About Us

About Us

We at Wyestitch specialise in Embroidery and T shirt Printing in Hereford, Uk for local businesses and people in the Herefordshire area, Wye Valley and south west England and South Wales.

Personalise your own workwear , garment or T-shirt with our Online Designer software.

Need Any Help? - Just contact us and let us take all the pain out of any search! We are only too happy to help find what you need.




CONTACT - Tel- 07851987518 or sean@wyestitch.co.uk





We offer the following services in-house:

Garment Decoration,

Garment Printing,

Garment Embroidery, 

Corporate Workwear, 

Safety Equipment and footwear, 

HI Viz, and Specialist Wear,

Schools and Sportswear,

T shirt printing ,

Sublimation Printing, 

Transfer printing, 

Bespoke Corporate and personal Giftwares, 

Giclee printing up to A1/24"

Gift and Souvenir Manufacturing, 

Online Design service.

We can create and produce bespoke gifts and a wide range of Promotional items.  Please contact us if you can't find what you are looking for.

We are only too happy to help and to find and suggest garments suited to your needs and budgets!

Wyesitch - Embroidery and Garment Printers in Hereford, UK

Tel 07851987518

Email - sean@wyestitch.co.uk

Giclee Petit Ltd T/a Wyestitch

Company Reg- 11758433

VAT No- 369 6536 45

EORI- GB071920325000




Frequently Asked Questions

Can I order samples?

Yes, samples are available for all our products. Please note that we require full payment for samples before they are shipped. Contact us directly.

Can I customise my own goods?

We do allow- Please note these are subject to our Standard T&C's and a standard Disclaimer form. However We may also have what you are looking for, so please contact us to discuss by sending us an email  to sean@wyestitch.co.uk . We have alot of access to brands not shown on our website as we have just too many to show.

Do you supply one-off customised garments?

Yes, we do supply singles in most cases, but do bear in mind that no quantity discounts for either the garment or customisation apply. The cost of one garment is shown on the respective product page.

Do you supply plain non-branded clothing?

Yes, all of our clothing is available plain or with customisation.

How much does customisation cost?

Our customisation prices can be found on individual garment pages on the website: simply click on the Online Designer - Design Your Own Online, then choose ‘Embroidery’ or ‘Print’. Please note that for embroidered items, a complex design may exceed the standard stitch count for our small and large logos. If this is the case, we will contact you to discuss your design.

I don’t have any artwork to give you for customisation, can you help?

Yes, we have a design and artwork studio which will be able to either produce artwork according to your brief.  There may be a small charge for this service and this will depend on the complexity of your requirements.

Can you embroider my logo or design on my garments in different sizes?

Yes, certainly, but for each different size you’d like your artwork reproduced, we need to make a separate embroidery file, for which there may be a charge.

Can I get a proof of my design?

We can offer a free proof of your design if you use our Online Designer- Design Your Own Online tool.  If you require embroidery by doing so it will incur an artwork digitisation creation fee as we will need to create the artwork required for our embroidery processes. For all embroidery orders, we will supply an artwork sample before the purchased garments are embroidered to ensure you approve of the design. We will require this approval before producing the embroidery file and customising your garments.

Which artwork format is best?

We can accept a variety of file formats including an AI, EPS, PSD,  Vectorised PDF & PNG at size . If you would like your design printed, we recommend sending a high-resolution file. If the file sent is low quality, it may need to be re-drawn and revectorised adding an additional fee, but we will let you know if this is the case. When supplying artwork, please specify any CMYK or Pantone-matched colours you would like to use. We can try and match this in both embroidery and printing processes. If you have any other questions regarding artwork, please contact us.

Will I have to pay for artwork creation more than once?

Each logo that is converted to an embroidered design needs to be digitally recreated into an embroidery file, which is then saved on our system. This means you will incur the artwork creation fee only the first time you use the design. For printed garments, we also retain your artwork on our system.

Can I be invoiced for my order instead of paying up front?

As a standard policy we ask for payment of the full invoice amount before garments can be customised.

How can I specify the correct sizes for my garments?

Each product page on our website specifies the range of sizes that product is available in, including how they correspond with standard men’s, women’s sizes and children's sizes.  We recommend that you ask the people who will be wearing the garments (if possible) to tell you what size they need.  Check and sse the guide Chest sizes on each garment rather than size Medium or Large etc as each manufacturer varies slightly in each of their specifications.

How long will my garments take to produce?

Please allow time for us to produce and despatch your garments especially at peak periods.  Normally we aim to produce within 5-7 working days after receipt of funds, but please note with the current market conditions we are experiencing stock delays from certain brands so best always to check with us directly availability.  If you do need your garments faster, it’s always worth contacting us to see if can satisfy your request. However, this may incur additional costs.

