Custom Hats and Beanies
We like to think of ourselves as the Northwest’s premiere custom headwear provider. We have extensive capabilities when it comes to decorating hats and beanies. From patch and label making to direct embroidery and several types of printing applications. All this is backed up with our vast understanding of trends and qualities in headwear blanks.
Ok so there are so many styles on hats and beanies on the market it’s mind bending. There are also plenty of ways to get art onto a hat or beanie. Embroidery is probably the most common, patches and woven labels are in there as well. Printed hats are a great look, printed beanies are not. Not to worry though we’ll get you steered in the right direction.
So let’s keep this simple. First let’s talk styles, caps typically fall into one of three categories: full twill, mesh back or non structured. Beanies are skullies or watchmen style in two type of constructions waffle knit or your gas station look bulk knit. You can learn more about the styles on the sourced garment page. We do a lot of headwear so you can count on us to help you find the right styles.
With art you are going to want to submit that in vector whenever possible. If that file doesn’t exist we can help generate it but we will need it to create the embroidery, woven label or patch file. The areas on a hat that you can apply art to are relatively small so keep that in mind when envisioning your art. Also any image with gradient is going to be very difficult to translate into embroidered, patches or woven labels. I also like to keep the art wider than tall, because well your head is a lot more around than it is tall.
We can help you iron out all the details and if you any questions please feel free to reach out to us.
Welcome to embroidery basics where we’ll take a second to look at the sewout process from start to finish.
First thing to take into consideration is the resolution limitations of embroidery. The smallest stitch is about 2 – 3 millimeters across or roughly the thickness of a penny and the longest stitch is about 7 millimeters so thickness of a pencil.
Knowing that, imagine recreating your art out of building blocks that are no smaller than the 2 millimeters, that would represent the maximum resolution possible. Let’s also think about stitch count, the cost of embroidery is based on the amount of stitches used to replicate the design. As a guideline a solid square inch is roughly 2,000 stitches. Pricing can be found here.
All projects start with the art and garment. When initiating a project we take into account the following: Will the art fit onto the desired location on the garment? Does the changing size of the garment affect that condition? Will the machine and hoop fit on the garment in that location? Will sewing in that area potentially damage the garment?
Once we’ve covered the bases on sizing and location we’ll digitize the art for embroidery. Digitizing is the process of programming the art in a format that the embroidery machine can use to sew the design out. Think of it like a roadmap that the machine uses to find it’s way around the design.
Once the digitizing, measuring and compatibility checks are all wrapped up it’s time to start production. In order for the garments to be loaded onto the machine they must first be hooped. Hooping is the process of putting the garment into the frame that then mounts to the machine, the most common types of hoops are hat hoops and flat hoops. Hat hoops are circular to accommodate the the contour shape of headwear and flat hoops are used on 2D objects like jackets and tees. Shown below flats on the left and hats on the right.