For this purchased artwork, I created a single repeat with two different color separations. One was for woven development and the other one was for the knit. I always include tonal colors in my color separations and give the mill the freedom to further reduce the colors if necessary. From my years of working directly with mills, what I have learned is that the perfect production file is one with very clean artwork that also allows the mill the ability to further reduce the colors if needed. This is why separating tonal colors is very helpful.

During the development stage, I collaborated closely with the design team to modify purchased artworks, experimenting with different layouts, scales, styles, and colorways before settling on the final version for strike-off. This process was both creatively and technically demanding. At times, the final version remains similar to the original artwork, while at other times, it may require a completely new interpretation.

Color matching throughout all stages of product development and across all mediums is likely one of the most critical responsibilities of a textile designer. The ability to accurately translate colors from physical design to the computer screen, to paper, and onto various textiles—ensuring the final product reflects what was approved at the design sign-off—requires a textile designer to be both technically sound (e.g., a deep understanding of color profiles, dye formulas, lighting, and fabric knowledge) and visually sensitive. This meticulousness extends from artwork preparation and commenting on strike-offs, to evaluating samples, and collaborating with the merchandise team to ensure the online images are accurate.

The print purchase budget varies depending on the season and sales performance. Sometimes, I would face a very limited budget for a particular season. In such scenarios, I need to maximize the use of one or two purchased artworks, creating multiple layouts and colorways to fulfill development requirements.

Reworking a purchased artwork to meet development needs requires close collaboration among the design team, the textile designer, and the production (PD) team. Often, the need for extensive reworking arises from either the constraint issues brought up by PD or the design direction established by the design team. In this scenario, the role of the textile designer is to assist one or both teams in translating collective inputs into the actual realization of the design. When done successfully, the final design will retain all the elements that everyone loves in the original, while also accommodating any additional input from the team.

Building a compelling print story for delivery is a creative endeavor. For each delivery, I always partnered closely with the design team to meet with print studios and selected prints to construct the story. Subsequently, I would work on those purchased prints, creating layouts and colorways to ensure the print story aligns with the concept and color palette.

To engineer a placement print is a problem-solving process. Due to fabric and cost constraints, large scale placement print is not something that mass production prefers. To achieve the desired results, I worked directly with mills to come up with solutions, and made adjustments to the artwork when necessary.

Product development is full of unexpected challenges, so I've developed the habit of always working ahead by coming up with contingency plans. The practice of creating companion designs (e.g., an allover version for a placement print) demonstrates strategic foresight and requires an upfront investment of time. However, in the face of the unexpected, these plans prove to be invaluable, often accelerating the process. Moreover, I firmly believe in treating the mills as partners by providing them with as many options as possible. This approach allows them to take ownership and respond effectively during those times when the unexpected occurs.