Fabric Design: Customize Your Clothes With Unique Digital Prints

1. Class Intro: Welcome to fabric design. How to customize your clothes with unique prints. In this class, I will walk you through the basics of surface pattern design applied to printing fabric using digital tools. We will understand the basic elements of surface pattern design such as mode for a board, repetition, and how to apply those elements to any type of print idea you have. And we will also learn about analog methods of printing fabric just to know how it's done without any digital tools because it's fun to know about the textile arts. We will then turn all these new info into a print using Procreate and Adobe Photoshop, further understanding how repetition works and amplifying our creativity, adding layers and depth to our designs. This class is for anyone who loves patterns and would like to start creating them to level up their sewing game or creativity game overall. Of course, I will share my favorite suppliers in the United States and Mexico to actually print your artwork onto fabric just like this. Join me so we can start having lots of fun with prints. 2. Project and Needed Supplies: For our class project, we will create our very own digital print module with perfect repetition in a file ready to be sent so it is transformed into fabric. By selecting our inspiration, moodboard, color palette, and drawing our own elements, we will bring to life a costume made print that can be used in any kind of garment for fabric. To complete the assignment, you will only need drawing supplies that include but are not limited to paper, pens, pencils, crayons, eraser, whichever you prefer to draw and procreate and Photoshop. I will be using those. You can opt for any other digital drawing software and optional, if you wish to go the extra mile, you can send your module to print and show us your design applied onto fabric. With that being said, let's start creating. 3. Lesson 1 - What Is a Pattern: For this our first lesson, we will dive into the theory, starting with a simple question. What is a pattern? There are basically two ways in which fabric has visual design or a pattern. Either it is woven into the fabric with different colors or thread densities while it's being made, like a jacquard or even a simple check earth pattern, or it is added as a finishing touch after the fabric is created by adding color onto it with a certain drawing. A simple trick you can do to figure out if it is woven or printed is checking the reverse. When it is woven, usually it is visible from both sides and if it's a print, on one side, it has a design and on the other, it could be totally white or have a washed down version of the print. If we are talking about either woven or print, there are a few design terms you should know about when creating a design. I will show them to you by drawing with my iPad one of Mexico's best delicacies and de Mardo. Bonus info. If you wish to see the entire workflow designing these motives and grids, I am sharing a linked video in the resource stab. Since this is not a designing composition class, I just added the highlights for this lesson. But if you're interested in seeing the entire workflow, you can dive into it with the link vw. Let's start with the first design element. The first one would be motive, the individual and different elements used in a design, not the design overall. They can be floral, geometric, abstract, anything you like. In this case, I am drawing different motives, the main Ban Demerto, a bone, and a gravestone. And as compliments, I did some sparks to add texture. Then we have the module. This is the interaction of the various motives placed harmoniously inside a determined area. This module will be repeated across the fabric multiple times. Report. This is the repetition of the module across the fabric, matching vertically and horizontally. This term is divided into categories of repetition. The first and most simple one is block. Here, the module repeats itself vertically and horizontally, directly next to each other in a 90 degree angle. Take a look at how square and obvious the bigger Pan Demerto element repeats in this block rapport. The second one is half drop. In this style of rapport repetition, the module matches directly in the vertical line, but it is staggered horizontally, making the repetition less squared. The third one is brick. This is the same as a half drop, only this time changing directions. The horizontal line matches directly while the vertical line has an offset repetition. Now you can see the differences between the block repetition, the half drop repetition, and the brick repetition. There are other types of repetitions you'll find around but in my experience, I find that calling them that is quite confusing since they have basically one of the three main repetitions I just mentioned, block, half drop, or brick. But the motives in these other repetitions are placed in certain grids inside of the determined area or module that make the repetition. These type of grids make the repetition less obvious, but still the main three repetitions are clearly there. You'll see it. These are diamond. OG hexagonal. Medallion. Stripes. Random. Another