Not everything printed here goes onto a t-shirt. Quilt panels, tote fronts, linen and canvas all take a transfer, and the fabric changes what the press should be doing. We stock the range that covers both, and it ships the same afternoon you order it. Ink, film, powder and cleaner, all formulated for Epson i3200 and i1600 heads.
Whether the job is a shirt or a quilt panel, production comes back to these four, and all of them are held in Stafford ready to move out to La Grange, Round Top, Fayetteville, Schulenburg and Smithville. The catalog below sets out every film width, both powder grades, sheet packs and printhead fluids.
A liter each of White, Cyan, Magenta, Yellow and Black in a single carton. Volume pricing starts here, and having all five matched matters when the same design has to be reproduced across a set of panels rather than once.
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Three hundred and twenty-eight feet of 24 inch film on one roll, tolerant about peel timing and consistent throughout. A single roll carries a fair weekend and most of the quiet season that follows it.
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Fine and premium, sold by the kilogram. Fine keeps a print soft enough that a quilt block or a linen panel still handles like fabric; premium is the grade for canvas totes, aprons and anything that will be used rather than displayed.
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Printhead cleaner, 100 ml. Most white ink trouble is settled pigment rather than a broken machine, and this is half of what keeps that from becoming a repair bill.
View OptionsOrder a single color or the full five, with volume pricing as the quantity climbs. Every bottle carries a 12-month sealed shelf life and the same OEKO-TEX certified formula, built to resist nozzle blocking on i3200 and i1600 heads.
DTF white ink carries a heavier pigment than any color in the set, and that pigment sinks whenever the bottle stands still. What comes out of a poorly shaken bottle is thin at the top and thick at the bottom, which shows up first as weak opacity and then as dried pigment in the nozzles. Agitate thoroughly before every single run rather than every few, and the two most common white ink complaints stop happening.
Open a category to see the full list with current pricing. Every film width we carry, fine and premium powder, A3 cut sheet packs, printhead fluids and packaging, all held in Stafford and cleared to leave for La Grange on the same working day.
A 24 inch by 328 ft roll that lifts warm or cold as the job requires. The versatile everyday choice across garments and panel work alike.
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A refined hot peel with a cleaner release and better fidelity on close detail. Stocked at 12, 16.5, and 24 inches to suit whichever printer you run.
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A 24 inch by 328 ft cold peel roll, taken off after cooling. The film for panel and textile work, where the finish has to stay matte and handle like fabric.
Shop Film
A 24 inch by 328 ft glitter roll for designs that ask for a metallic finish. Feeds and presses like any standard film.
Shop Film
A hundred A3 sheets per pack, useful for testing a new fabric before a full set and for the jobs that never warrant a roll.
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The stronger grade by the kilogram, for canvas totes, aprons and heavy cotton.
Stock UpA kilogram of fine grain, which is what keeps a printed panel soft enough to still behave like fabric.
Check StockConcentrated cleaner in a 100 ml bottle, used daily. The other half of keeping settled white ink from becoming a blockage.
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A liter of moisturizing fluid for the capping station and for the long quiet stretches between fair weekends.
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DTF powder is the adhesive layer, and on textile work it decides something a garment printer rarely thinks about: whether the finished piece still drapes. A heavy bond on a quilt block or a linen panel leaves a stiff plate where the design sits, which is wrong for the object even if the print itself is perfect. Fine grain keeps that hand soft. Premium belongs on canvas totes and aprons, where durability outranks drape. Both ship by the kilogram from Stafford.
The grip canvas totes, aprons and heavy cotton require.
Fine grain that leaves a panel still handling like fabric.
DTF transfer film, listed by some suppliers as DTF paper, carries your design until heat drives it into the fabric. Two things separate the options: when you lift the sheet, and what finish it leaves behind. That second point matters more on textile work than on shirts, since a glossy panel reads as plastic where a matte one reads as printed cloth.
Sold elsewhere as instant peel. Relaxed about timing, which makes it the practical default for mixed work.
Cold peel, so the sheet has to cool first. The one that leaves a matte finish, which is why panel work tends to live on it.
Our most refined hot peel, holding close detail without slowing a run. In 12, 16.5, and 24 inch widths.
Very satisfied with the product quality. The inks give intense colors with good pigmentation, and the prints come out well defined and soft to the touch after pressing.
As a customer of DTF Printer USA, I am very satisfied with the quality of their machines and supplies. Everything works very well, the print quality is excellent, and the service was very good. I highly recommend them.
The premium peel film works great and I love the price on it.
La Grange print shops, textile studios and Fayette County makers are not all printing the same thing. A quilt panel and a canvas tote and a staff polo want different powder, sometimes different film, and always different press settings. A supplier stocking one of each forces a compromise; we carry the whole range and would rather talk a job through than sell you the nearest thing.
Beat the daily cutoff and the box is packed and moving that afternoon, tracking already in your inbox. Nothing is held to fill a truck, which is what makes stocking up before a Round Top weekend a plan rather than a gamble.
OEKO-TEX certification means the ink is tested safe in skin contact once pressed, which is worth knowing for anything a customer will handle daily. It is also formulated to resist nozzle blocking and carries a 12-month sealed shelf life, so ink bought ahead of a busy season is still good when the season arrives.
Every item on this page is stock we hold ourselves rather than order in when you do. Both powder grades, every film width, sheets and printhead fluids all come off the same shelf, which is what makes carrying the full range practical rather than theoretical.
The run from Stafford into Fayette County is direct and the timing holds week to week. Pressing linen or canvas for the first time, or unsure which powder a panel wants? Call or email and you will reach somebody who works with this stock every day.
