Store printed shirts in a clean, dry, temperature-stable area, away from direct sunlight, dust, moisture and anything that could transfer colour or odour. Before packing them away, inspect each shirt, fold it with the printed area protected, label the bundles clearly and keep sizes or distribution groups separate. Then complete a final check shortly before the event rather than discovering a missing size or damaged print at the last minute.

Inspect every shirt before storage

It is much easier to resolve an issue before the shirts are packed into boxes. Set up a clean table with good lighting and check the order in small batches.

• Confirm the shirt size, colour and style against your order or distribution list.
• Look for printing problems such as incomplete coverage, smudging, cracking, peeling edges or obvious colour inconsistencies.
• Check the garment for marks, loose threads, tears, stains or damaged seams.
• Make sure the print is fully dry and not tacky before folding.
• Separate anything questionable instead of returning it to the main stock.

Keep a simple count as you inspect. A handwritten tally or spreadsheet can record the quantity checked, the quantity accepted and any items set aside. If a shirt needs review, place it in a clearly marked area and photograph the issue for your records. Do not mix rejected or uncertain garments with the shirts ready for distribution.

Let printed shirts settle before packing

If the shirts have just arrived, avoid compressing them immediately into a tightly filled container. Give them time to air in a clean, dry room, particularly if they have a strong packaging or manufacturing smell. Keep them away from kitchens, workshops, garages with fuel or chemicals, and areas where dust or dampness is common.

Do not leave them spread out in direct sun while they settle. Sunlight can fade dyed fabric and printed artwork over time, and a warm windowsill is not a reliable storage area. A shaded room with ordinary airflow is more suitable.

Fold with the print protected

Use a clean, dry surface for folding. Wash and dry your hands first, especially if you have been handling food, cardboard, ink, cleaning products or oily equipment.

1. Lay the shirt flat with the front or main printed area facing up.
2. Smooth the fabric gently with your hands, avoiding unnecessary rubbing over the artwork.
3. Fold the sides towards the centre, keeping the sleeves neat.
4. Fold the shirt from the bottom upwards, using a loose, even fold.
5. Place the shirt so the printed area is not pressed directly against a rough surface, exposed adhesive or dirty cardboard.

For designs that are large, raised or particularly prone to sticking, place a clean sheet of plain, acid-free tissue or unprinted paper over the artwork before stacking. Avoid newspaper, coloured paper, paper towels and anything with loose ink, heavy dye or a rough texture. Do not use plastic film directly against a print unless the garment supplier specifically recommends it.

Keep stacks low enough that the bottom shirts are not heavily compressed. Tall piles are more likely to lean, crease and become difficult to count. If you need to store a large quantity, use several manageable stacks rather than one oversized pile.

Choose storage containers carefully

Strong, clean cardboard cartons can work well for short- or medium-term storage, provided they are dry and free from dust, pests and previous chemical or food odours. Plastic tubs can also help protect garments from dust, but do not seal damp shirts inside them. Trapped moisture can create musty smells and encourage mould.

Use containers large enough that shirts are not forced into tight corners. Avoid overfilling boxes, sitting on cartons or placing heavy equipment on top. Leave enough room to lift out a bundle without dragging the rest across the carton.

Raise cartons off a concrete floor or any surface that could become damp. A sturdy shelf or pallet is preferable, while keeping the stock away from leaking pipes, windows and exterior walls with signs of condensation. Store the cartons somewhere secure, but make sure the location remains accessible for regular counting.

Label for fast sorting

Clear labelling prevents unnecessary handling and makes event-day distribution much quicker. Label each carton or bundle with the information someone else would need if they were helping you sort the stock.

• Shirt design or event name
• Garment colour
• Size
• Quantity
• Distribution group, team or session, if relevant
• Whether the bundle has been inspected and counted

Put a label on the top and at least one side of each carton. Use large, legible writing and keep the labels consistent. For mixed cartons, list the contents on the outside rather than relying on memory. If shirts are being handed out by size, store each size separately wherever possible.

Keep a master stock list nearby, but do not rely on the list alone. Physical labels should still make sense if cartons are moved or the person who packed them is unavailable.

Control creases without damaging the print

Folded shirts will develop some creases, particularly after transport, but aggressive pressing can damage printed artwork. Do not iron directly over a printed design unless the care instructions specifically permit it. Heat can soften, distort or transfer some prints.

