Cotton Shopping Bag CARACAS (Promotional Bags)

To ensure a professional result when printing your graphic project, it's essential to follow a series of best practices. The file must be created from scratch using the correct format and dimensions, respecting the technical areas defined for bleed, trim and safety. Below is a full guide to correctly prepare your print-ready file.

1. Start with the correct final size

From the start, define the exact size of the final product. Avoid designing in a different size and adjusting it later. This ensures all elements remain proportional and well positioned, avoiding errors at export or printing stage.

2. Use bleed and safety margins

• Bleed: extend all visual elements at least 2 mm beyond the trim line.
• Trim line: indicates where the product will be physically cut.
• Safety area: keep text and important elements at least 3 mm from the trim line.
• Fold lines: avoid placing text too close to folds. Keep a safe distance from folds for legibility and to avoid distortion.

3. Balance visual hierarchy

Distribute page elements well: maintain good proportion between text, images, and white space. Make sure the content is clear, well-organised and visually harmonious. Overcrowded designs can confuse or impair reading.

4. Choose legible and proportional fonts

• Avoid overly thin or decorative fonts for text blocks.
• Use appropriate font sizes — ideally test with a full-size print to confirm legibility.
• Ensure good contrast between text and background for easier reading.

5. Use images with adequate resolution

• Images should be at least 300 dpi at final print size.
• Avoid using web images, as they usually have low resolution and compromise visual quality. If used, always check the resolution.
• Ensure all images are in CMYK mode. RGB images may shift in colour when printed. Remember, printing is always done in CMYK colour mode.

6. Proofread all text before exporting

• Check for spelling or grammatical errors.
• Verify that all titles, headings and text blocks are correctly aligned and styled.
• When exporting, embed fonts in the PDF or convert them to outlines.

7. Define a consistent visual style

Choose a colour palette, typography and graphic style consistent with your brand or product purpose. A consistent design communicates professionalism and clarity.

8. Use the supplied design template

When using templates from the platform or the free Ask-to-Print Online Editor, place elements according to the guide lines. These lines indicate bleed, trim, fold and safety zones. You can also start your project from scratch in the editor and ensure proper element positioning.

9. Be careful with free online editors

Some online PDF editors don't correctly embed fonts, which can lead to font replacements or display issues. When possible, export the PDF with full font embedding and validate using a professional PDF viewer.

10. Use proper tools to create your design

To properly prepare your file, use the Ask-to-Print Online Editor or professional graphic software that supports technical margin setup and professional formats.

Common professional solutions include Adobe Illustrator, InDesign, Photoshop and CorelDRAW. These programs offer full control over vectors, fonts, bleeds and layers — ideal for advanced graphic production.

For free options, consider Canva (Pro version recommended for export), Inkscape (vector-based) and GIMP (image editing). While less robust, these tools can deliver quality files when used within printing specs.

11. Export correctly to PDF for print

Once your design is finished, export the file as PDF, following these essential requirements to ensure quality and print compatibility:

• Embed all fonts in the final PDF (prevents errors and substitutions).
• Ensure images are CMYK and 300 dpi at final print size.
• Use the PDF/X-1a export profile — ensures compatibility with prepress systems and printing machines.
• Include external bleed and visible trim marks when margin validation is required.

For step-by-step guides on how to export correctly in each program, see our PDF print export FAQ.

Na Ask-to-Print, a verificação do ficheiro depende da opção selecionada no momento da encomenda. Pode escolher entre três níveis de validação, consoante o tipo de apoio que pretende antes de avançar para impressão.

Não Verificar Ficheiro

Ao selecionar esta opção, confirma que o ficheiro enviado está correto, finalizado e pronto para impressão. Neste caso, o ficheiro segue diretamente para produção, sem qualquer verificação técnica prévia. Esta opção não tem custos adicionais.

Verificar Ficheiro

Ao selecionar esta opção, o seu ficheiro será analisado por um profissional antes de seguir para impressão. Se forem identificados erros ou inconformidades, será contactado antes de avançarmos com a produção. Esta opção tem um custo associado.

