Custom Screen Printing | South Florida

How Screen Printing Works

A screen is a fine mesh pulled tight over a frame and coated with a light-sensitive emulsion. Your artwork is separated into its individual colors, each one output as solid black on a clear film, and that film is laid over the coated screen and exposed to UV light. Wherever the light reaches, the emulsion hardens. Wherever the black artwork blocks it, the emulsion stays soft and rinses straight out under water, leaving open mesh in the exact shape of that one color. On press, ink is flooded across the screen and a squeegee is drawn over it under pressure, forcing ink through the open threads and onto the garment underneath.

One color, one screen. A two-color logo means two screens, two setups, and two passes, which is why color count moves the price of a screen-printed job as much as quantity does, and why most of what we run sits between one and four colors. Each screen locks into its own station on the press and is registered against the others so every layer lands exactly where it belongs. Mesh count matters as well. A coarse mesh of about 110 threads per inch lets a heavy deposit through and is what gets solid, opaque white onto a black shirt. Around 156 is the everyday workhorse for general production. Fine mesh at 230 and above holds thinner ink and the small halftone dots that detail work needs.

Plastisol is the standard ink and what most jobs use. It is opaque, bright, and forgiving, it will not dry in the screen while the press is idle, and it prints on cotton, polyester, and blends without the pretreatment a direct-to-garment machine requires. It sits as a thin film on top of the fabric, so you can feel it, and it does not air-dry — it has to be brought to temperature, roughly 320 degrees Fahrenheit right through the ink film, to fuse properly. Water-based ink works the opposite way, soaking into the fibers and becoming part of the shirt for a print you genuinely cannot feel, traded against a softer, less opaque look and a fussier process. Discharge is the water-based route for dark garments: an activator lifts the shirt’s own dye and leaves color in its place, so even a heavy print on a black tee stays soft. Discharge has real limits worth knowing before you pick it — it wants 100 percent cotton dyed with reactive dyes, blends discharge unevenly because polyester fibers hold no dye to remove, and some garment colors, royals and reds especially, come back a muddier shade than the swatch suggested. Part of the quote is telling you which ink your job actually wants.

Cotton and cotton-rich blends are where screen printing is happiest, which covers most tees, fleece, and canvas totes. Polyester performance wear prints well too, but it needs handling: the heat used to cure the ink can reactivate the garment’s own dye and let it creep up into the print, turning a white logo pink on a red jersey days after it left the shop. The answer is a low-cure or low-bleed ink and, on dark saturated colors, a blocker underbase between fabric and artwork. Garment-dyed and over-dyed goods carry the same risk and get the same treatment. Durability, in the end, comes down almost entirely to cure. A print taken fully up to temperature bonds properly and normally survives the working life of the garment; the prints that crack and flake after a few washes are under-cured ones. That is the step we are strictest about, and where a garment or ink combination is new to us, we print and wash a sample before we run your order.

Find Your City

We print for customers right across Miami-Dade and Broward, so pick your city below for the local pickup, delivery, and turnaround details that apply to you.

Not on the list? We cover a good deal more of South Florida than these cities alone — see all the areas we serve, or simply ask when you request your quote.

Pricing & Turnaround

Three things set the price of a screen-printed order: the garment itself, the number of colors in the design, and how many pieces you are running. The garment is the straightforward part — a basic cotton tee and a heavyweight zip hoodie are different products at different costs. Colors are the part people underestimate, because each one is a separate screen to burn, a separate station to register, and a separate pass through the press, so a four-color front costs meaningfully more to set up than a one-color front on the same shirt. Quantity is where all of that gets absorbed.

Here is the economics in one sentence: setup happens once, no matter how many shirts follow it. The screens for a job cost the same to make for twelve pieces as for twelve hundred, so on a tiny run that fixed cost lands on very few shirts and the per-piece price looks steep, while on a real run it thins out until the garment and the ink are almost all you are paying for. Across the industry the per-piece cost of a simple design falls several times over between a couple of dozen pieces and a few hundred, and that curve is the entire reason screen printing has stayed the default for uniforms, events, and merch. It is also why we ask what the largest quantity you might realistically need is: the jump from 24 to 50 shirts almost never costs what people expect, and spares off the same run are the cheapest shirts you will ever buy.

So, honestly, on minimums: we do not turn small orders away, but screen printing has a practical floor rather than a policy one. Below roughly a dozen pieces the setup dominates the bill and you are paying for screens instead of shirts, so unless you specifically want the look and hand of a screen print we will quote you DTF transfers for the small run and save you money. From about two dozen pieces up, screen printing is usually the cheapest way to get the job done, and it keeps getting cheaper. We quote every order directly rather than publishing a price table, because a table has to assume a worst case to be safe and your actual garment, artwork, and count almost always come in under it.

Most screen-printed orders are ready in about 7 to 10 business days once you have approved the proof, with the clock starting at approval rather than at first contact. Higher color counts, multiple print locations, specialty inks, and blanks we have to bring in can add a few days, so tell us the date you need them by at the very start and we will build the schedule backward from it and flag early whether a rush is worth doing. Reorders are the quiet advantage: your color separations and screen setup stay on file, so a repeat run skips the artwork round entirely and comes back matching the first batch exactly — which matters when you are topping up staff shirts in March that were printed in October.