Three live properties. Each one runs on the same rule: it has to survive a real production day.
Vendor-neutral analysis for large format and DTF. We read the press releases so you don't have to, then say what actually changes on the floor. Buying guides, teardowns, and cost math — no booth talk.
One subscription, every DTF production tool. Gang sheet builder, knockout, halftone studio, DPI inspector, underbase lab. Browser-based, nothing to install, files stay local where the tool allows.
Drop transparent PNGs, set size and quantity, auto-pack a true 300 DPI sheet for any roll from 13 to 24 in. Preflight catches low-res files before you commit film. No login, no watermark, nothing uploaded.
I started in electrical and telecom in the 1980s, which meant I learned machines before I learned screens. Large format came next and never left. Solvent, latex, UV, dye-sub — and for the last decade, DTF: film, powder, cure, repeat, all day.
Somewhere in there I got tired of two things. Vendors telling shops what mattered, and software written by people who had never stood in front of a curing oven at 6pm with twelve orders left. So I started writing both myself — the analysis and the tools. Damn Good Company is where they live.
Quoting, spec sheets, artwork triage, customer replies. We build the prompt library and the automation behind it, then hand you the keys. Fixed price. Fixed date.