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Go find a print shop locally or online that can do this. They will provide you with their specs and maybe a dummy file to set up your design. Also, they will tell you what works and what does not design wise! Things like aligning the front and back might be not possible unless it's a very small number of shirts that can be done manually. There may be areas that just can't be printed on. If the shop uses "dye sublimation printing", there are (nearly?) no limits to colors: it's basically a inkjet on paper print that gets transferred to the fabric. The other, more traditional option is silk screen printing. This is completely different in the way color gets on the shirt. Normally it uses 1-4 colors, which limits what you can do. But if you understand the process, the results can be extraordinary.

wow, 11 pages! and I read them all to add another +1

Yeah, and of course this has been asked for more than once before:

Thanks, did not know that yet. Yeah, if I turn off the lock, then the colour panel switches to RGB values to show the "true" values. The swatches panel colour picker that comes up after a double-click on a swatch stays in whatever colour space the dropdown is set to. If this is CMYK, it will give the CMYK translation of the RGB grey. Maybe a "lock" could be useful for the colour picker, too? So that if unlocked, it switches to the colour space that the swatch you want to change is using. Also interesting: It seems that the pre-installed palettes are write protected. Using the double-click colour picker you can change the colour but the swatch will stay the same. Also pressing the "add new swatch" button does not do anything.

Hi @thomaso, I had a look at this but it seems to be a Mac only problem. On my Win 10 the resulting colour swatches are always CMYK, and the original colour is included correctly. Maybe this info helps the programmers to track the issue down.

Hm, then maybe these files were from an earlier iteration / import of your project? If you do what @Rick G suggested and zip them all up instead of deleting outright, you'll see if you can continue working without them.

Images often get sliced in various ways when a PDF file for printing is created. I believe one reason is when layers and transparencies are "flattened" for better compatibility with older printing machines. So it looks these tifs are just the slices that were in the PDF. If you have the original complete images, you may be able to delete all the snippety bits in Publisher and paste the original images in their place - but that may turn into a ton of work, as I don't think there's a tool that can automate this. If you have access to the indesign source file, maybe it could be possible to write a PDF that does not break images apart? maybe if you choose PDF/X4, keeping "native" layers and transparencies???

I think the issue might partly come from the difference between document and application palettes. It's not quite intuitive that one kind of palette can have global colours and the other can't. Also, it's a hassle to make regular swatches global: I imported a palette that had regular swatches and had to turn every single one into "global" one by one. Would be nice if one could select more than one swatch and then use the right-click menu on all of them. I agree about the overview, but still do not see the need for non-global swatches... And as far as I know, newer versions of Illustrator make all new swatches global by default. You have to uncheck a box to make a "regular" swatch. Yes, that would be a very good thing! Right now, you can't tell with named swatches whether it's CMYK or RGB or....

Oh wow! Thank you for pointing this out, I did not see that before. Thanks to Serif and the team for listening and improving these little things!

Oh, I see now that I misunderstood the issue here, sorry! Yes, the Colour panel and the double-click Swatches panel do show the same values on my Win 10 installation. What I was noticing, is that swatches from the pre-installed "Greys" palette are named "Black 50%" but the colour panel shows that it is actually not 50% K. It seems the greys from that palette are RGB colours (50% = #808080 RGB). So that's another issue: You cannot see what values a named swatch has, not even whether it's CMYK or RGB or something else... Maybe a solution might be to have the "true" values in parentheses after the name of the swatch? E.g. Black 50% (RGB #808080) or Black 50% (CMYK 0/0/0/50)

When I replied to this, I thought a bit more about the way color swatches work atm. I just don't think there is a need for a color swatch that is not "connected" to the objects that are using it. If I change a color swatch, I want to change all the objects that use it. InDesign does it this way, and it makes sense. I know that Illustrator does have "unconnected" swatches as well as "global" swatches -- but I never understood the reason for that. If there's a use case for "non-connected" swatches, please let me know I believe any such use should still be possible with "connected" swatches only. So all the swatches should behave as if they were a "global swatch". Or do "global swatches" have additional features that I haven't found out yet?

Ah yes, now I remember from my uni days using macs...... Thanks for reminding me. And yeah, it's probably a bit messy to change these palettes.

That wouldn't be a problem, would it? I guess these colors would just be "imported" for the colleague. I believe @RenWaller may have meant "program palettes" or "application palettes" since I don't see the term "system palette" anywhere in AD/AP.

Just for your informaion, this is also happening on Win 10