How much will my garments cost to deliver?

Delivery costs are available on check out. We normally deliver by First class tracked Royal Mail small items and larger deliveries by DPD. 

Most customers are offered a standard Collect policy and are notified as soon as products are ready.

What is your returns policy?

We cannot accept embroidered or printed returns, as we will not be able to re-sell them, or return them to the manufacturer. Naturally, if there is a fault with your product, we will investigate on a case-by-case basis. If you have ordered non-customised garments, we can accept returns if they are in a resale-able condition.  Items maybe subject to a handling fee to return to warehouse.



Price Match

We like to make sure our customers are getting the best deal.

If you happen to find a cheaper price elsewhere, we’ll try our best to match it!

  • How to qualify
  • You must supply a complete quote with the same products
  • Excludes discounts
  • Competitive prices must be available online
  • Competitor(s) must be based in the UK
  • Please fill out the REQUEST A QUOTE form on tab on top of  this page for all price match enquiries.

Please note that Price Match is offered subject to the satisfactory submission of supporting information and is only valid when formally accepted by The Company. Permission may be refused entirely at The Company’s discretion.


  • Alternatively Give us a call on 07851987518 
  • Let our friendly team know the product code you are looking at on our website
  • Tell us where you spotted it - We’ll need to confirm the price of the product, so make sure you’ve got a link to it to hand
  • Let our team work their magic

The important part
Here is some handy important information you should know about our Wyestitch price matching.

  • Price matching is only available on orders with customised garments.- We won't match on plain garment only orders
  • Price matching is only available before placing your order
  • We match against the total cost of our competitor’s item, including artwork charges etc and delivery, so keep this in mind before you call us
  • We will only match against a competitors standard advertised price, not against any offers they may have available
  • We only price match against websites from retailers based in the UK, selling UK products
  • The product on our competitor’s site needs to be the same as the one on our site
  • The product must be available to order and pay for that same day
  • We reserve the right to refuse unreasonable requests without question



Embroidery provides an elegant, professional expression a heat transfer or screen print just can’t match. Even when mass-produced, an embroidery’s stitches are never completely the same from unit to unit. This grants the logo an exclusive, hand-made look that oozes quality and value.

You can provide us with a new design or purchase from our large selection of existing logos. Existing logos can be altered and custom-made per your needs. Up to 15 colours can be used in a single design.

While embroideries of course must look as well-made as possible, they must be maximally durable, too. That’s why we always use a strong polyester thread capable of withstanding industrial washing, heavy detergents, bleaching, chlorine, and stonewashing. It will always be the best choice for workwear, bed sheets, children’s clothing, outerwear, swimwear, towels, and other fabrics regularly bleached and exposed to strong chemicals.

The digitized logo is sent to you in proof form, letting you see how the finished product will look. We don’t begin before you’re happy and have approved the proof. 

Many suppliers buy their products from external sources, which means losing a grip of quality control. At Wyestitch we manufacture our own embroideries on our own machines.

We'll  digitize your design to the highest possible quality.

The first step is always the biggest, and the first step on the way to a perfect embroidery is the digitization of the logo. When Wyestitch digitizes your logo, we factor in the fabric onto which it is to be printed and in what environment it is to be used. When the logo has been digitized, we stitch and adjust until it is perfect.

We test all designs to ensure the best possible look on any fabric.

Not all fabrics are created equal. A design embroidered onto one type of polo shirt needs a quite different design composition than one embroidered onto an Oxford shirt. At Wyestitch we sew a test embroidery  and adjust as needed to ensure the best possible result.

Not all embroidery threads are created equal. Some cheap threads cannot withstand repeat washing or tumble drying. Many printers producing large embroidery batches choose the cheap way out in the shape of nylon threads instead of the excellent polyester threads. At  Wyestitch we exclusively use polyester threads for our embroidery solutions. We also make sure to match the thread weight and the colour to best possible.

The above are just some of the reasons Wyestitch has built a large customer portfolio in the Hereford area and understands the importance of image management and branding. 




The History of Embroidery

While 30,000 year-old embroidery vestiges with traces of hand-made embellishments have been found, the oldest surviving embroideries are of Scythian origin, dating to approximately the 4th century BCE. Among the most famous, surviving examples are the imperial courtrobes from the Qing dynasty (1644-1911). The fundamental materials and techniques utilized in Antiquity are the same as those used today, placing the embroidery among the rare technologies invented perfect.


The embroidery is the most durable of all textile embellishments. As the embroidery consists of threads sewn directly into the fabric, and as these are almost always newer and stronger than those of which the fabric already consists, the longevity of the embroidery is solely limited by the fabric itself.

