When working with customers on apparel
printing projects, color communication is key. Clients might reference Pantone
codes, Hex values, or RGB colors from a screen, expecting the print to match.
Understanding the differences between these color systems – and the limitations
of each in screen printing (SP), direct-to-film (DTF), or direct-to-garment
(DTG) printing – will help set the right expectations. Below is a brief guide
for Customer Service, Sales, and Production teams, with pointers to more
detailed resources.
Pantone Matching System (PMS) colors are
standardized, pre-mixed inks defined by the Pantone company. Each Pantone color
has a unique code and precise ink formula, ensuring consistent results across
different printers and materials[1].
In screen printing, Pantone spot colors are the gold standard for
accuracy – providing a PMS number tells the printer exactly what ink to use.
Screen printers often love Pantone because it removes guesswork and variation:
the color doesn’t change from printer to printer when the specified PMS ink is
used[2] .
Pantone strengths: If a customer’s brand blue
is PMS 285, you can print that exact hue by using the Pantone ink or mixing it
according to formula. This is ideal for logos or uniforms where color accuracy
is critical[1]. Limitations:
Pantone inks can be costly and are usually reserved for high-stakes or larger
print runs[3].
Also, if you’re using digital methods (DTF/DTG) which rely on CMYK inks,
you can’t literally load a Pantone ink – you can only simulate it by mixing
CMYK. As a result, not all Pantone colors can be perfectly reproduced in
DTF/DTG printing due to the limited color gamut of CMYK printers[4].
(For example, metallic or fluorescent Pantones fall outside standard CMYK and
cannot be achieved in DTG prints[5] .)
👉 More info: Pantone’s official guides
and print industry articles (like Techkon’s guide) discuss how Pantone spot
colors are defined in Lab values and converted for CMYK printing[6] ,
and why they’re crucial for brand consistency.
Hex codes (e.g. #FF6600) and RGB values (e.g. 255,102,0) are used for on-screen colors –
websites, digital graphics, and anything viewed on a monitor[7][8].
These formats are not used in physical printing. A color you see on a
backlit screen often looks more vibrant than it will in print, because screens
emit light (RGB is additive color), while prints rely on reflected light (CMYK
inks)[9][10].
In other words, the bright neon blue a customer loves on their laptop might
print as a duller blue-purple on a t-shirt. This happens because CMYK’s
gamut (range of reproducible colors) is narrower than RGB’s – many
super-bright or “glowing” colors on screen simply fall outside what ink can
replicate, and they will shift or dull when converted to print[11] .
If a client provides only a hex code or an RGB color from their
website, you’ll need to convert or match it to print colors. The best
practice is to find an equivalent in CMYK or a close Pantone swatch. For
instance, a pure digital cyan #00FFFF might correspond to a Pantone or a
CMYK mix that looks a bit more subdued in print. Always let customers know that
RGB/Hex colors are for screens and will be converted for printing –
otherwise the result may not look “exactly the same” as their online image[12].
This simple explanation can prevent surprises: “Colors from a computer
screen might not convert to the exact same color when printed,” so we
adjust files to the proper print color mode[12]. (Tip:
The Omega Print blog recommends converting Hex/RGB designs to CMYK or Pantone
before printing to avoid unexpected color shifts[13] .)
CIE L*a*b* (Lab) is a universal color space
often used behind the scenes for color matching. Unlike RGB or CMYK, Lab is device-independent
– it defines color based on human vision, not on the output device[14][15].
Lab can describe all colors visible to the human eye (a larger gamut
than both RGB and CMYK)[16] .
In practice, we use Lab values as a neutral reference to translate colors
between devices and to measure color accuracy.
For example, Pantone provides official Lab values for each PMS color.
Our RIP software and color profiling tools use those Lab references to compute
the best CMYK mix to simulate that Pantone on our DTG/DTF printer[6].
Lab is also used in quality control: we can print a small test patch, measure
its Lab value with a spectrophotometer, and compare it to the target color’s
Lab value. The Delta E (difference) tells us how far off the color is –
helping decide if the match is acceptable or needs adjusting[17] .