If a shirt needs freshening before distribution, check its care label first. A gentle wash may be suitable for some garments, but washing the entire order close to an event introduces drying time, shrinkage and colour-matching risks. For a small number of creased shirts, hang them briefly in a clean room or smooth them by hand. Keep them away from steam, heaters and direct sunlight unless the care instructions allow those methods.

Complete a final check before the event

Shortly before the event, ideally the day before or on the morning if practical, reopen the stock and check the details that matter most. Confirm the total number of shirts, verify that each size is in the correct bundle and look for new marks, dust or crushed packaging.

Inspect a sample from each carton, including shirts from the bottom of a stack. Check that the print still looks clean, the garments smell fresh and the labels match the contents. Prepare a small reserve of commonly requested sizes if your distribution plan allows it, and keep a marker and updated count sheet with the stock.

For transport, use clean cartons or reusable containers, keep them covered from rain and avoid leaving them in a hot vehicle for extended periods. At the venue, move the shirts into a dry, shaded area and sort them only on a clean table.

Practical summary

Inspect printed shirts on arrival, separate problems, fold them gently with the artwork protected and store them in clean, dry, lightly packed containers. Label every bundle by size and quantity, keep stock off damp floors and complete a final count and print check shortly before distribution.

A small apparel run looks professionally branded when every decision feels deliberate: use a limited colour palette, repeat the same visual elements, keep artwork clear, choose garments with a consistent fit and present the finished pieces neatly. You do not need a large order or an elaborate identity system. Consistency matters more than complexity.

Start with a simple visual system

Before choosing garments or sending artwork to a printer, decide which elements will appear across the range. A practical small-run system might include one logo or wordmark, one supporting graphic, two or three brand colours and one or two type styles.

Keep the system narrow. Adding several unrelated graphics, colours and slogans can make a small collection look like a mixture of one-off items rather than a coordinated range. If you want variety, vary the garment colour or artwork placement while keeping the core logo, type and palette consistent.

• Choose one primary logo or wordmark for recognition.
• Select one secondary graphic only if it serves a clear purpose.
• Limit the main palette to a few repeatable colours.
• Use the same spelling, capitalisation and wording everywhere.
• Decide whether the overall look should feel understated, bold, playful or practical.

Make a basic reference sheet before ordering. It can be a single page showing the approved logo, colour values, artwork versions and placement notes. This reduces the risk of sending different files to different suppliers or approving inconsistent proofs.

Use colour consistently

Colour is one of the quickest ways to make separate garments look like a collection. Start with the garment colour, then choose ink or thread colours that contrast clearly with it. A dark logo on a dark shirt may look subtle in a digital mock-up but become difficult to read in real life.

For a small run, avoid relying on an exact colour match across several decoration methods unless you have checked how each method reproduces colour. Printed ink, embroidery thread and the fabric itself can appear different. If colour consistency is important, use a restrained palette and approve physical samples or production proofs where available.

It is often more reliable to use one strong artwork colour on several garment colours than to create a different multi-colour treatment for every item. Check the design in both full colour and a single-colour version. A logo that still works in one colour will be easier to use on future garments, packaging or labels.

Keep placement restrained

Professional branding usually benefits from clear hierarchy. Choose a primary placement, such as a left-chest mark or a centred front graphic, then use secondary placements sparingly. A small logo at the front and a larger related graphic on the back can feel intentional. Several competing marks across the front, sleeve and back can feel crowded.

Write down the placement and size for each garment style. For example, specify whether the logo sits on the wearer’s left or the viewer’s left, how far it sits from the collar and whether the back graphic is centred. Do not assume that a placement suitable for a T-shirt will work unchanged on a hoodie, singlet or jacket.

Ask for a garment-specific mock-up or measurement guide before production. Artwork that is technically centred may look too high or low because of the neckline, pocket, seam or fabric shape. A small adjustment can make the finished piece look much more considered.

Prepare clean, usable artwork

Good artwork files help prevent avoidable inconsistencies. Supply the required file type, but keep an editable master file for future changes. Make sure logos are sharp at the intended size, text is converted or supplied correctly, and transparent areas do not contain unwanted backgrounds.

Check fine lines, small text and intricate details at the actual print size rather than only on a large screen. Fine elements may disappear in printing or embroidery. If a design contains small lettering, simplify it or increase its size. It is better to remove a detail than to reproduce it poorly.

Name files clearly and archive the approved version. Include the garment colour, artwork position and date in the file name if needed. Before approving, check spelling, punctuation, orientation and the number of items in each size and colour.