Verificar e Corrigir

Ao selecionar esta opção, o seu ficheiro será analisado por um profissional antes da impressão. Se forem detetados erros ou inconformidades passíveis de correção técnica, estes serão ajustados antes de o ficheiro seguir para produção. Esta opção tem um custo associado.

Que tipos de erros podem ser verificados?

A verificação pode abranger, entre outros aspetos técnicos, situações como:

• resolução insuficiente de imagens;
• dimensões incorretas do ficheiro;
• ausência de margens de segurança;
• falta de sangramento, bleed ou margem de corte;
• textos ou elementos demasiado próximos da linha de corte;
• utilização de modo de cor incorreto;
• fontes não convertidas em contornos ou não incorporadas;
• elementos em falta ou mal posicionados;
• páginas trocadas ou orientação incorreta;
• linhas de corte, marcas ou outros elementos técnicos indevidos na arte-final.

A análise incide sobretudo sobre a preparação técnica do ficheiro para impressão. Sempre que necessário, e de acordo com a opção escolhida, o cliente será informado ou o ficheiro será corrigido antes da produção.

Importa ainda referir que o serviço de correção não deve ser entendido como um serviço de design gráfico, reformulação criativa ou reconstrução de elementos da arte-final.

At Ask-to-Print, we accept various file formats to ensure the best customization and production experience. However, not all formats offer the same features in the design checking and adjustment process.

See below for file type details:

Files with Preview and Editable Options (recommended and preferred)

• .pdf (Adobe Acrobat)
• .png (PNG Image)
• .jpeg / .jpg (JPEG Image)
• .tiff (TIFF Image)
• .svg (Vector Graphic)

Files with Preview, No Editing Options

• .ai (Adobe Illustrator)
• .eps (PostScript)
• .gif (GIF Image)

Accepted Files, No Preview or Editing Options

• .psd (Adobe Photoshop)
• .cdr (CorelDRAW)

Files Not Accepted by the Platform

• .ppt (Microsoft PowerPoint)
• .doc (Microsoft Word)
• .bmp (Bitmap Image)

Still have questions?
If you're unsure about the correct format or are having trouble uploading your file, our Customer Support team is here to help. Don’t hesitate to contact us — we’ll be happy to assist and ensure your order runs smoothly.
To contact us click here!

When preparing a file for printing, it's essential to understand the difference between the two main colour models used in graphic design: CMYK and RGB. Although both allow for attractive visuals, they serve different purposes and produce different results — especially in print processes.

What are CMYK and RGB colours, and which should I use for printing?

CMYK – The colour model for printing

CMYK stands for Cyan, Magenta, Yellow, and Black. It is the colour model used in all professional printing processes. Colours are created by overlaying percentages of these four inks in layers on the printed surface.

• Used in offset and digital printing.
• Based on subtractive colour from reflected light — unlike screen-emitted light.
• Reproduces a more limited colour gamut, but one suited to the physical printing process.

RGB – Colour model for screens

RGB stands for Red, Green, and Blue. It’s a light-emitting colour model used for displaying colours on digital screens such as monitors, tablets, or smartphones. This model can produce much more vibrant and saturated colours than CMYK.

• Ideal for digital images, videos, and websites.
• Offers a wider colour gamut — meaning it covers more possible colours.
• Colours may appear more intense on screen than what can be printed.

What is colour gamut?

The gamut is the range of colours that a given colour model or device can reproduce. The RGB model has a wider gamut than CMYK, meaning it can display colours that simply cannot be printed with standard inks.

When a file created in RGB is automatically converted to CMYK, colours outside the CMYK gamut are adjusted to approximate values. This can result in noticeable visual differences between what is seen on screen and what gets printed — especially with certain RGB-exclusive or highly vibrant tones.

Which should I use when preparing files for print?

You should always work in CMYK colour mode when creating files intended for print. This ensures that what you see during design stays closer to what can realistically be printed.

If you're using design programs such as Adobe Illustrator, InDesign, or Photoshop, set the colour space to CMYK from the start. On Canva, choose CMYK export (available on the Pro version). This practice prevents colour fidelity loss.

On the Ask-to-Print Online Editor, there’s no need to worry: all files are automatically generated in CMYK with optimised colour management.