The threads’ robustness and durability further enable them to retain their colors throughout the fabric’s lifetime and preserve their brightness through even numerous boil washes and chlorine treatments.

With its strong seams and close threads, the embroidery is minimally stretchy and thus has the heaviest ‘hand’. An embroidery can always be felt by the fingers and in some cases  — if applied to clothing — against the body.

Threadweight is indicated inversely. A low thread weight implies a heavy, thick thread, while a high thread weight implies a thin, fine thread. The scale runs broadly from 20 wt to 80 wt, with 40 wt roughly being the industry standard. Individual stitches must be no less than 0.8 mm long and Sans Serif fonts no less than 4 mm tall.

Embroidery is an additive method of manufacture, producing very little waste. Planning and process optimization ensure that materials are used only where needed, resulting in significant resource preservation and cost reduction.

Modern, industrial embroidery is a mix of thousand-year-old sewing techniques and advanced electronic mechanics. The old-fashioned, texture-building sewing technique, by which patterns and colors are drafted onto textile surfaces by hand-sewn threads, are by the latest technology, LCD Touch Screen Displays, precision sewing, and intelligent tensioner systems promoted to a state-of-the-art instrument that gives  exquisite logos for branding and other value-creating PR.

By far the most industrially manufactured embroideries today are made by digitized embroidery machines. Custom-made software dubbed DST files (Data Stitch Tajima, after Tajima Group, which initially developed the file type) contains digital instructions for which patterns and stitches are to embody the embroidery. These are read and employed by the machine to manufacture striking, consistent products. 

We run a combination of single Head and Twin Head machines based on DST file format

DST-files are created through embroidery digitizing, a process by which illustrations are converted into a program the embroidery machine reads and converts into patterns and stitch types. These illustrations typically consist of either customer-submitted files or images we ourselves have created from scratch. For this, we prefer working with vector files rather than raster files.



What is the best file format for your prints?

What are raster and vector graphics, and how do they differ from one another? These are questions that customers often pose when encountering image-related techniques that don’t fall within their usual spheres of knowledge. The answers are, well, technical, but of interest to many in the world of textile printing. This is a guide to help those who would like to learn more about image file types and about how using them correctly can lead to better products. We hope it will be of help.

The source image
The source image, i.e. the image of the customer’s logo that the printer needs to create the accompanying proof, is an important element for any textile printer. Not on account of its contours and color composition, but because of its file type. The question we have to ask ourselves and our customers every time a new image lands in our inbox is: Is it raster or vector?

Why is that? Because while raster files are usable as source image for textile prints, they are saddled with so many disadvantages that vector files are to be preferred in almost all cases. The fundamental reason why by far the most printers — Wyestitch among them — recommend their customers to submit images in vector format as the simple one that they yield better results. Why? Lets find out by examining the two formats’ advantages and disadvantages.

A raster image is modelled by a two-dimensional Cartesian coordinate system in which so-called ‘pixels’ are placed to together comprise the image. Each individual pixel is equipped with a color and a unique set of coordinates that precisely specifies its place on the grid. From there the pixel’s color engages in a kaleidoscopic collaboration with the surrounding colors, together comprising the complete image.

Any individual pixel is but an otiose, square color fragment. But place a multitude of these otherwise charmless quadrates into sufficiently fine-meshed patterns, and almost boundlessly beautiful, vivid, and elaborate mosaics can emerge. In the RGB color model – the color model raster files typically use – any given pixel can be equipped with one of no fewer than 16,777,216 different colors. Photorealistic images are always raster graphics, as co-acting pixels can produce compositions and color gradients no other image formats or color models can match. Another advantage with raster is that images are editable at a much more atomic level with software like Photoshop. It’s unusually tedious and time-consuming – and consequently almost never done – but with enough skill and patience a graphic designer can in principle edit a raster image all the way down at the level of the individual pixel.

The number of pixels of which a raster image is comprised determines its quality. This corollary bears the term ‘image resolution’ and is the deciding factor in how an image is interpreted by the retina. The more pixels, the clearer it appears (up to the eye’s biological limit, which – dependent on context – is about 300 PPI at a distance of about 2.5 feet). The density of the pixels is tallied as PPI or ‘pixels per inch.’ Let’s illuminate further with a concrete example:

If we want to print an image with a PPI of 240 – which is the lowest pixel density suitable for textile printing – onto a textile area with a width of six inches, we multiply the values and get: 240×6=1440. Thus, the raster image must have a width of 1440 pixels to be usable across the desired area. We can also move the variables around and determine the maximum size in which the raster image can be printed: If we have an image with a width of 1440 pixels and know the pixel density must not subceed 240, we divide the numbers and get: 1440/240=6. Hence, the raster image can be printed with a width of six inches before losing quality.