term in creating prints and patterns is direction. This means the course along which the elements are visually placed, and this is divided into two categories. The first one being directional, either vertical or horizontal and not directional, meaning random all over. This is relevant when sewing because if a certain fabric has a directional pattern, let's say, in a vertical disposition, you want to cut your pattern pieces matching that direction. In the case of a random non directional fabric, you can take more liberties since it won't be visually weird. Moving on to our next term, background. Having one can bring dimension to your designs. Notice, not all fabric has a plain base. It could be a texture, contrasting color of the same motives, anything you could imagine. Backgrounds work with the same laws of module and report. And our last but not least term is scale, the size of the motives in real life. And I say real life because we are working with digital tools. And in my experience, it's very easy to get lost in the actual size of the print we are creating when we can really zoom in to a detail in digital tools. For example, if we are creating a pattern for a necktie, the amount of detail that will be visible in such a tiny motive is very different to the detail we can have in a pattern intended for wallpaper that can extend into a regular world. For this reason, every time I am creating a costume print, I have to know where am I using it and how big or small I envision it, so I can actually create guidelines and rulers into my digital tool. Come with me to the next lesson so we can learn how to create a seamless repetition for our pattern. 4. Activity - Creating Design Repetitions: For this section of the class, we will do a few fun exercises to really understand how a seamless repetition is created. I will show you how to make the first three types of repetition we talked earlier. Block, half drop, and brick repetitions. So grab a piece of paper and some drawing supplies like pencils and pens, and let's go. Starting with block repetition. Step one, make a six inch square with paper and draw a line right down the middle with wise and length wise. Identify each new square as follows. Step two, fill the paper with motives. The only condition here is to stay away from the outside edges. It's okay if you draw on top of the lines. Step three, cut the square paper through the vertical and horizontal lines. This will yield four separate three inch squares. Place them as they were identified in the beginning. A, left top corner, B, right, top corner, C, left bottom corner, and the right bottom corner. Step four, we will rearrange the order of the squares as follows. A and B move to the bottom, and then B and B move to the left. This way, which used to be the outer edges is now the center of our six inch square. Tape the squares together from the back. Step five, fill the empty space with more motives for a balanced module. Notice how the incomplete motive in the top left corner continues in the right top corner. This is what creates a seamless repetition horizontally, and the same happens vertically. You have successfully created a seamless report pattern with block repetition. For the half drop repetition, we will repeat steps one, two, and three from the block repetition, making a six inch square divided in half length and width wise, identifying each new square A through D and drawing a motif, not reaching the outer edges. Cut through the lines to have four separate squares. Step four, we will rearrange the order of the squares as follows. A and B move to the bottom, then and B move to the left. And this far, we've done the same process as the block repetition but from here on, we will do an additional movement. A will move to C, so C is now on the bottom right. Step five, fill the empty spaces in the center with more motives. Step six, move the top squares, DNA to the bottom and fill the empty spaces at the center if necessary. By returning each square to its original position, you can move them around with the half drop repetition and see your rapport come to life. Our third activity is creating a brick repetition. We will repeat steps one, two, and three from the block repetition, making a six inch square divided in half length and width wise, identifying each new square A through D and drawing a motif not reaching the outer edges. Cut through the lines to have four separate squares. Step four, we will rearrange the order of the squares as follows. A and C move to the right, and then B and A move to the bottom. This far, we did the same process as the block repetition, but from here on, we will do a few additional movements. A will move to where B used to be. So A is now on the bottom left. Step five, fill the empty spaces in the center with more motives. Step six, move the left squares, and A to the right and fill the empty spaces at the center if necessary. By returning each square to its original position, now you have a brick repetition. Now that we know the basic terms and elements that make up a pattern, we are ready to move on to the next lesson where we'll quickly learn some more fabric printing methods. 