Useful tip for professionals and beginners

Even when working in CMYK, differences between screen and print may persist. We recommend using a physical CMYK colour guide to visualise true tonal values before finalising your design. This is especially helpful for branding or colour-critical materials.

Yes. The PDF/X-1a format is accepted by Ask-to-Print and is one of the most recommended options for finalised files. This format ensures that your design is reproduced accurately, preserving embedded fonts, CMYK colours and removing transparencies that may cause printing issues. If your file is production-ready, PDF/X-1a is an excellent choice.

Does Ask-to-Print recommend the PDF/X-1a format?

We strongly recommend using PDF/X-1a whenever uploading a finalised file, especially for technically demanding products such as business cards, flyers or catalogues. This format offers greater compatibility with our production systems and reduces the chance of errors related to fonts, colours or bleed margins.

When should I use the PDF/X-1a format?

PDF/X-1a is ideal for files that require no further editing and are ready for print. If you created your design in software like Adobe Illustrator, InDesign or CorelDRAW and want to preserve the exact layout, this is the safest format. It's especially useful for designs with pure CMYK colours, high-resolution images and where final alignment is crucial.

Does PDF/X-1a guarantee better print quality?

More than quality, PDF/X-1a guarantees consistency and reliability. It prevents issues like font substitution, incorrect colour profiles or unhandled transparencies. The visual quality also depends on resolution and layout, but this format ensures what you see on screen is what gets printed — no surprises.

How can I generate a PDF/X-1a file?

You can generate a PDF/X-1a from programs like Adobe Illustrator, InDesign, Photoshop or CorelDRAW. Just select “Save as PDF” and choose the PDF/X-1a:2001 preset. Make sure to use CMYK colour mode, include 3 mm bleed and convert text to outlines. You can also download our pre-configured templates to simplify the process.

What are the advantages of sending a file in PDF/X-1a?

Better print safety; Preserves fonts, images and colours; Reduces technical error risks; Compatible with prepress systems; Prevents layout surprises. By choosing this format, you're ensuring your file meets best practices in the graphic arts industry.

At Ask-to-Print, you can request a custom cut for various types of products. This cut refers to a shape that differs from the traditional rectangular or square format — such as special contours, curves, interior cutouts or decorative forms.

In the graphic industry, the term custom cut is often referred to as a “die cut” or “cutting line”, and applies both to the traditional blade-based process and to digital cutting (laser or cutting table), which is commonly used for large formats.

How to create a file with a custom cut

If your order includes a custom cut, please prepare your file as follows:

• Create a layer named CutContour.
• Draw the cutting path in the desired shape. The path must be made of continuous and closed vectors.
• Apply a Spot Color named CutContour to the path, using 100% magenta.
• If there are overlapping vectors, make sure they are combined properly.

Important technical rules

• The cutting path must be vector-based — raster images (JPEG, PNG, TIFF) are not valid.
• Ensure the line is closed and has no overlaps.
• Follow the product template guidelines for minimum radii and minimum width of cut areas.
• Avoid overly complex shapes such as tight curves or sharp angles.
• All printable elements must be on a separate layer named Artwork.
• The magenta cutting line will not be printed — it is only a technical reference for the cut.

Bleed and cutting line

To ensure a flawless result and avoid unwanted white edges, the cutting path should slightly overlap the image. Therefore, we recommend applying a minimum bleed of 3 mm for small formats and 5 mm for large formats around the cut area. This ensures the background or image extends beyond the cut line, providing a continuous and clean finish.

Recommended software

To properly prepare the custom cut, use vector illustration software such as Adobe Illustrator, CorelDRAW, InkScape, or other tools compatible with layers and spot colors.

Need help?

If you have any questions or need assistance, our team is always available to help. To check our contact details, click here.

Yes, you can view a proof before printing.
If you use our online editor, you’ll get instant access to a real-time preview of your design, accurately simulating the final result.

