45 ways we can turn a product into a brand moment.

UV inks LED-cured straight onto the product surface. No setup and no colour limit, so it works for short runs with complex artwork. Leaves a fine relief you can feel with a fingertip.

The same UV print, on large surfaces — up to 275×275 mm. For boxes, notebooks and anything where the artwork covers the whole face, not just a logo in one corner. Same full colour.

UV print on dark substrates: black, smoked wood, brushed metal. A white base layer goes down first, then the colour — which is how the shades stay vivid on a dark background.

The design is printed on film, then heat-pressed onto textile. Works on cotton, polyester and blends, dark colours included, with no base layer. Sits as a fine layer you can feel.

UV transfer for rigid surfaces, uneven ones included — glass, metal, plastic, wood. Applied by pressure without high heat, so it also works on items that cannot take temperature.

Digital transfer on large surfaces, up to 400×300 mm. For bags, hoodies and any wide design. The same precise technique as standard DTF, only the working frame is bigger.

Ink goes straight into the cotton fibre, with no layer on top. It feels like it was always there — soft hand, no edge. Needs natural cotton rather than polyester.

DTG with a relief layer over the print — the logo sits slightly raised under your finger. A premium streetwear effect on tees and hoodies. Adds production days over standard DTG.

The laser burns away the top layer and reveals the material underneath. The mark cannot rub off, fade or scratch — it is part of the object. One colour, the material's own.

Engraving on round objects — bottles, flasks, tumblers. The piece turns under the laser, so the design can wrap the full way round with no break at the seams. As permanent as flat engraving.

The laser burns the textile's surface layer in a controlled way, leaving a matte contrast in the material's own shade. No ink, nothing added — suits heavy hoodies and denim.

Thread stitched straight into the material, up to 4 colours. It lasts as long as the product — no washing out, cracking or fading. The standard for polos, caps and corporate hoodies.

The same embroidery, on large areas — up to 300×300 mm. For wide designs across the back of a hoodie or on bags. More stitches means longer production and a higher cost.

The embroidery is made separately on its own backing, then sewn or applied to the product. The finished edge gives a badge look and allows shapes direct embroidery cannot do.

An embroidered patch with hook-and-loop backing — on and off in a second. Useful when one product has to carry different logos: teams, events, or uniforms with several partners.

Embroidery with photographic rendering, without the 4-colour limit. Threads overlap into gradients, so it handles logos with colour transitions that classic embroidery flattens.

A foam core goes under the thread and the embroidery lifts above the material. It is the effect you see on sports caps — thick letterforms, sharp edges, readable from a distance.

Only the outline of the design is stitched; the inside stays the product's own material. Low thread use and a light, graphic look — suits monograms and linear logos.

The threads are cut after stitching and left loose on the surface, like a short pile. The texture is velvety to the touch and catches light differently from flat embroidery.

Sequins are stitched on one by one, in the same pass as the embroidery. The design shifts its shine as it moves — used on event pieces and fashion collections.

A dense stitch, built in overlapping layers, that lifts the design above the material without a foam core. A quieter relief than 3D embroidery, with a finer edge.

A special stitch chosen from a range of textures — cord, zigzag, braided. Used on edges and details, where a solid fill of embroidery would sit too heavy.

The same decorative stitches, in more complex combinations and over larger areas. The stitching becomes the design itself, rather than the surface the logo sits on.

Ink is pushed through a silk screen, one colour at a time. The most proven method on textile — it survives 100+ washes and gives solid, opaque colour, dark fabrics included.

Screen print with special inks: metallic, fluorescent, glow-in-the-dark, or puff that rises under heat. As durable as classic screen print, with an effect printing cannot reproduce.

Screen print on cylindrical items — bottles, tumblers, flasks. The product turns under the screen, so the print can wrap the full way round with no visible seam where it closes.

A silicone pad lifts ink from an etched plate and lays it on the product. It moulds to curved and uneven surfaces — pens, lighters, small items with awkward shapes.

Coloured film cut to the outline and heat-pressed onto textile. Solid colour, clean edges, no halftone dots. One colour per film, so it suits simple logos and lettering.

The same cut film, in decorative versions: reflective, metallic, velvet-touch or glitter. For sportswear, safety items and collections where the effect is the point.

Silicone rubber cast in relief and heat-applied. The logo stands clear of the material, with rounded edges and a sheen of its own — the look of performance sportswear.

The ink turns straight from solid to gas and enters the polyester fibre. No layer is left on top: the colour becomes the material. Nothing to feel, crack or wash out — needs light polyester.

A drop of clear resin is poured over the print, domes up and cures. A magnifying effect, deep gloss and a rounded edge — used on emblems and badges.

Digital print across the whole textile surface in a single pass. The design can run from seam to seam, with no colour limit and no repeating pattern.

Digital print on cotton and blends, with a base layer that lets it work on dark colours too. No colour limit and no per-colour cost, unlike screen printing.

The same textile print, on large areas — up to 300×500 mm. For designs that fill the whole chest or back, not just the logo zone. Same ink, same durability.

UV print on round objects. The piece turns under the print head, so the design lands evenly all the way round — bottles, flasks, cylindrical tins. Full colour, no setup.

Full 360° cylindrical print, with a larger area and a base layer for dark materials. The design can cover the entire body of the object, end to end.

A die pressed mechanically into the material: deboss pushes the design down, emboss lifts it up using a matched pair of dies. No heat, no added colour — only the shape of the material.

An electromagnetic field heats the material from within while the die shapes it into relief. The edges come out extremely precise and the design becomes part of the material.

Metallic foil — gold, silver or holographic — applied with heat and pressure. It adds shine in a single colour, with a fine indent in the material. No gradients.

A heated brass die pressed straight into the material. What remains is a permanent indent you can feel with a fingertip, its edge slightly darkened. No ink and no foil.

The decoration is applied to ceramic or glass and fired in a kiln at high temperature. The colour melts into the glaze — dishwasher and microwave safe, for years.

The same kiln firing, applied all the way around. The decoration can circle the mug or glass completely, unbroken — the colour goes into the glaze and stays there.

Crystals fixed one by one, with heat, onto textile. They catch light from any angle and give a jewellery-like finish — used on event pieces and limited editions.

Pad printing in several passes, one colour each. Two colours can be laid over each other in tight register, on the same small curved surfaces where simple pad print is the only option.