5. Lesson 2 - Printing Methods: Now that we know how to create seamless repetitions, we can further understand how a simple stamp or stencil can be repeated into a pattern stamped onto fabric. It's only fitting that we review some printing methods. In this class, we are majorly focusing on digital printing. But as a true textile Abbasian to, I think it is very cool to know the other main methods used in fashion and interior design. The following list excludes patterns woven into the fabric. Remember, we are strictly talking about printing, which is adding the visual element on top of the finished textile and there are more methods of doing so, but I just wanted to make a quick overview of the most commonly used in fashion. For all of them, I am sharing some cool videos so you can actually see the entire process. I am linking them in the additional resources below. The first one is block or stamp printing. This is one of the oldest methods of printing fabric. The design is carved into a medium like a wooden block or linoleum, or rubber stamp or even the classic potato stamp. Then ink is applied on top of the stamp and that is pressed against the fabric. The surface that wasn't carved out is what will be stamp. This is mostly used with natural fibers and is set with heat. Usually, one stamp is used with one color. Let's say you want to use this method with a flower where petals are blue and centers are yellow. You would need a different block to carve where each color will be. Silk screen printing. This method needs a frame covered with a fine organza like screen where a photosensitive liquid is applied and dried here purple, that will go into a machine with light exposure alongside the design printed in black into tracing vapor. We need this shear paper to make it work. The photosensitive liquid is cooked to the screen with the light inside of the machine. Anything covered by black in the design will be undercooked and will easily come off with water. Creating your silk screen stencil. That screen is placed onto the fabric and ink is pressed against it, transferring the design. Similar to block printing, you also need different screens for different colors in the design. Usually up to six, but it may vary. This allows multiple solid colors, although I've seen multiple people create color gradients and effects in this technique, but that is for the super experienced screen printer. But you can do almost anything. This is one of the most fun printing methods in my opinion, but it is pretty time consuming and resource consuming. It is worth mentioning that different inks can be used with screen printing. The typical one is water based, which mainly works with white or lighter fabrics made from natural fibers, but we also have flock printing where you press glue through the silk screen and then a floffy powder, same with foil printing that is this golden foil sheet and lastly, plastl a thicker type of ink that creates a little more volume on the print. So with the same screen method, you can actually have different results or types of designs and printing. Then we have roller printing. Similar to screen printing, but for larger quantities. Instead of screen frames, rollers are used one per color. The fabric is pulled under the various rolls and each one of them presses the die onto the fabric. The very special thing about this method, in my opinion, is that the rollers have a fixed circumference and length, where the module must match precisely, which is a constraint we don't experience with digital printing, so it's fun to know how nice we have it with digital ts and how creative pattern illustrators have to be in order to create their designs before digital printing was a thing. And what we are doing in this class, digital printing, also known as DTG from direct to garment, uses big ink jet printing machines that spray the directly onto the fabric, so they blend together to create the pattern. This allows for color gradings, infinite color options. The texture of the fabric doesn't change, and it can be printed only on natural fibers like, like cotton, linen, or silk. We also have sublimation, a digital printing alternative unsynthetic fabric, where special dies are printed onto transfer paper, which is brought under heat and pressure, resulting in the die transforming into gas and blending into the fabric to create the pattern of the fabric with no change to the texture. I hope this broadens your imagination and knowledge towards prints, and I am sure that the more we know the more we can appreciate the textile arts, which is what I'm all about. Moving on to our next lesson where we will start planning our design. 