The file size for each leg was massive, due to the both canvases wrapping across the length and width of each leg and foot. The illustration also had to cover the area of the fabric hidden in the seam allowance to avoid any blank spots, much like how you fill a digital canvas to the bleed line to avoid white hairlines when cutting the printed version.
All of the pieces have a punk aesthetic, these tights specifically showcase the subculture of slimepunk. In the case of these tights, my illustrations were printed through sublimation and sewn together by Pinkcess.
Each piece is connected through the theme of print: both through production and aesthetics. To continue the punk motif, I designed a plaid tile that could be repeated on fabric. The process to build this pattern is boiled down to making thin diagonal shapes to fill the vertical and horizontal stripes and then aligning said stripes so that they line up and repeat properly as a tile.
In the case of the skirt, my pattern was printed directly onto the fabric by Spoonflower and sewn by myself. This piece was also a test in color-matching, as I had to order several samples from Spoonflower and compare them to achieve the colors I had planned.
Normally I would sketch the drawing out on paper before making a digital version, but I wanted to challenge myself and see if I could draw it from scratch in Adobe Illustrator.
A punk girl was chosen for the illustration to create a sense of rebellion, which can also be seen through the loud color palette. This set of colors also connects to print as they are the primary colors used in the printing process. In the case of the top, the illustration was printed onto vinyl, cut, and transferred to the fabric by the ASU Print Lab.
My intent was to show others that there is still a meaning for print in the world, hence the title PRINT'S NOT DEAD. Most people think of outdated communication forms like newspapers when it comes to print and I would like to change that perception.