Choose garments as a coordinated range

Garments do not need to be identical, but they should look as though they belong together. Similar fabric weight, colour temperature and overall fit will create a more cohesive result. A very structured shirt paired with a thin, loose garment may make the run feel accidental unless that contrast is part of the concept.

Order or inspect samples where possible. Look at the neckline, seams, fabric density, shrinkage guidance and how the garment sits on different body shapes. Consider whether the artwork will be applied over a pocket, ribbing or textured fabric. A design may require different positioning or a simpler treatment on some styles.

Plan the size range from realistic demand rather than ordering too many variations. Fewer well-chosen garment styles can look more polished than a broad assortment with inconsistent fits. Record the size chart and communicate that measurements can vary between styles.

Add useful sizing and care information

Neat sizing information makes the range easier to distribute and helps it feel finished. Where appropriate, use consistent size labels, printed neck information or tidy internal tags. If replacing the original label, check that required fibre content, care and country-of-origin information remains available.

Provide a simple care note with the order or on the packaging. Recommend washing according to the garment’s care instructions, turning decorated items inside out where suitable, avoiding harsh treatment and keeping high heat away from prints unless the instructions specifically allow it. Clear care guidance helps protect the appearance of the run.

Make presentation part of the brand

Presentation does not need to be expensive. Fold items consistently, keep the logo facing the same direction and separate sizes clearly. A simple size list, swing tag, sticker or printed card can explain what the apparel represents and how to care for it.

Before handing items over, inspect every piece under good light. Look for crooked placement, loose threads, marks, incorrect sizes, colour differences and damaged packaging. Separate any questionable pieces rather than distributing them and hoping they go unnoticed.

Practical summary

For a polished small apparel run, limit the visual system, repeat colours and artwork, document placement, use clean files and choose garments that share a coherent fit and feel. Finish with accurate sizing, clear care information and consistent folding or packaging. Thoughtful control of a few details will usually make a greater difference than adding more decoration.

Plan launch merchandise as part of the product launch, not as an afterthought. Start by deciding what the merchandise must achieve, who will receive it and how it will be distributed. Then work backwards from the launch date to confirm artwork, samples, quantities, production, packaging and delivery.

1. Define the purpose before choosing a garment

Merchandise can support several goals, but each calls for a different plan. It might introduce a new product, reward early supporters, create content for social media, outfit a launch team or generate sales through an online store. Write down the main purpose and one or two secondary purposes before requesting quotes.

Ask:

• Is the merchandise free, included with an order or sold separately?
• Will people wear it in public, at home or mainly at an event?
• Does it need to communicate the product name clearly, or should the design feel more subtle?
• How will success be judged: distribution, sales, repeat use, customer feedback or visibility?

A clear purpose helps prevent over-ordering attractive items that do not suit the launch or the audience.

2. Understand the audience and setting

Think about the people receiving the merchandise rather than designing only for the internal team. Consider age range, sizing, climate, work environment, lifestyle and likely expectations around quality. Australian launches may involve very different conditions, from a summer outdoor event to a winter release shipped across several states.

Resolve practical questions early:

• What size range is genuinely needed?
• Will recipients prefer a relaxed, standard or fitted cut?
• Could the item be worn in hot weather, layered in winter or used outdoors?
• Are there any requirements for modesty, accessibility or workplace suitability?
• Will the audience value durability, softness, low maintenance or a lower price?

If you do not know the audience’s preferred sizes, avoid guessing confidently. Offer a size-collection process, use a broader size range or choose a non-sized item for part of the order.

3. Select garments for use, not just appearance

Compare garments by fabric, weight, construction, fit, colour availability and care requirements. A good-looking sample is not automatically the best launch item. Heavy fabric may feel premium but be uncomfortable in warm weather. A light garment may be easier to wear regularly but show marks or print-through more readily.

Check whether the chosen item is suitable for the decoration method and artwork size. A large front print may work on a relaxed shirt but feel crowded on a smaller cut. If you are ordering different colours or styles, confirm that the artwork remains legible across all of them.

Order or inspect a physical sample where possible. Check measurements against a garment that fits your intended wearer, rather than relying only on generic labels such as small or large. Wash the sample according to its care instructions and inspect shrinkage, colour, shape and print quality before committing to a large order.

4. Prepare artwork that can be produced accurately

Keep a final artwork pack containing the logo or design files, colour references, placement instructions and any required text. Confirm whether the artwork is supplied in a suitable format and whether it needs to be separated for different decoration methods.