While customers typically won’t cite Lab values, it’s good for our team to know
that Lab underpins color consistency and communication across different media.
👉 More info: Techkon’s LAB Color
Space guide explains why Lab is essential in printing for consistent color
management[18][19] .
It also covers how Lab and Delta E are used to maintain brand colors across
various printers and materials.
When a client wants a specific color on their garments, keep these
points in mind:
Screen vs.
Print Reality: A color that looks one way on a
glowing screen will often look different on cotton or polyester. Always
clarify that RGB/Hex colors are for digital use, and printed output
(whether via screen print or DTG) may not look as bright or exact[12] . Manage expectations by showing a physical color swatch or a
printed sample when possible.
Pantone for
Precision: If the job permits (larger quantity or
budget for setup), suggest screen printing with Pantone inks for
critical colors. This yields the most predictable results. For
example, if a corporate client must have their exact brand color, using
the PMS ink in screen printing ensures “the exact color you’re
expecting”[2]. In digital printing, we will do our best to simulate the
Pantone with CMYK inks, but explain that a perfect Pantone match is
usually not achievable with DTF/DTG technology[4] . Most customers appreciate the honesty and the effort to get as
close as possible.
DTF/DTG Color
Limitations: Direct-to-garment and DTF prints are
fantastic for full-color designs and gradients, but they have some
inherent limitations. They cannot reproduce certain special colors (no
true metallic gold/silver, neon fluorescents, etc.)[5] . Extremely vivid colors might print a bit less intense. Make it a
practice to inform customers that “there may be slight color variation”
in digital prints. If they have strict brand guidelines, a small test
print or a proof can save headaches.
Converting
Artwork: Internally, ensure that artwork files
are prepared in the correct color mode for printing. An RGB file should be
converted to CMYK before final print, or imported into the RIP which will
handle the conversion – but conversion can alter some hues[9][20] . If a customer-designed their art in RGB (common in Canva or
Photoshop defaults), it’s worth previewing the CMYK version to catch any
shifts. This proactive step can be explained to the client as part of our
quality check.
Using Lab for
QA: For high-profile jobs, our production team
can use Lab measurements to validate color accuracy. While you wouldn’t
discuss Lab values with a typical client, you can reassure them
that we have professional color management in place – essentially, we’re
measuring the print output against the desired color and ensuring it’s
within an acceptable tolerance (industry standard Delta E)[17] . This kind of assurance often builds confidence, especially with
clients who have dealt with color issues before.
Refer to
Trusted Resources: If a customer or team member
wants to learn more, don’t hesitate to share reputable articles. For
instance, the Transfer Express blog explains the basic difference between
RGB (screen colors) and Pantone/CMYK (print colors) in simple terms[2][12]. There are also guides on color matching in digital printing
– e.g., DTF printing guides that discuss RGB vs CMYK design considerations[10][20] and print industry blogs about using Delta E and Lab for color
accuracy. Providing an external reference can help back up our
explanations without overwhelming the customer with technical detail.
By understanding these color systems and their challenges, our team can
better guide customers in choosing the right approach. Whether it’s
picking a close Pantone match for a Hex code they found online, or explaining
why a neon color might print a bit muted, this knowledge ensures we deliver the
best possible result and keep the client in the loop. In short: use Pantone for
spot-on matches when you can, convert RGB artwork to CMYK for printing, and use
Lab-based tools internally to hit those tough colors. And always communicate
openly about the process – it turns a confusing topic into a collaborative
effort towards a great-looking garment.
Understanding Color Spaces for DTF Printing: RGB, CMYK, and Pantone
Explained
What's the Difference Between RGB, CMYK and PMS Colors? - Transfer
Express Blog
What are the direct to garment
(dtg) printing drawbacks?
LAB Color Space: A Key to Accurate Printing
The Difference Between HEX, RGB, CMYK, and Pantone (and Why It
Matters)
Color Alignment FAQ - Pantone