Eight prints, shown as prints. The artwork is the subject on this page and the garment is a small note underneath it, because that is the order these decisions actually get made in.
0.06 in and each of the sixty ruler ticks was 0.06 in: they do not look
small on cloth, they disappear. Fine diagrams are the wrong instrument for a garment, so the fussy
ones were rebuilt as bold shapes rather than shrunk or nudged.
Every print on this page uses real inches on an adult M, 20 in across the body. A fitted M runs about 17 to 18 in, so usable width drops by roughly an eighth. Most of the eight take that quietly. Three do not.
Rescale and print. No new drawing, no new decision.
Printable in both cuts, at a cost.
Not eliminated. Just not yet choosable.
Each appears at print scale in both states, with its placement on the garment noted beneath. The logo sits small at a neck, a cuff, or a hem on every one, and it never takes glow ink: whatever glows is the idea. Pick the one that sounds like the studio and say what is dead.
One joint, drawn once, at seven inches across. The old version of this was a twelve-up specimen plate with hairlines you could not have seen from the next mat, which is a diagram pretending to be a garment. A single joint with its axis running clean off both edges of the print says the same thing and says it from across the room.
The studio's own sentence in two inks, set big enough to be the whole shirt. Turning the lights off edits it down to the one word that carries the method. One shirt, two readings, and nothing between them doing the work.
The shirt does what the practice does. It takes light in for an hour and gives it back later, in the dark, quietly, on its own. One ink, one shape, fourteen inches across so it sits on the body rather than on the chest, and almost nothing to see in daylight.
Front of the shirt: nothing but a stitched mark. The back holds it all, because in this room you spend the hour on the floor looking at the person in front of you. When the lights go down, that is what you read. Her own published sentence, set three lines deep.
Five joints in one column, linked, running up the middle of the chest. A spine is the one diagram this studio has a right to, and from the bottom it follows the order the practice works in: floor first, then hips, then everything above them. Five rings at two and a half inches each, which is the biggest five that will actually stack inside the print.
The floor of the studio, drawn as twelve heavy bars in three rows: the mats, seen from the ceiling, at three inches each instead of one. Twenty small mats made a waffle nobody could read. Twelve big ones make a room. Lights out and it assembles on somebody's back.
The hour as one heavy bar, with the last sixth of it lit. Ten minutes is how long this ink stays properly bright after the lights drop, and the class also everybody actually remembers. The sixty-tick ruler that used to be here was invisible on cloth. One bar and one numeral is the same idea, loud.
Invert it. The whole garment takes an all-over glow at low coverage, so in daylight a plain natural tee remains. The only printed image is three burgundy words, set large, and they stay dark. When the lights go out the shirt lights and the words are the one thing you cannot read.
The mark is nearly invisible when you look at the whole shirt, which is the point. Up close, the mark becomes the best thing on the garment. These are macro crops at roughly six times life size, drawn as satin stitch: closely packed thread laid across the path, matte, tonal, catching light only where the thread turns. Clothes brands use this finish, which separates this from merch.
Centered under the collar seam, above the ribbing. Tonal thread a half shade darker than the cloth, so it reads as a shadow until you are close enough to touch it.
On the hem itself, a finger's width in from the edge. People actually see this one, because it sits at eye level for whoever is on the mat beside you.
A folded woven tag caught in the side seam, burgundy ground, mark in cream. The most garment-like of the four and the only one that survives every wash untouched.
Printed on the neck tape where only the wearer will ever find it. Burgundy on the inside of a shirt is a private joke between the studio and the person in it.
| Garment | Screens | Logo | Underbase | Cost | Fitted cut | ||
|---|---|---|---|---|---|---|---|
| 1 · The joint | natural | 10 in front | burgundy + glow | back neck | none | middle | rescale to ~9 in |
| 2 · Not flexibility. Function. | warm black | 10 in front | cream + glow | left cuff | yes | highest | rescale, crack risk |
| 3 · Charge | natural | 14 in oversize | glow only, 3 hits | hem tag | none | middle | new lockup |
| 4 · Lights out | natural | 11 in back | 1 glow | left chest | none | low | rescale to ~10 in |
| 5 · Joint by joint | natural | 3 by 15 in | 1 glow | left chest | none | lowest | shorten or drop a ring |
| 6 · The room | natural | 11 in back | 1 glow | back neck | none | low | rescale, bars 3.0 → 2.7 in |
| 7 · The last ten minutes | natural | 11 by 3 in | burgundy + glow | left cuff | none | low | rescale, check on a body |
| 8 · The shirt is the light | natural | all over + 10 in | glow flood + burgundy | inside collar | none | most expensive | feasibility first |
Everything above this line is the print. This is the garment under it, written as parts a printer can quote against rather than as the word quality. One blank, two cuts, whichever design wins.
| Spec | Why it belongs | |
|---|---|---|
| Fiber | 100% cotton | Polyester dye can migrate into plastisol at cure temperature and discolour a white underbase over the following weeks. Number two is the only design with an underbase. |
| Yarn | Ring-spun or combed ring-spun | Open-end yarn is the coarse hand that reads as event merch. |
| Weight | 5.5 to 6.5 oz · 185 to 220 gsm | Carries a heavy glow deposit without telegraphing the print plate. A light blank under three hits reads as a stiff panel on a thin shirt. |
| Build | Side-seamed, shoulder-taped, ribbed collar | Number three puts a woven tag in the side seam. A tubular body has no side seam to put it in. |
| Sleeve | Hemmed, wide enough to hoop | Numbers two and seven embroider the left cuff. A narrow fitted sleeve hem is the hard case. |
| Color | One color-matched family, both cuts | Two shirts on one table in two different naturals reads as a mistake. |
| Sizes | Unisex XS–3XL · fitted XS–2XL | This room is not a small, medium and large room. |
| Finish | Pre-shrunk or garment-dyed | A shrunk fitted cut is a returned fitted cut. Garment dye gives a truer natural and a softer hand, at the cost of shade variance between lots, so one run comes from one lot. |
Photoluminescent plastisol is semi-opaque and reads as a pale celadon. Seven of the eight sit on natural cloth, where it reads nearly tone on tone.
Charges under light and emits yellow-green near 520 nm whatever the artwork, so every approach gets composed twice: once whole, once as the glow layer alone.
Five to ten minutes of studio light charges it. It falls off steeply for ten minutes, then slowly for about an hour. Number seven draws from that fact.