Decide the placement in measurable terms: for example, a centred chest design, a small left-chest mark or a back print positioned below the neckline. Do not rely on vague instructions such as “make it prominent”. Request a visual proof showing the actual garment colour, print size and position.

Pay particular attention to:

• Small text that may become unreadable when printed or embroidered.
• Fine lines that may fill in or disappear.
• Colour contrast between the artwork and garment.
• Spelling, punctuation, dates and product names.
• Whether the design works in one colour if the budget or process requires it.

Nominate one person to approve the proof. Multiple late opinions can create delays and conflicting instructions.

5. Work out quantities with a distribution plan

Quantity should follow the audience and distribution method. Separate the total into clear groups: launch staff, media or partners, customers, event attendees, online sales and contingency stock. This makes it easier to see where the merchandise will go and whether the order is justified.

For sized apparel, create a size breakdown rather than ordering an equal number of every size. Use known audience information where available, and allow for exchanges if items are sold or allocated in advance. A small contingency can cover damaged items, production issues or unexpected launch interest, but avoid adding stock without a plan for storing and using it.

Ask for the minimum order quantity, price breaks, setup or sampling charges, and the cost of each additional colour, size or decoration position. Compare the full delivered cost, including freight, packing, storage and any taxes or duties that may apply to imported goods.

6. Build a realistic Australian timeline

Set the required delivery date before discussing the launch date publicly. Allow time for design approval, sample review, size confirmation, production, quality checking, freight and sorting. Add contingency for public holidays, weather-related transport delays and the extra handling involved in sending stock to multiple locations around Australia.

Use milestones rather than one broad deadline:

1. Brief and audience confirmed.
2. Garment and decoration method selected.
3. Artwork supplied and proof approved.
4. Sample checked, if required.
5. Quantities and size breakdown locked.
6. Production completed and quality checked.
7. Stock received, counted, packed and distributed.

Ask the supplier what happens if a garment colour or size becomes unavailable, and whether split delivery is possible. Do not approve a rush order until you understand the effect on cost and quality.

7. Plan packaging and distribution

Packaging should protect the apparel and make distribution simple. Decide whether items need individual folding, size labels, tissue, mailers, cartons or event-ready bundles. If merchandise is going into customer orders, confirm the package fits the existing fulfilment process and does not create unexpected postage or storage problems.

For events, sort stock by size or recipient group before arrival. Prepare an inventory sheet showing quantities received, quantities distributed and remaining stock. If apparel is being posted, check that addresses, delivery instructions and exchange arrangements are clear.

Questions to resolve before ordering

• What is the primary purpose of the merchandise?
• Who will receive it, and in what sizes?
• Where and when will it be worn?
• Has the garment been physically checked or sampled?
• Is the artwork final, legible and approved on the chosen colour?
• What is the complete delivered cost?
• What quantity is needed for each distribution group?
• What is the latest safe delivery date?
• Who will count, store, pack and distribute the stock?
• What is the plan for leftovers, exchanges or faulty items?

Practical summary

Choose merchandise around its purpose and audience, test the garment and artwork, calculate quantities by distribution group, and allow more time than production alone requires. A launch merchandise plan is ready when the item, budget, proof, quantities, delivery milestones and distribution responsibilities are all written down and approved.

Direct-to-film, or DTF, transfers are printed designs that are transferred from a special film onto fabric using heat and pressure. They are a practical option for small custom-apparel runs, detailed artwork and designs that need to work across several garment colours.

For a first-time buyer, the most important decision is not simply whether DTF is available. It is whether the transfer suits your artwork, garment fabric, order quantity and expectations for feel and durability. A clear file, suitable blank garment and sensible care instructions will usually matter as much as the printing method itself.

What is a DTF transfer?

A DTF transfer is a printed image made for heat application rather than direct printing onto a finished shirt. The artwork is printed onto a coated film, usually with a white ink layer behind the colours. A fine adhesive powder is applied to the printed design and cured. The finished transfer is then pressed onto a garment with a heat press.

Unlike traditional cut vinyl, DTF can reproduce multiple colours, gradients and fine details without cutting each shape from a separate sheet. Unlike some screen-printing setups, it can be practical for one-off designs or smaller quantities. The result is generally a coloured layer sitting on top of the fabric, so it may have a slightly raised or coated feel rather than feeling like dye in the fibres.

