The Power of CMYK+ RGBO Spot Colours for DTF Explained
- Colin Marsh
- 1d
- 5 min read
Three years ago, DTF prints, that were considered to be impressive, sometimes no longer meet our expectations! As the DTF process matures, higher standards are anticipated from this technology that is now moving into the precision colour field, normally associated with litho-printing and other high end inkjet processes. This article by Colin Marsh MD of Resolute explains the differences between five colour and nine colour DTF printing, and why its is becoming the preferred DTF process at a rapid rate.
Until recently, I also felt spot colours were a little unnecessary for textile prints created by DTF transfers. With 45 years background in just about every printing process including litho printing, I understand the CMYK process well and also the benefits of using spot colours.
Spot Colours are nothing new! Using spot colours in digital printing is nothing new, but the correct application involves a complex setup and relies on a specific ICC profile to ensure colour accuracy and consistency. An ICC profile is a data set that characterises a colour input or output device, or a colour space, according to standards set by the International Colour Consortium (ICC). These profiles manage and correct colours so that the final print matches the original design as closely as possible. Every brand of DTF ink will have a different base cyan, magenta, yellow & black shade, this is also true for the spot colours. The ICC profile brings these back to an industry standard allowing for more consistent colours.
The ICC Profile Explained Generating an ICC profile for DTF consisting of CMYKRGBO, which includes Spot Red, Green, Blue and Orange (RGBO) is challenging. Spectrometers like the NIX or i1 Studio cannot create such complex profiles, high-end spectrometers costing
thousands of pounds with robotic arms are preferred to scan the thousands of patches produced during this kind of profile creation. Nonetheless, the results are impressive when comparing standard CMYK prints to those produced with a CMYKRGBO device. Back in March 2025, the team at Resolute's R&D centre recently scanned no less than 4,200 different spot colour blend combinations to create the ICC profile used to launch spot colours for the DuPont Artistri P1600 digital inks range at Fespa Berlin. In order to do this we developed a new version of the popular R-Jet PRO DTF V4 which is nicknamed the HG, standing for high colour gamut.
Best Use of Spot Colours Spot colours can be used in DTF in two ways: with a vector file or layered tiff file, you can allocate a spot colour to a section of the artwork. If the spot colour mapping between the file and the RIP is correct, that portion of the image will print in the designated spot colour. This method can be time consuming and restricted to certain file types. Despite the complexity, the results are often stunning, as seen in the comparison images below. The image on the left has a much higher level of vibrancy, often desired in this type of image.
Alternatively, creating an ICC profile that automatically blends RGBO spot colours with CMYK enhances any imported artwork. This process uses all eight colours to produce vibrant, accurate prints without the need to alter the artwork. Both allocated spot colours and blended spot colours can be used in the same image if necessary for specific parts, like a corporate logo that needs to be printed in a designated Pantone spot colour.
Mixing specific spot digital colours differs from litho printing, as only eight base colours are used for the digital spot colour instead of the eighteen available for litho printing. Professional tools from the Pantone Connect range offer CIE LAB values, this is crucial for ensuring colour accuracy and consistency across devices and media. The LAB colour space describes all the colours visible to the human eye. In digital printing, graphic design, photography, and related fields, LAB values ensure precise colour matching. Scanning a specific colour in a Pantone book provides LAB values that can be input into artwork or directly into the RIP. Although challenging, modern graphic designers must master this skill for accurate colour matching. Smaller devices, like the NIX Spectro range, allow scanning from a pantone book to LAB value at lower costs than high end spectrometers. It is crucial to make sure you are scanning from the correct Pantone colour book, as there are many for different print processes.
The LAB colour space explained:
L (Lightness): Ranges from 0 (black) to 100 (white) and determines brightness.
A: Represents the colour's position between red/magenta (positive values) and green (negative values).
B: Represents the colour's position between yellow (positive values) and blue (negative values).
A spot colour blended ICC profile in your RIP provides a quick and straightforward way to achieve improved colour accuracy. However, an ICC profile is media specific. A complex ICC profile created for a particular DTF media may not be accurate on different media. Switching between DTF films and inks can disrupt colour accuracy. For consistent colour quality, use a reputable brand that is readily available. These may not be the most economical, and slight batch to batch changes may occur, but the seller should provide support for any issues. In some cases, offering an updated ICC profile for a specific batch or new product.
How does a 9 colour DTF printer differ in looks?
From the front, there are not really any distinguishing differences between a standard CMYK and a CMYKRGBO system. On this 9 colour DTF printer, the digital ink management system looks a little more complex, but in general most brands of 9 colour DTF printers will look the same from the front.
However the printers are physically different with more ink channels in the colour print heads but still only require the same amount of white channels and ink. From the back, you can see they have additional ink bottles to hold the extra colours.
Anticipating the need for 9 colour DTF printers, we developed a high-speed version meaning we now have two 9 colour models available in our range. The latest version was launched at The Print Show 2025 in September, the R-Jet PRO DTF V9HG is a six head DTF printer designed for speed and high colour gamut printing. Depending on which print mode you choose, the V9 ranges from 25m per hour up to 35m per hour on 63cm width film. Why 63cm film? this allows for two leavers backs to be printed side by side at the desired 29cm width, gang sheets at the full 60cm width, or two A3’s side by side reducing waste. This production model is part of our fulfilment system offering up to 400 finished garments an hour. This includes the transfer printing, cutting and pressing using the very latest in automated flatbed cutters with our newly launched robotic carousel heat press.
The R-Jet PRO DTF V9 can also support legacy jobs, the RIP comes with two pre configured print modes, one produces standard CMYK prints and the other utilises the full CMYKRGBO colour set. When upgrading it is important to consider how you will produce existing jobs, the V9 offers this as standard allowing you to continue with CMYK and flip to the full nine colours as and when required.
Conclusion Supporting colour accuracy requires extensive experience and the right equipment. I have 45 years in the printing industry, and I am still continuously learning! Sharing knowledge about colour management and optimising DTF prints is beneficial to all. I would encourage anyone that wants to discuss 9 colour DTF printing to reach out to me for advice or help. As our high production systems emerge, screen printers now have the option to make the switch to DTF without the loss of colour accuracy. Producing 400 finished shirts or bags an hour with only two operators is another industry first from Resolute.
