Hi Walker! Thanks for the kind words.
I have a completely different suggestion, which helped me when I was going nuts trying to make things without distortion on the AVs. (I was working on flannel shirts, but the principal is exactly the same.)
1. Put on a skin tight t-shirt with lettering on it.
2. Look in a mirror.

All joking aside, you'll see that the distortions are, in fact, extremely realistic. It might actually be a better solution to paint in wrinkles and extra distortions, to give the effect of a shirt that is really stretched over the pecs, or that is looser than it appears.
Either one will give the mind a reason to expect distortions, and "visual closure" will take it from there.
It's like the story about the student who asked Michelangelo for help with a painting. He was putting a shield in the corner of the canvas, and simply couldn't get it to look like the prop he was using to paint from. He asked the Master for help, and Michelangelo agreed to fix it, but said the student must leave the room while he worked.
Once the fellow was gone, Michelangelo turned the shield around, so it could no longer be seen, sat down, and spent a half hour catching up on his correspondence.
When he called the student back into the room, the guy took one look at the canvas, and gasped at Michelangelo's masterful work on his painting. The shield was perfect! Just as he had wanted it.
There was, of course, nothing wrong with the shield, which the Master saw instantly. The problem was in the painter's mind, as he compared his work to the original, and saw nothing but the flaws.
Step back from your work, stop comparing it with the perfection that you see in your mind's eye, and you'll probably find that it's fine. Better, in fact, than one that was distorted until there were no visible imperfections on your AV.

After all, if you saw a painting where the letters on a shirt weren't distorted, it would look like they were "dropped in" later, right? And that's not what you want, right?
Hope this helps.