So far, so good. But the raster format’s weakness – and the knock-down argument against its employment for printing purposes – is its fixed pixel count. Once a raster image has been created comprising a certain amount of pixels, that fundamental composition is immutable. So if we find ourselves wanting to manufacture a logo with a width of e.g. eight inches – and want to keep its incumbent resolution – we require a larger pixel count than the image has.

Let’s again get out the calculator: 240×8=1920. We require 1920 pixels in the width for the new, larger image but have only 1440. So if we print the logo, it will emerge with a pixel count that fits an area 25% smaller than prescribed by the resolution. Each pixel is now stretched to cover a larger area and consequently appears duller and blurrier than before. Since logos often must come in varying sizes – the size of a logo on the back typically differs from that on the chest – a graphic designer needs to work with images that allow for easy handling and augmentation. This remains especially true if the logo contains a font that – as you can imagine – pays a disproportionate price for loss of quality. It doesn’t take many grainy pixels before a text ceases to be legible. For this reason all fonts on the internet – where users will often zoom in and out on a text they’re reading – uses the vector format.

ColoQuick logo

A related factor that similarly works against the raster is the file size. An image’s pixel count is directly reflected in its size. Independent of PPI that – as you recall – is an expression of pixels per inch, the file size scales proportionately with the total pixel count. Two images with identical PPI but different dimensions will have different file sizes. Since the image editor software must be capable of handling data pertaining to an image’s every pixel, the file size will greatly influence the speed with which the program can process the image. The more pixels, the better the image quality. The better the image quality, the larger the file. The larger the file, the slower the processing and the quicker the hard drive fill-up. Size will additionally tend to be a retarding influence on the transfer of files from one system to another.

The vector file is based on mathematical formulas that calculate and draw precise geometric elements in a coordinate system. They are drawn through calculations of exact point values and their connection with lines and curves that together comprise the full graphical expression. Such geometric building blocks – lines, circles, polygons, curves etc. – make the vector file well-suited for use within structure-based line graphics, which typically deals with 2D images with clean features and homogenous, flat colors. The same building blocks simultaneously make the vector file unsuited for the realistic renderings often seen in digital photographs, as flat colors lack precisely the color depth crucial to image realism. An important characteristic of the vector file is that it – unlike the raster file – isn’t required to manage millions of pixels but only has to remember a few coordinate points and the line equations that connect them. Because of this the vector file takes up significantly less space and is easier to transfer, move around, and work with.

Let’s again illuminate with an example: If we want a circle to be rendered by a raster image, the image will have to manage several million binary digits (bits) and deal with the accompanying file size. A vector file, on the other hand, has it much easier. With just two digits, it first finds the circle’s center in the coordinate system and then determines its circumference by adding the radius value to the circle equation: (x-a)2+(y-b)2=r2. These values are all the vector file needs to draw the circle. Should we then want to enlarge it, the vector file simply replaces the radius value with a new one and draws the result of the new calculation. This much easier method requires very little disk space and permits infinite enlargement without concomitant deterioration of the resolution. The line edges will always look sharp and the image appear – and technically be – brand new.

That the image is redrawn every time it is altered or enlarged means that it can be divided into individual components. These can be separated, arranged, modified, and colorized as needed with just one or very few clicks. A graphic designer can make them any size, they can continually be assigned any Pantone color number, and their simpler compositions ultimately make them easier to apply to the textile. A vector file is accordingly much more versatile and easier to work with than a raster file. What it lacks in photo realism, it makes up for in responsiveness, and in an industry where looming deadlines are the rule rather than the exception, the importance of fast and flexible image editing cannot be overstated.

Identify your image’s file type
What file type is the image you hope to use as source for your logo? Find out by looking at the file extensions or by enlarging the image and seeing how it affects the quality. If it is worsened, it is very likely a raster file.

The most common raster file formats have the extensions .jpg, .gif, .bmp, .png, .tiff, .tif and .psd (Photoshop), while the most common vector file formats have the extensions .eps, .ai, .cdr, .svg, and .wmf/emf.

Let’s tie things up by recapitulating what we now know about raster and vector:

Both file types possess clear advantages. Raster is the preferred file format for realistic and colorful image renderings, while vector is the domain of the utilitarian, undemanding facsimile. Raster is used for photographs and is by far the most used image type on the internet, while vector is widely used in the design of logos with an eye toward marketing. Raster is luxurious, but demanding. Vector is ascetic, but smooth. Raster is a Gustave Courbet painting. Vector is an Albert Uderzo drawing. In the textile printing industry, option number two is preferred, reliably gifting us the shortest production cycles, the most inexpensive logos, and the happiest customers.


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