6. Class Project Intro: Our class project is creating our very own print design with perfect repetition using Procreate or Photoshop. You'll get to use all the design principles we reviewed earlier, such as motive module report, and create your very own color palette. Hopefully, you'll take the plunge and send your design to be print in fabric. Although that is an extra for this class project, you just need to share your design process and your final report, for one, I am excited to see your illustrations and designs. Let's get to it. 7. Exercise 1 - Moodboarding and Inspo: The first step we need to take before drawing our illustrations is deciding where we apply our print. This will be the north star for us to choose colors, motives, and scale. In my case, I want to make a Christmas print for a matching set of pajamas for me and my dogs. I can know where I'm going with this. I know I want it to be fun, whimsical, not Christmas red, not Santa Claus, something dog related and not so small in scale. I'm thinking that the motives will be approximately 2 ", but I'm open to play, I'm open to have some fun. Let's see what comes up. How do you envision print, your motives? Do you feel like doing a big statement print on a large scale or maybe a super tiny motive like in a ti? I want you to flow with your ideas and preferences in terms of scale, theme, and colors so we can start with boarding. Go with your got and with what feels charming to you right now. First, let's make a list of three things you do want, and three, you absolutely don't, both in terms of themes and motives. In my case, I want fun motives like cartoonish, dog related, and Christmasy. I don't want anything red, Santa, coated, tiny scale or realistic motives. And do another three dos and three don'ts of colors you would like to have. For me, do is pastels, white Christmas, brown and gold because of my dogs, and don't are bright red, and autumn palette and dark gothic. Like, I want whimsical. Now, come up with three pattern ideas that combine your do. In my case, nut Santa coated Christmas means the nutcracker food as in gingerbread houses, somehow dried fruit, lots of pastries and cozy family time, which also ties nicely to my dogs. So with all these, my ideas are gingerbread dog cookies, my dogs dressed as the sugar plum fairy and the mouskin from the Nutcracker, and also some sort of tua Djui if that pronunciation is correct, of my dogs like sledding and next to the chimney just doing like Christmas day stuff. Once you pick your idea, you can go ahead and find images that will help you draw your pattern. In my case, I will go for the gingerbread dough cookies, but I don't want to look at illustrations or something similar. I want to look for real photographs of gingerbread cookies and find some inspo. I am currently thinking of gingerbread man, but I guess some cooking tools or other cooking shapes might be interesting. That's how I'll create my Milberd. To work on yours, go to the resource stab in this class to find the Mod Birth template. You can either download it as an image to work with it in Photoshop or click the link directed to Camba to add your images there. Now, I know drawing from scratch is an anxiety inducing activity for some, let me go ahead and say that if you want to look for illustrations, by all means, do it. It is supposed to be a fun activity, so don't worry if you need something more clear to draw from. I'll just say let's keep it profess and nice and don't exactly copy anyone's work. With that being said, you can use the Moodboard template on the class resources and start adding your inspo. For the last bit, the color palette, here are a few resources of color palette generators you could use. You can also find them at the resources below. Fill the entire Moth board template with your own info and don't forget to add the hex codes of the colors so you know which ones to use, and I'll meet you on the other side. 8. Exercise 2 - Drawing Motifs: One thing you need to know about me is I love intricate designs and big modules. I don't want you to easily identify my pattern repetition. I don't want you to find the same exact motive in the same exact position close to one another. This is the reason why I like to work with both Procreate and Photoshop at the same time because on one hand, Procreate lets me draw all my elements without any fuss, which is great for my workspace, and it works with layers which translates perfectly into Photoshop. Where I design the actual model and I can get limited layers, which is crucial to me since I love big intricate designs. I feel a little bit constrained in procreate in terms of layers. When the canvas and definition are to be. Overall, I feel I get to play a little more when using both. Nonetheless, I will also show you how to create your print by only using Procreate in case you don't have access to Photoshop. Let's set our file in Procreate to 6 " at 300 DPIs. In digital printing, the best size to send your files is 300 DBIs, that's per inch. So we'll start by creating a library of possible motives using our inspiration moodboard. Usually, I start with a plain pencil without any colors yet and do one motive per layer. If I like it, I will duplicate and add colors in a different layer. Ideally, one layer per color. Here I am sketching my first dog like she's jumping because she's pretty hyper, and I want to, like, capture her essence and her personality. So to create the actual motive, I bring the opacity down and create another layer on top to trace the shape with more flow and other details like ears, maybe the face, more stuff. Mm hmm. I do this a few more times until I am satisfied with the overall shape and style. My tip is to make each motive roughly the size of the canvas. So you can actually play around with scale by making the