How the process generally works

1. Artwork preparation: Your design is checked, sized and prepared for printing. Transparent areas should be intentional, and the final artwork needs enough resolution for its finished dimensions.
2. Printing onto film: The image is printed in colour, with white ink used where needed to help the design remain visible on darker fabric.
3. Adhesive application: Powder is applied to the wet ink. This powder becomes the bonding layer between the printed design and the garment.
4. Curing: Heat is used to set the adhesive. The transfer must be properly cured before it is supplied or pressed.
5. Heat pressing: The transfer is positioned on the garment and pressed using the required temperature, pressure and dwell time.
6. Film removal and finishing: Depending on the transfer, the film is peeled while hot, warm or cold. A further short press may be used to finish the application.

Application settings vary between transfer suppliers, films, adhesives and fabrics. Follow the instructions supplied with the transfer instead of relying on a general setting found elsewhere.

Artwork choices that affect the result

Use a clean, high-quality file

Blurry source artwork cannot be made genuinely sharp by changing the file format. A vector file is useful for logos, lettering and simple illustrations because it can be resized cleanly. A high-resolution raster file can also work well, particularly for photographic or painterly artwork.

Ask how the supplier wants files supplied before exporting. Common requirements may include a transparent background, a particular colour mode or a minimum resolution. Do not add a white background unless you want a visible white shape in the finished design.

Check small details and fine lines

Very fine lines, tiny text and narrow gaps can fill in or become difficult to see when printed and pressed. View the artwork at its actual print size, not just enlarged on a computer screen. If a detail is important, make it slightly bolder or simplify the design.

Consider the background and garment colour

DTF is commonly chosen for dark garments because the white ink layer helps maintain colour contrast. However, colours can still appear different on a screen, on the transfer film and on the final fabric. Bright artwork may look stronger on a light garment, while darker artwork may need a considered colour treatment to remain readable.

Ask for a digital proof showing the intended size and placement. A proof helps you catch reversed artwork, incorrect wording, unwanted backgrounds and proportions that look different from what you imagined.

Choose the garment before finalising the order

The same transfer can feel and behave differently on different garments. Cotton, polyester and blended fabrics may require different application settings. Stretch garments can also need more care during application and washing, particularly if the design is large or covers a flexible area.

Think about the garment’s weight, weave, colour and intended use. A smooth surface is generally easier to print on than a heavily textured one. Seams, zips, pockets and ribbing can interfere with even pressure, so leave enough clear space around them.

For a first order, consider testing the transfer on the exact garment type you plan to use. A sample can reveal whether the hand feel, coverage and placement suit the project before you commit to a larger batch.

Compare DTF with your project needs

• Choose DTF when: you need detailed, full-colour artwork, a small or mixed-size run, or the same design on both light and dark garments.
• Consider screen printing when: the order is large, the artwork uses relatively few colours and a soft printed feel or strong production efficiency is a priority.
• Consider cut vinyl when: the design is simple, bold and made from a small number of solid shapes or lettering.
• Consider direct-to-garment printing when: you want ink applied directly to a suitable garment and the fabric, artwork and available equipment align with that method.

These are broad comparisons rather than strict rules. Ask for advice based on your actual artwork, garment and quantity instead of choosing a method from the name alone.

Questions to ask before ordering

• What file format and resolution do you require?
• Will you provide a proof before production?
• What finished size and placement do you recommend?
• Is the transfer suitable for the fabric and garment colour I have chosen?
• What pressing instructions apply to this specific transfer?
• How should the finished garment be washed and dried?
• Can I order a sample or test transfer first?

Be especially careful with artwork dimensions. A design that looks modest on a large product image may feel oversized on a smaller shirt. Measure the available area and compare it with a paper template placed on the garment.

Caring for DTF-printed apparel

Allow the print to cool and settle according to the supplier’s instructions before washing. Turn the garment inside out, use a gentle wash cycle and avoid harsh treatment. Excessive heat from tumble drying or ironing can affect the transfer, so follow the recommended care guidance. Never iron directly over the printed surface unless the supplier specifically says it is safe; use a protective layer where required.

Good care cannot fix poor application, but it can help protect a properly pressed design. If the print lifts, cracks or peels soon after application, record the garment type, pressing settings and care method, then contact the supplier or printer with those details.

Practical summary

DTF transfers suit detailed, colourful designs and smaller custom-apparel orders, but the best result starts before printing. Prepare clean artwork, choose a compatible garment, approve a correctly sized proof and follow the exact pressing and washing instructions. If you are unsure, test one transfer on the final garment before ordering the full run.