If you choose to upload your design or final artwork, you will also be able to preview the job before production — as long as the file is in one of the following formats compatible with digital proofing:

• PDF: Standard format for design previews.
• JPEG and JPG: Image format
• PNG
• GIF: Supported in the proofing process, allowing visual validation before printing.
• Tiff
• AI
• SVG

We accept many other formats, but only these allow automatic job preview generation.

A low-resolution file may result in pixelation, lack of sharpness, irregular edges and loss of detail in the final product.

Resolution should always be assessed at the actual production size. Artificially enlarging a small image does not restore the original detail and may further reduce image quality.

Whenever possible, use high-resolution images or vector graphics. Take particular care with images downloaded from the Internet, as they are often optimised for screens and may not have sufficient resolution for graphic production.

When creating a design using very specific fonts or fonts that may not be available in our system, those fonts may be automatically replaced with standard fonts, which can significantly alter the appearance of your printed material.

How does this happen?

If the font used in your design is not embedded in the file or is not a common font recognized by our system, the print software will attempt to replace it with a similar one. However, this substitution may cause your design to lose its original appearance, affecting spacing, formatting and layout.

How to avoid this issue?

To ensure your design prints exactly as intended, follow these steps:

1. Embed fonts in the final file: Make sure all fonts used in your project are properly embedded in the design file. This can be done when exporting the file from your design software (such as Illustrator, InDesign, Corel Draw, or others).
2. Convert text to outlines: If you can’t embed the fonts, an alternative is to convert the text to outlines (or paths). This transforms the text into vector shapes, eliminating the need for external fonts. Note: This option is not recommended for products like Books, Magazines or Catalogues, as outlined text cannot be edited later.
3. Check fonts and images in your file: Graphic design software such as Illustrator offers tools to ensure everything is correct before sending your file to print. One way to do this is to generate a final report that lists all fonts used and includes details about images, such as whether they are in CMYK or RGB mode (remember that for printing, images must be in CMYK).
   • To generate the report in Illustrator:
     • Go to the “File” menu >“Package”.
     • In the Package options panel, check the boxes to include fonts and images.
     • Illustrator will create a folder with all your project files, including embedded fonts, images (with CMYK or RGB info), and other essential details.
4. Use the Illustrator Package feature: This is ideal to ensure that all resources required for your project are properly delivered. The Package generates a folder containing all design elements (fonts, images, colours, and more), making it easier to review everything.

Summary

To avoid font issues and ensure your design prints exactly as intended, embed fonts or convert them to outlines.

Embedding fonts in a PDF is essential to ensure the file is viewed and printed correctly on devices that may not have the same fonts installed. This practice is especially important in web-to-print environments, where files are prepared by end users and sent directly to print production.

What does embedding fonts mean?

When you embed fonts in a PDF file, the font data is included directly within the document. This preserves the text’s appearance, even if the PDF is opened on different computers, using different systems or without the original fonts installed.

How to embed fonts – General Steps

Adobe InDesign, Illustrator and Photoshop

• Go to File > Export and choose the Adobe PDF format.
• Access the Advanced tab.
• Enable the option Embed All Fonts or Subset fonts below 100%.
• Select a profile like PDF/X-1a or PDF/X-4, suitable for professional printing.

CorelDRAW

• Go to File > Export > PDF.
• In the Advanced tab, select Embed All Fonts.

Other programs (Affinity Designer, Canva, Inkscape, GIMP, etc.)

• Most export to PDF with fonts embedded by default.
• Always check export options for terms like "embed fonts" or "PDF/X compliance".

Best Practices for Web-to-Print

• Converting text to outlines is a safe option if the file doesn’t need further editing.
• Only use licensed fonts to avoid embedding restrictions.
• Avoid online fonts from cloud editors that don’t allow embedding.

What is rich black and when should it be used?

In graphic design for print, there are two main ways to apply black: plain black (100% K) and rich black. While both may look the same on screen, the printed result can differ significantly depending on the method used.

Plain black (100% K)

Plain black uses only black ink (K = 100%) in the CMYK model. It is ideal for text and fine elements, ensuring clarity, readability and no registration issues. However, when used in large solid areas (e.g., backgrounds), it may appear dull or greyish, as it relies on a single layer of ink.