motives bigger or smaller without losing crispness crispness in the photoshop file. I really liked this representation of my dog, so I will add some color to her in a separate layer. First, I added all hex colors from my mouth board to this color palette right here so I can start visualizing the color palette working together and actually try on some of the colors that I selected previously. I tried giving her a margin, like the cookie color shape, and then the frosting would be her outline. But I wasn't really a big fan of this composition. So while I hold that thought, I decided to start working on my other dog to see where that would take me creatively. I started the same way by making a rough sketch and drawing the actual motive onto a separate layer. This cute dog inspires me to forget about the margin and instead give them white frosting sweaters and some other details like eyes and noses, so they don't have the margin. They keep their shape, but it still feels like gingerbread, cookie dough style. My top tip is to create two to three main characters. In my case, my two main ones are my two dogs, and then create two related objects or additional characters that still feel important and similar in scale, but they are not the main main drawings. For me, this will be a gingerbread house, a gingerbread sweater, and a gingerbread man, which in my mind, are my husband and I to join our doggies. And finally, I suggest you create three to four tiny compliments to add texture and smaller scales. I did some spices, dried fruit, hot cocoa and tiny sparks and bows because I like adding some kind of fuss around my prints to add a little bit more of texture and fun. Once you are satisfied with your motive collection, sport it in PSD format, I suggest sending them to your drive so they can be downloaded to a computer with Photoshop. After that, we are ready to move on to the next lesson to set our module design in Photoshop. 9. Exercise 3 - Basic Module in Photoshop: In Photoshop, I will also set my Canvas to 300 DBIs to match the definition from Procreate and all of my motives. I will also go for a 12 inch square as my module size. I love working with a clean and organized file, so I will group each motif with its base and its frosting and name them individually. Then I want to add my color palette on top as an independent layer so I can copy the colors to my motives. I also add a new layer with solid color fill at the bottom to use as the background coloring, so I can change it if I feel like it. Once this is said, I can start editing the color and all my motives because I don't want all of them to be browns in a cookie, but I am keeping the frosting white across all elements. To change the color, I just use Control while clicking on top of the desired layer. You know it's right when the motive has a dashed outline. Then click on Effects and select color overlay where you can add your specific hex code. Each layer with this effect now has an eye under it, and I do this to all layers I want to change color to. I like this method because it avoids the pixel bleed and it keeps the original outline and definition for each motive. Then I roughly scale all main motives to approximately 2 " and the rest will be scaled according to what looks good around the main ones. With this, I am ready to create my design composition. I am doing a random grid because this is my favorite, but you could try any other grid we've reviewed earlier, such as the diamond or directional, whichever you like, use it. Make your module feel balanced by keeping track of empty spaces and colors, not just the motives. It's best if we don't create visible lines from empty areas next to each other or lines from the same color, even if it's used on a different motive. This is also a great moment to try different color combinations or tones from the same palette to see how they interact with each other. Having fun is key. If it looks cool to you, just go with it. I didn't end up using all the motives I drew, and that's okay. That is exactly why I like creating more motives to choose from. Once I start placing them in the module, some won't look adequate, so I will just discard them. To see how my module looks with a repetition, I select the entire canvas and create a motive. Then create a new file, double the size of my module, and add the motive. This is where I can see if I am creating clusters or lines or empty visible areas. This is exactly where I realized that my module was too small for my liking, so I enlarged it from 12 " to 30 ". Copied the composition and tweaked some of them so the repetition isn't as obvious or close to each other. I try avoiding making visible lines, whether from motives or colors or empty spaces. For this, I change the direction of the main motives and aim for an all over the place look. Again, I select the module, create a motive, and review it in a new file, double the size for my module. This helps me discover dis concerning areas so I can keep making adjustments to my module. I have two top tips for you while creating your design module. First one is you can come close to the edges, just verify that on the opposite side, you have a bit of empty space to avoid clusters. The