Get art your printer can separate.
Upload artwork. Get flat spot-colour shapes — one clean region per screen.
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Real vector craft — see for yourself
Your trace lands as genuine, editable SVG paths — the same clean vector work behind Clearly’s bee-ecosystem murals. Infinitely scalable, every path editable, ready for Cricut, print or the web. No embedded pixels, no tangled auto-trace mess.
Hand-authored on the Clearly canvas · editable SVG, not raster.
Every colour is a screen, and every screen is on the invoice
Screen printing pushes one ink through one stencil at a time. A four-colour design means four screens burned, four set-ups, four passes and four registrations — which is why the quote for a two-colour print and a six-colour print differ by more than the ink. This makes colour count a design decision with a price attached, and it is the one thing worth deciding before artwork rather than after. It also means gradients are not directly printable: a smooth blend has to be broken into halftone dots or reduced to bands, and that decision is much better made deliberately than discovered at the separation stage.
What a screen printing press needs from the file
- Colours
- One screen per colour. Count drives set-up cost more than ink does.
- Gradients
- Not directly printable. Halftoned to dots or reduced to flat bands.
- Halftone
- ≈45–65 LPI typical on garments — coarser than paper printing.
- Trapping
- Adjacent colours overlap ≈0.5 pt so registration drift shows no white gap.
- Minimum line
- ≈0.5 pt at 55 LPI. Thinner fills in or breaks up on press.
- Dark garments
- Need a white underbase layer beneath the colours.
How it works
Whatever you have — a logo, a scan, a photo of a drawing.
The trace produces solid colour areas. Merge near-identical colours; each one you drop is a screen saved.
Give them the SVG plus the garment colour. Dark garments need an underbase added.
Free watermarked preview. $10 unlocks the clean, exclusive commercial file — emailed, no account, no subscription.
FAQ
Fewer than you think. Each colour adds a screen, a set-up and a registration step, so cost per unit rises fastest in short runs. Many strong printed designs are one or two colours by choice rather than by constraint.
Not directly — a screen carries one ink at one density. Gradients are simulated with halftone dots, which works but looks coarser on fabric than on paper, or converted to deliberate bands of flat colour. Deciding which at the artwork stage gives a much better result than leaving it to separation.
A white layer printed first on dark garments so the colours above it read true rather than sinking into the fabric colour. It is an extra screen, so it affects the quote.
Below roughly half a point the ink bridges the mesh and either fills in solid or breaks up entirely. Thickening hairlines before separation is a routine artwork fix.