Rich black – Greater intensity and depth

Rich black is created by combining black ink with controlled amounts of cyan, magenta and yellow (CMY). This blend enhances visual density and results in a deeper, more even black. It is especially effective for dark backgrounds, large blocks or visually impactful elements.

A safe and commonly used rich black formula is:

• C: 60%
• M: 40%
• Y: 40%
• K: 100%

These percentages may vary slightly depending on the paper type and print profile, but total ink coverage must always be respected.

Best practices when using rich black

• Use plain black (100% K) for text, fine lines and small elements — avoids registration issues.
• Use rich black for large areas, dark backgrounds or impactful visuals.
• Avoid using 100% for all colours (C+M+Y+K), as it may cause ink overload and drying issues — use our recommended formula instead.

To apply spot UV varnish, create a vector design that represents exactly the areas where the varnish should be applied.

This design may include shapes, symbols, logos or text converted to vectors and will act as the technical mask for the finishing effect.

• Place all varnish elements on a separate layer and name it Finishing.
• Apply a 100% Magenta Spot Colour to the elements and also name the Spot Colour Finishing.
• Enable Overprint on the mask elements.
• Keep the mask perfectly aligned with the printed artwork.
• Respect the minimum dimensions and any additional technical specifications indicated for the product.

The Finishing layer is used exclusively to identify the varnish application areas and will not be printed as a visible colour.

To apply stamping, embossing or debossing, create a vector design that represents exactly the areas where you want the effect to be applied.

This design may include shapes, symbols, logos or text converted to vectors and will act as the technical mask for the finishing effect.

• For stamping, place the elements on a separate layer named Finishing.
• For embossing or debossing, place the elements on a separate layer named Emboss.
• Apply a 100% Magenta Spot Colour to the elements and give it the same name as the corresponding layer: Finishing or Emboss.
• Enable Overprint on the mask elements.
• Keep the masks perfectly aligned with the printed artwork.
• When combining stamping and embossing on the same element, use both the Finishing and Emboss layers, correctly aligned.
• Respect the minimum dimensions and any additional technical specifications indicated for the product.

The Finishing and Emboss layers are used exclusively to identify the finishing areas and will not be printed as visible colours.

To create a custom paper cut, draw a closed vector path that represents exactly the intended final shape.

This path will act as the technical cutting line and must be kept separate from the printed artwork.

• Place the cutting path on a separate layer and name it CutContour.
• Apply a 100% Magenta Spot Colour to the path and also name it CutContour.
• Enable Overprint on the cutting path.
• Use a continuous, closed path with no overlaps.
• Extend backgrounds, images and any other elements that reach the edge beyond the cutting line, allowing for the bleed specified for the product of at least 2 mm.
• Keep text, logos and important elements within the corresponding safe area.
• Avoid excessively sharp angles, overly complex curves and very narrow shapes that may make cutting difficult.
• Respect the minimum dimensions and any additional technical specifications indicated for the product.

The CutContour layer is used exclusively to identify the cutting shape and will not be printed as part of the design.

When the product has multiple pages, front and back sides or folds, organise the file according to the final sequence of the product. Do not impose pages or place several pages on the same sheet, as page imposition is handled by the Ask-to-Print prepress team.

• Front and back: send the two sides as separate pages, normally the front on page 1 and the back on page 2, using the same size and orientation.
• Multiple pages: combine all pages into a single PDF and arrange them in the correct reading order.
• Folds and creases: prepare the content according to the product's technical template and keep text, logos and important elements away from fold lines.
• Covers or sides with a specific orientation: check the rotation and reading direction of each page before exporting.

For folded products, covers, packaging or products with specific geometries, use the technical template provided by Ask-to-Print to ensure the correct positioning of pages, sides, folds and creases.

To ensure your file is ready for printing with special and highlight graphic finishes, it is essential to correctly prepare all embellishment elements.

This procedure applies to any product involving one or more of the following finishes:

• Spot UV varnish
• 3D varnish
• Embossing (raised and recessed)
• Stamped embossing
• Gold or silver foil
• Metallic effects

These effects can be combined with special cutting (CutContour). Therefore, each finish must be placed on a separate layer, with a properly assigned technical colour (Spot Colour) and the Overprint attribute always activated.