For most events, order the number of confirmed attendees, then add a modest allowance for organisers, sizing changes and late registrations. A practical starting point is to order 10–15% more than your confirmed headcount, with the final amount adjusted for how firm your attendance list is and how costly a shortage would be.

For example, if 80 people have confirmed, begin with 80 shirts. Add shirts for anyone working behind the scenes who needs one, then allow for a small number of extras. If the event is still accepting registrations, or shirts are difficult to reorder, you may need a larger buffer. If the shirts are expensive, highly customised or unlikely to be worn again, keep the spare quantity tighter.

Start with a reliable headcount

Do not base your order on the maximum capacity of the venue or the number of people invited. Use the most dependable figure available, such as paid registrations, confirmed team members or completed RSVP responses.

Separate your list into clear groups:

• Confirmed attendees: people who have accepted and are reasonably likely to attend.
• Organisers and crew: volunteers, presenters, coaches, marshals, stallholders or other people who need to be identifiable.
• Unconfirmed people: invitees who have not replied or may decide at the last minute.
• Potential replacements: people who may receive a shirt if an attendee cancels, changes size or damages theirs.

Keeping these groups separate makes the order easier to explain and adjust. It also prevents organisers from quietly assuming that crew shirts are included in the attendee total.

Use a simple quantity formula

A useful planning method is:

Total order = confirmed attendees + organiser and crew shirts + sizing allowance + late-change allowance

For a small event, you can calculate this in a spreadsheet or even on paper. For example:

• 60 confirmed attendees
• 6 organisers and volunteers
• 4 shirts for sizing changes or recording errors
• 5 shirts for late registrations and other changes

The recommended order would be 75 shirts. The exact allowances will depend on your event rather than a fixed rule. A private gathering with a locked-in guest list needs less flexibility than a public event where registrations remain open until the day.

Check sizes before you order

Headcount alone is not enough. A total of 75 shirts is only useful if the size breakdown is sensible.

Ask each person for their preferred size using the actual size chart supplied for the garment. Avoid relying only on labels such as small, medium or large, because sizing varies between cuts and manufacturers. If possible, provide chest measurements and explain how the garment is intended to fit.

Before placing the order, check for:

• duplicate size entries
• blank or unclear responses
• people who have selected a size outside the available range
• different preferences for a relaxed or fitted style
• children’s and adult sizes being counted together

Keep a few spare shirts in the most commonly requested sizes, but do not let the spare allocation distort the whole order. If your list includes several larger or smaller sizes, order according to the actual responses rather than assuming everyone follows the same distribution.

Allow for organisers and people behind the scenes

People who are not counted as attendees may still need a shirt. This commonly includes registration desk staff, photographers, event coordinators, coaches, drivers and volunteers who move between groups.

Decide whether these people need the same shirt as attendees or a different colour or design. A distinct shirt can make the team easier to identify, but it may also create a separate minimum order or complicate the sizing list. If the supplier has a minimum quantity per colour, account for that before finalising the artwork and quantities.

Decide how many spares are worthwhile

Spare shirts are useful when they solve a realistic problem. They may cover a forgotten size, a shirt damaged during the event, a late arrival or an unexpected volunteer. They also give you a few options if someone’s original shirt is misprinted or unsuitable.

They are less worthwhile when the event has a fixed guest list, the shirts are costly, the design is date-specific or you have no realistic use for leftovers. Custom shirts cannot always be returned, exchanged or reordered in a small quantity, so excess stock can become an avoidable expense.

Ask these questions before adding extras:

• Can shirts be reordered in time if we run short?
• Will the design still be useful after the event?
• Are late registrations likely?
• Would a shortage create a serious problem, or merely mean one person misses out?
• Can leftover shirts be used by volunteers, future events or new members?

Review the order before approval

Have one person own the final quantity and size check. Circulate a clear list showing the total number, each size, each colour and the people included. Ask for corrections by a firm deadline, then treat the list as closed unless there is a strong reason to change it.

Check the artwork and garment details at the same time. A quantity change may affect minimums, packaging or the balance between sizes. Confirm the delivery address, required arrival date and who will inspect the order when it arrives. Build in time to report missing, damaged or incorrect shirts before the event.

Practical summary

Count confirmed attendees first, add every organiser who needs a shirt, verify sizes from the correct chart and include a measured allowance for late changes. For many events, a 10–15% buffer is a reasonable starting point, but use less for a firm, high-cost order and more when attendance is still changing or reordering is difficult. Keep the size list separate, set a response deadline and order only extras you can realistically use.