Carpay used the art equipment and resources at Howick District High School to develop his screen-printing techniques in the late 1950s. Cautiously, he began to re-direct his work onto fabrics. Carpay's own entrepreneurial expertise had been formed when he started his pottery in the Netherlands. He repeats this model when he established a screen-printing studio in the basement of his home in Titirangi in the early 1960s. At the outset, he printed with placemats inspired by Maori rock drawings. Lloyd-Jenkins makes it clear that Carpay’s ‘market lay in a small group of people who were willing to furnish their homes in a progressive style. This was the same group that Crown Lynn had relied on for the sales of Handwerk.’

Carpay then struck on the idea of using white towelling to create beach towels and generate a wider market to sell his work. With his wife Carla, he was able to work independently and self-sufficiently, unencumbered by restraints found in earlier partnerships and commercial ventures. It seemed that at last Carpay could juggle and control the attributes of the artist as entrepreneur, capitalist, financier, manager, promoter, merchant and salesman all rolled into one.

The beach-wear that developed from the initial towels ranged from beach robes, jackets, and hooded tops to beach bags. They immediately gained acceptance in the emerging youth market. Graphic designs also produced at this time, like Untitled (black birds and red dots), were startling and still retain their crispness, energy and sense of modernity. Unlike the earlier pieces made for Crown Lynn, which relied on a certain acceptance on inherited taste tied to England, the new fabric designs, like GO GO, captivated a youth market inspired by television and music. The business did well, gaining both critical as well as financial success. Carpay had at last found a niche and the market had at last found him. The golden weather lasted through the seventies. When a batch of cloth for the new seasons production arrived and proved faulty, it was enough to send his humble business under (in the late seventies). Unfortunately, the pattern of success and failure was to repeat itself and it proved his last great creative venture.