1. Use only vector elements

All special finish elements must be vector-based (not rasterized) to ensure accuracy and quality. Avoid using images or pixelated effects.

2. Create a separate layer for each finish type

Each finish must be placed on a distinct layer, with a specific technical name and dedicated Spot Colour application (see below).

3. Draw clean and closed paths

Avoid overlapping shapes, sharp angles or open paths. Use tools like Pathfinder (Illustrator) to unite, intersect or combine elements — ensuring simple and precise outlines.

4. Layer names and colours for finishes

According to the type of finish, you should create a specific layer with the correct technical name and apply a Spot Colour with the values defined below. All elements must have the Overprint attribute activated.

• Layer: Finishing
  For: Spot UV varnish, 3D varnish, gold or silver foil, metallic effects
  Spot Colour: C 0% M 50% Y 100% K 0% (orange tone)
  Important: Elements must be vector-based and placed exclusively in this layer. Do not duplicate elements in other layers.


• Layer: Emboss
  For: Raised embossing, recessed embossing
  Spot Colour: C 50% M 100% Y 0% K 0% (purple tone)
  Important: The embossing must be drawn with closed vector shapes and properly aligned with the base artwork.

Attention: In cases where finishes are combined. If stamped embossing is required, you must create two separate layers with the respective configurations described above:

• Layer: Finishing + Layer: Emboss
  For: Stamped embossing (combination of foil and embossing)
  Configuration: Both layers must be correctly configured, with separated and aligned vector elements, without incorrect overlaps or duplications.

Additional note: If your product includes a customised special die cut, you must also set up an additional layer with the corresponding path:

• Layer: CutContour
  For: Custom special cutting
  Spot Colour: C 0% M 100% Y 100% K 0% (red)
  Important: The cutting path must be vector-based, closed and placed on a separate layer. Avoid sharp angles and overlapping paths.

5. Activate overprint

All finish paths must have Overprint activated. This ensures the finish will be printed over the artwork without interference or failures.

6. Organise the layers correctly

• Artwork – layer with the main design (text, images, etc.)
• Finishing – for varnish, foil and metallics
• Emboss – for embossing
• CutContour – for cutting
• Do not duplicate elements between layers

7. Important technical care for special finishes

• Minimum text size: 10 pt
• Minimum line thickness: 1 pt
• Minimum distance between finish lines: 1 pt
• Safety margin: at least 3 mm between finish and cutting or creasing lines

8. Layer alignment

If the finish (varnish, foil or embossing) must align exactly with artwork elements, ensure that elements in the Artwork, Finishing,Emboss and CutContour layers are perfectly aligned.

9. Recommended tools

To correctly prepare your file, use vector illustration software such as Adobe Illustrator, CorelDRAW or InkScape, or other tools compatible with layers and spot colours.

Need help?

If you have any questions or need support, our team is always available to help you. To check our contacts click here.

Embroidery digitisation is the technical process of converting a logo, text or graphic into a set of instructions that an embroidery machine can execute. The embroidery file defines how the design will be physically created using stitches and thread.

During this process, several parameters are defined, including:

• The stitch types suitable for each area of the design.
• The direction and sequence of the stitches.
• The embroidery density.
• The colour sequence and corresponding thread changes.
• The outlines, fills and paths required to reproduce the design.

Digitisation is not simply an automatic conversion of an image. The final result depends on the design, final size, product type, application area and fabric characteristics.

For this reason, the same design may need adjustments when its size changes significantly or when it is applied to different products, such as a cap, polo shirt or sweatshirt.

You can send your logo or artwork in several file formats. For embroidery, the most important factor is that the file clearly shows the shapes, text, colours and details to be reproduced.

Vector files — recommended

• PDF — vector PDF
• AI — Adobe Illustrator
• EPS
• SVG
• CDR — CorelDRAW

Vector files are preferred for logos, symbols, illustrations and text because they allow dimensions, shapes and line thicknesses to be adjusted accurately when preparing the embroidery file.