second top tip is to represent each color from your palette in the left top corner of your module, approximately in the first 6 " length and width wise. Because this is the area that most suppliers take to test print, so you can check your coloring and definition. This way, you will be able to check your entire palette in just these 6 ". Once I am satisfied with the module and its repetition, I like cleaning up my file. This means copying all layers, grouping them, and labeling them so I know that these are the separate motives that I can change color individually or edit the shape of. Now, for the copies, I will group them by color. I must admit that this is a time consuming labor of love, but it will make your life super easy when trying different color palettes and overall, a neat file. With every individual color layer, I can play with different color palettes. This is where I decided that I wanted to make a pink palette for me and my baby dog and a forest green palette for my husband and our oldest dog. Finish working on yours and export your artwork as requested by your specific printing service you plan on using. I will talk about my favorite suppliers to print your fabric in the next lessons. 10. BONUS - Continous Module in Photoshop: Now, what to do if you wish to create a grid module, not a random one with no empty space, so the repetition continues from one edge to the other. Fret not because I have a quick tip, so you can create your module to repeat precisely without offsetting your canvas, which is so mentally confusing to me. Sorry. So you can keep visualizing your module and mods. My tip is my tiny square workflow. Here it is. In this case, I created a diamond grid, just for an example with my motives inside it. I made a group out of all of them and named it module A. Entire group is copied and dragged to the right corner. Here, you just have to make sure you like how the motives look next to each other. For example, the two main dogs might be weird when looking at the entire repetition, but we'll see. Zoom in at the right edge of the canvas until you can see the pixels and create a new solid color square. Place that square right on the edge of your canvas. Zoom out and select the new solid square plus the module copy. Dragon copy to the opposite edge of the canvas. To do this, you need to click out while dragging your layers to duplicate. Leave the square visible to the left and zoom in to see the pixels. Finish moving everything to the left until the square is hidden. I like doing so pixel by pixel with my arrow keys. Do not move it a single pixel to the left more than necessary or the repetition won't match. As soon as it disappears by one pixel, you are done. Feel free to delete the solid square that isn't visible on the outer left edge of the canvas. Move the original solid square to the top edge and repeat, copying the elements from the top edge to the bottom edge. I will move the solid square to the left top corner so you can easily visualize the module repetition up next. Select the entire canvas, create a motive, and visualize it in a new canvas, double the size of the original as we've already done. This is our module repetition, visible thanks to the solid square. If we return to our original module, we can see that next to the square, we have this red star, which will help us to confirm along this line that all pixels match perfectly in the repetition file. And doing the same along the line from the white star on top with wise. Once we confirm, everything matches beautifully, Zoom out and see if any weird lines or clusters were made. Tweak your center motives to adjust any concerning areas and continue reviewing until you are satisfied with your module repetition. Keep in mind that we can't zoom out that much in real life. So when looking at a garment, the repetition won't be as obvious. I like this method because I can keep all my motives separate, even on the edges in case I want to edit them separately. You could flat out the original module to move it around as one, but that would not allow for you to move the motives individually if needed later on. I hope this tip was very helpful. I'll see you at our next lesson. 11. Exercise 4 - Module in Procreate : In case you are only working with Procreate, here are my tips to create a seamless pattern. I created my module with random direction of all motives. Then I play around with the different backgrounds from my color palette and added some sparks on top in different layers depending on the color. Once I am satisfied with the overall module, I want to test if the repetition of the report looks good or if I need to make some adjustments and modifications. For this, I want to copy the module as is. So instead of copying all layers, I just go to the range icon in my top menu and select Copy Canvas and paste. This yields our entire module as one layer, leaving my motives separate so I can still move them around if needed. Copy your entire module, so you have four of them. Now, for us to easily move each module to one corner to verify the repetition, go to the arrow icon on the top menu and select the snapping icon below that looks like a lightning bolt and make sure magnetics is off and snapping