Black is a depth, not a colour
A true black needs enough dye penetration to hold against washing and light. Under-dyed black reads as charcoal after ten washes; over-dyed black can crock — transferring onto a bag, a seat, or a white print.
Sulphur dyes are common for black because they reach deep shades cheaply. They are also the reason a black shirt can smell faintly of sulphur when new; it fades with a wash.
What black does to decoration
Screen printing on black needs an underbase if the ink is light — a white or grey layer first, then colour. That is one extra screen and one extra pass, and it is why printing on black costs slightly more than printing the same design on white.
DTG on black is the most demanding case in the whole shop: pre-treatment, white underbase, then colour. It works, but the hand feel is heavier and durability is lower than on a light garment.
- Spot colour on black: add a white underbase or use opaque ink.
- DTG on black: pretreatment plus underbase, expect a heavier hand.
- Foil and reflective: work well on black, and are usually wasted on white.
Colour migration and the wash test
Dark dyes can migrate into a light print over time, particularly with plastisol ink that has not been fully cured. The failure looks like a grey shadow inside a white print after a few washes.
The test is cheap: print one shirt, wash it five times at 40°C, and look at the white areas. If the print has greyed, the cure or the dye is wrong, and no quantity of reordering fixes it.
What we hold in black
We hold 20 styles with a black or near-black colourway, from $3.00, including garment-dyed and washed blacks that are deliberately not flat.
If you need a flat black for a uniform programme, say so — washed blacks vary by design and will not match across two runs.