shirt is expected to fit closely, normally or loosely. “True to size” is not precise enough on its own. The fabric, cut, construction and intended ease all affect how a size feels.

Choose a size range that includes the group

List the full adult and youth range available for the chosen garment. Do not quietly remove larger sizes because you expect only a few people to request them. Someone who needs an extended size should not have to negotiate for a suitable shirt after the order has been placed.

For a mixed group, separate the options into sensible sections:

• Adult cut and adult sizes.
• Youth cut and youth sizes.
• Any fitted, women’s or alternative cut.
• Extended sizes, if the garment offers them.

Keep the list manageable, but not at the expense of accuracy. If several cuts are available, decide whether people may choose between them. Offering every possible combination can make the order difficult to reconcile. If simplicity matters, choose one inclusive cut, or provide two clearly labelled options with separate counts.

Make sure the size range applies to every colour and garment option. A supplier may not carry the same sizes across all styles, so check availability before opening the form.

Give people useful instructions

Most sizing errors happen because respondents are asked to rely on a familiar label rather than compare measurements. Put the garment chart directly in the form or include a clear image of it in the instructions.

Tell respondents to:

• Measure a well-fitting shirt they already own and compare it with the chart.
• Lay that shirt flat rather than measuring it while worn.
• Check the chart’s measuring points and units.
• Consider whether they prefer a closer or looser fit.
• Use the selected garment’s chart, not the size of a different brand or style.

For body measurements, explain where a tape should sit and whether the measurement should be snug or relaxed. Avoid presenting one size as universally correct. A person may reasonably choose a larger size for layering, movement or a relaxed appearance.

Include a note that custom apparel may not be exchangeable once ordered, particularly when it has been printed or allocated to an individual. Keep the wording factual and check the supplier’s actual policy before making promises.

Use one form and one record

A single form is easier to audit than a mixture of text messages, emails, verbal replies and handwritten notes. It also gives every person the same options and instructions.

Useful fields include:

• Full name.
• Group, team or department, if relevant.
• Adult or youth garment.
• Garment cut or style.
• Colour, if more than one is offered.
• Requested size.
• Fit preference or a short sizing confirmation.
• Whether the shirt is for the respondent or another person.
• Notes about accessibility, modesty or other practical requirements.

Avoid asking for unnecessary personal information. You need enough information to identify the order and resolve questions, not a detailed profile of each participant.

Use a controlled list of sizes instead of an empty text field. A typed answer such as “large”, “L”, “adult L” or “10” can refer to different things. Label youth and adult sizes explicitly, and put the cut next to the size where there could be confusion.

Give each person one response unless the form is specifically designed for families or multiple shirts. If people are ordering for others, require a separate row for each shirt. That makes the final tally much less likely to contain a hidden duplicate or missing size.

Allow for fit preferences without losing control

Size collection is not only a technical measurement exercise. Two people with similar measurements may choose different fits. Ask a short, optional question such as “How do you prefer this garment to fit?” with choices like closer, standard or relaxed.

Use that information to identify responses that need checking, not to override someone’s selected size automatically. If a person selects a size that appears inconsistent with the chart, contact them privately and ask whether they compared the measurements. Do not challenge someone’s body or announce their choice publicly.

Consider adding a sample garment if the group can access one. A sample lets people assess the cut, fabric and length, although it does not replace the size chart. Record the sample’s style and size so nobody assumes that trying one garment answers questions about another.

For children and teenagers, ask the parent or carer to check the chart. If the shirts will be worn later rather than immediately, the organiser and family can decide whether a little growing room is appropriate. Do not make that decision for them.

Set a clear deadline and follow up methodically

Set a response deadline that leaves time for checking, supplier questions and corrections. A deadline without a follow-up plan usually produces late replies and rushed assumptions.

After the first deadline:

1. Export or copy the responses into the master order sheet.
2. Compare the response list with the current group list.
3. Mark people who have not responded.
4. Send one reminder with the exact closing time and the form link or response method.
5. Contact only the remaining non-responders after the reminder.
6. Record any response received by email or phone in the same master sheet.

Do not fill in a missing size based on what you think a person usually wears. If someone does not respond, mark the order as unresolved and follow your group’s agreed process. That may mean ordering only confirmed shirts, asking for a direct confirmation, or holding a small contingency where the supplier and budget allow it. The important point is to distinguish a confirmed choice from an organiser’s guess.

Online collection can save time and reduce mistakes when the group can respond before the order is placed. The guide to collecting group shirt orders ahead of time also recommends using past order records where they exist, which can help identify recurring gaps without replacing current responses.

Build a master size tally

Keep the individual responses and the summary tally together. The summary should show the quantity for every combination that affects production, not just the total number of shirts.

For example, separate counts for:

• Adult unisex, black, medium.
• Adult unisex, black, large.
• Adult fitted, black, medium.
• Youth, navy, youth large.

These may all be “medium” or “large” in casual conversation, but they are not interchangeable. Use a spreadsheet with one row per respondent and a pivot table or manual tally by cut, colour and size. If you are working on paper, make a separate grid for each garment and colour.

Add a status column such as confirmed, needs clarification, no response or withdrawn. This prevents an old response being counted after someone changes their mind.

Run three checks before approving the order

Check the people

Compare the final list with the group register. Every expected person should have one of three clear outcomes: a confirmed shirt, a documented decision not to receive one, or an unresolved response that has been dealt with according to your process.

Check the numbers

Add all line-item quantities and compare the result with the number of confirmed shirts. Then compare the count with the budget, the supplier’s minimums and the delivery requirements. A total that looks right can still contain a duplicated row or a missing size.

Check the details

Review every unusual entry: youth versus adult, extended size, alternative cut, multiple colours, and any size that appears only once. Confirm that the supplier actually offers each requested combination. Check spelling for names or labels if they will be printed individually.

Send a final confirmation to the group if there has been a substantial change to the garment, colour, size chart or delivery timing. Give people a short correction window, then freeze the order. Constant late changes make an accurate tally meaningless.

Decide whether extras are sensible

Extras are not a substitute for collecting sizes accurately. If you choose to order them, decide what purpose they serve and record them separately from confirmed shirts. A general extra cannot solve a shortage in a particular cut or extended size.

Consider practical uses: a replacement for a damaged shirt, a spare for a shared kit, or a small number for people whose participation is not yet confirmed. Check the supplier’s minimums, budget and return policy first. Avoid ordering a random spread of sizes simply because the group feels uncertain.

Keep a note of what remains after distribution. That record can inform a future order, but it should be treated as local evidence about your group and garment, not as a universal sizing rule.

Keep the records for the next order

Save the final size tally, individual responses, garment name, size chart and notes about fit issues. Record whether people reported that the garment ran short, long, tight or loose, and distinguish those comments from a person simply preferring a different fit.

When the next order comes around, start with the previous record but reopen collection. People change, garments change and preferences change. A previous tally is a useful cross-check, not permission to skip the form.

Practical summary: choose the garment first, publish its exact size chart, collect one controlled response per shirt, follow up missing replies, tally by cut and colour, and check every line before ordering. Treat fit preference as a legitimate choice, but never replace a confirmed size with a guess.