is on, and the distance and velocity tabs are to their max capacity. I have my four modules, select one of them with the arrow icon and slide the right bottom corner to the center of the canvas, see how it snapped into place, and these yellow lines matching the middle of the canvas both length and width wise appeared. Let me remove the other layers so you can see without the background how the second one snaps into place. Repeat with the remaining modules and watch your seamless pattern come to life with precise repetition. In case you want to modify anything from the module, you can simply return to the hidden motives to modify and move them around. In case you want to adjust the edges of the repetition, visualizing those edges in the center of the canvas, select all the layers that make up the module and group them. Name this group original and make a copy. I will name this new group left because I will drag it to the left. The vertical and horizontal guidelines in the center of the canvas help me to drag my module correctly. This is what we activated in the lightning bolt icon. I have to create another copy of the original because watch what happens if I copy the left one, the left layer. The module is cut in half. Anything outside of the canvas was erased, it is important to copy the original to have the entire module again and rename this new one right because that's where I'll drag. This is my same module, cut differently, but with the same repetition. See, for example, how the pass of the jumping dog continue on the other side of the repetition. If I return to the previous disposition of the module, the original, I can see that when repeated, these two brown stars form a cluster which I don't love. I identify if they are on the right or left layer, open their group and go to the layer where I drew the brown stars. To move each one individually, select the S shape icon, select the shape you want to move from that specific layer, then select the arrow icon, so you can move this element around separately to a new position. Pick the arrow icon again to drop the selection so the element stays in its new place. I will draw a few more brown stars and white sparks to balance out the module. Repeat the Copy Canvas in order to check the repetition and rename these new layers, second method to identify them and copy until you have four of them. Again, drag the outer corners to the center and review the new repetition. I love zooming to see if all pixels are aligning correctly and they are beautiful. Once you're satisfied with the module repetition, we can declare our module finished. To save and share your artwork, make sure you are visualizing the module in its original scale, not the four smaller layers where we verify the repetition. I also like checking that my canvas size and DPIs are correct by going to Canvas, resizing and settings. I save all my artwork for print in J PE to my drive so I can share them with any supplier so my artwork can finally become fabric. I'll see you in the next lesson to share my top suppliers in the United States and Mexico. 12. Fabric Printing Suppliers: Once you have your artwork in JPEG, 300 DPIs saved and ready to print, I suggest you work with the two following suppliers which I've tested and results have been great. I am leaving links to find them in their resource staff under this class. First, in the United States, I've used spoon flour, which prints fabric with the DTG method direct to garment we saw earlier, which uses this large ink jet printer and is available with natural fibers. They work mostly with cn, which is great because I ordered the current jersey to sew underwear with my own prints and they turned out amazing. In Mexico, I like working with few sublimos which works with the sublimation method. That prints a large sheet of paper with the print and then applies it onto the fabric with heat and pressure. In this case, it is only available in synthetic fabrics. Results are also great and they have tons of different fabric texture, so I really recommend working with them too. This is my artwork. I created along this class printed into a fuzzy and warm fabric for these color months that are coming. These are both my color palettes and I'll be updating you on how I made the pyjamas wind with this fabric verism. In any case, I suggest you ask, for example, to test your colors and scale and make sure you are uploading your artwork as each supplier asks for because it may vary. If you have any more suppliers, please let us know in the discussion below in this case. 13. Final Thoughts: Thank you so much for learning how to create your very own custom fabric with me. In case you're interested, I am sharing some other prints I've done before in my class project below, and I seriously encourage you to fully dive into creating your own fabric because it will bring your sewing to a whole other level of pleasure and fun and uniqueness. If you have any thoughts or questions, do not hesitate to leave them in the class discussions, and I am looking forward to seeing your illustrations and your process and the finished module, please share them in the class projects below. Thank you so much for being here and happy creative time.