Shops spend a great deal of energy comparing inks and almost none comparing the fabric underneath. That is backwards. A cheap open-end cotton tee has a rough, uneven surface that no ink can make look sharp, and a poly blend that bleeds under heat will ruin a print that was correct in every other respect. Getting the blank right costs nothing extra and fixes problems that consumables cannot.
La Grange has been the seat of Fayette County since the 1830s, and the courthouse still anchors a working square. Monument Hill and the Kreische Brewery sit above the Colorado River just outside town, and the Texas Quilt Museum occupies two nineteenth century buildings on the square itself, which tells you something about what people here make. Then twice a year the Round Top Antiques Fair opens a few miles up the road and the entire county fills with dealers, decorators and visitors from across the country. For a print shop that produces two quite different demands. Most of the year is steady county seat work and a genuine textile and craft community, where a printed quilt panel or a linen piece matters as much as a shirt. Then for a fortnight it is short-notice work for people who will never come back. Orders leave our Stafford warehouse the same day and run into Fayette County.
The Texas Quilt Museum is on the square, and the community around it is real rather than decorative. That brings work most print shops never see: quilt blocks, panel prints, linen and canvas pieces where the finished thing has to still handle like cloth. Fine powder and a cold peel film are what keep a printed panel soft rather than plated.
Twice a year the Round Top Antiques Fair turns a quiet county into one of the busiest markets in the country. Vendors want booth apparel, shops want staff shirts, visitors want something with the name on it, and almost nobody planned ahead. Stock deep before it starts, because during that fortnight there is no time to wait on anything.
As county seat, La Grange carries the steady work that fills the other fifty weeks: county offices, schools, churches and the businesses around the square, plus Round Top, Fayetteville, Schulenburg and Smithville within easy reach. Same-day dispatch from Stafford keeps that spread serviceable.
DTF Printer USA keeps La Grange and the surrounding Fayette County area supplied with ink, film, powder, cut sheets, printhead care and packaging. From the courthouse square and the Texas Quilt Museum out through Round Top, Fayetteville, Schulenburg, Flatonia and Smithville, a La Grange print shop, textile studio or decorator is buying from a Texas shelf rather than waiting on an import.
Same-day dispatch into La Grange and the towns around it, including the Round Top area. The same Stafford stock also ships to any US address.
Three things worth understanding here: which blanks actually print well, how panel and textile work differs from garment printing, and how to handle a fortnight of customers who will never come back.
Shops compare inks endlessly and blanks almost never, which is the wrong way round. A great deal of what gets blamed on consumables is actually the fabric underneath. Start with the knit. Cheap open-end cotton is spun from shorter fibers and leaves a rough, slightly fuzzy surface, and no ink will make a fine line look sharp on it because the surface itself is not sharp. Ringspun and combed cotton are smoother, take detail visibly better, and cost very little more per piece. Then fiber content. Hundred percent cotton is the most predictable thing you can print and the safest default. Polyester and poly blends bring dye migration, where the fabric dye lifts into the transfer under heat and turns a white underbase pink or grey days later, so they need a lower press temperature held longer and a test from every dye lot. Tri-blends are the trickiest of the lot, since the rayon content makes them stretch and behave unpredictably under the platen. Color matters as much as fiber: deep reds, maroons and some royals are the worst offenders for migration regardless of what the label claims. Two practical habits settle most of it. Keep a short list of blanks you have actually tested and pressed and washed, and quote from that list rather than whatever a customer found online. And when somebody insists on a garment you do not know, buy one, print it, wash it, and only then agree a quantity.
A quilt block, a tote panel, a cushion front and a linen runner all take a DTF transfer perfectly well, and all of them behave differently from a t-shirt in ways worth knowing before you press a set of twelve. Shrinkage comes first and catches most people once. Quilting cotton, linen and canvas often shrink on their first wash, and a print applied to unwashed fabric will pucker when the cloth around it contracts and the printed area does not. Pre-wash and dry anything that will shrink before printing, and if the customer supplies the fabric, ask whether it has been washed rather than assuming. Second is heat behaviour. Linen and canvas are denser than jersey and hold heat longer, so a setting dialed in on a shirt is often too aggressive here, and scorching shows far more obviously on natural undyed cloth. Lower the temperature, extend the dwell, and always use a cover sheet. Third is the hand of the finished piece. On a garment a slightly firm print is invisible in use; on a quilt block it is a stiff plate that fights the needle and the drape. Fine powder and a cold peel film keep it soft enough to still behave as fabric. Finally, plan for the edges. A panel is usually sewn into something, so leave a genuine seam allowance around the design and confirm the finished dimension with the maker rather than the cut dimension, because those are not the same number and only one of them is visible at the end.
Twice a year the fair fills the county and a print shop here meets a customer it sees at no other time: somebody from three hundred miles away who needs something by tomorrow, has never used you before, and will not be back. That is genuinely good business provided it is handled as its own category rather than squeezed into the normal process. Preparation is most of it. Stock deep before the fortnight starts, because a mid-fair supply run is impossible and running short means turning away work at the only moment it is queuing up. Print what you can in advance too: a stack of cured transfers of your own generic designs, ready to press to whatever blank somebody walks in with, converts a browsing visitor into a sale in minutes rather than days. Then set terms plainly and early. Take payment up front from customers you do not know, since a one-off buyer from out of state is not somebody you will invoice successfully afterwards. Quote a realistic turnaround rather than an optimistic one, because the fortnight is when overpromising costs most. Keep artwork requirements simple, and be prepared to say no to a file that needs an hour of preparation you do not have. Finally, capture something from the sale: a name, an email, a note of what they bought. A handful of those visitors run businesses elsewhere and will reorder by post all year, which is how a two-week rush turns into something more lasting than a two-week rush.
What La Grange shops, textile studios and Fayette County makers most often want answered before ordering.