Image files — also accepted

• PNG: suitable for artwork with a transparent background.
• JPG/JPEG: can be used provided the image has good resolution and definition.
• TIFF: suitable for high-quality images.
• PSD: can be useful when it preserves the original image and graphic elements at good quality.

For bitmap files, preferably use images at around 300 ppi/dpi at the intended final size. Avoid small, pixelated, blurred or heavily compressed images.

To help prepare the embroidery, make sure that:

• The artwork has clearly defined shapes and outlines.
• Text is legible and does not use excessively thin lines.
• Details are not too small for the final embroidery size.
• Colours are clearly identified.
• The background is removed or transparent when it is not part of the design.
• Gradients, shadows, transparencies and complex effects may be simplified when necessary.
• In vector files, text is preferably converted to outlines or curves.

If you already have an embroidery file, send it together with the original artwork. Technical embroidery formats such as DST, EMB, PES or other machine formats may require validation or adjustment depending on the product, size and application conditions.

You do not need to create a technical embroidery file in advance. Ask-to-Print can digitise or validate the artwork and prepare the appropriate embroidery file for production.

Yes. An embroidery file can be reused when the design, final size and application conditions remain equivalent.

Adjustments may be required when there are relevant changes, including:

• A significant change in the embroidery size.
• A change in the type of product or fabric structure.
• A change in the application area.
• Changes to the design, text or colours.
• The need to adjust stitch density, direction or sequence.

An embroidery file prepared for a specific application may, for example, need to be adapted when the same design is transferred from a garment to a cap or to a material with different characteristics.

If you already have an embroidery file, send it together with the original artwork. Ask-to-Print can check whether it is technically suitable for the intended product and size.

Standard embroidery is created with stitches lying on the surface of the fabric, producing a defined, durable finish with a subtle raised effect.

3D embroidery uses a specific stitch preparation to create greater volume and relief, making selected areas of the design more prominent and visually striking.

• Standard embroidery: allows logos, text and designs to be reproduced with a wider variety of details.
• 3D embroidery: works best with letters, symbols and simple, broad, well-defined shapes where the raised effect can be clearly perceived.

The difference also begins at the technical preparation stage: 3D embroidery requires a specific embroidery file, in which the stitch types, direction, density and sequence are adjusted to create the intended raised effect.

Very thin lines, small text and highly detailed designs may not be suitable for 3D embroidery and may require simplification.

The choice between standard embroidery and 3D embroidery depends on the design, application size, product to be personalised and the intended visual effect.

We offer tote bags in a variety of materials such as organic cotton, recycled cotton, jute, juco, recycled polyester (rPET), and non-woven fabric. Options include models with long handles, inner pockets, closures, and different capacities for daily, promotional, or eco-friendly use.

Yes. All tote bags can be customized with your logo or message. The print areas vary by model and may include the center, top front, bottom, back, or pockets. The most common techniques are screen printing and transfer printing.

Yes. Many of our models are made with recycled cotton, organic cotton, or jute. These materials are not dyed or bleached, helping reduce water and chemical use in the production process.

Recycled cotton is made from textile waste that is repurposed into new yarn. It is often blended with recycled polyester (rPET) for added strength and durability. Its original color is maintained, eliminating the need for dyeing and reducing environmental impact.

Yes. Jute is a strong and durable natural fiber, ideal for reusable bags. Juco is a blend of jute and cotton, combining jute's stiffness with cotton's softer feel, offering both strength and a premium natural look. Both materials are biodegradable and sustainable.

Yes. Some models are made from 190T fabric or non-woven material and can be easily folded to take up little space. They are ideal to carry in a purse or car and to use as a reusable alternative to disposable plastic bags.

Yes. All models are suitable for shopping and everyday tasks. Capacity depends on the bag’s dimensions and fabric weight. Canvas (280 g/m² cotton) or jute options are especially strong and suited for heavier loads.

Canvas cotton has a higher fabric weight (280 g/m²), making it thicker and more durable — ideal for intensive use. Standard cotton is lighter (100 to 180 g/m²), suitable for light or promotional use. Non-woven is a synthetic, lightweight, and cost-effective material, perfect for high-volume marketing campaigns.