Some more thoughts on Dr Who.

Jul. 26th, 2017 08:19 am
[syndicated profile] togs_from_bogs_feed

Posted by Katrin

There’s been quite an uproar about the new Doctor, and a variety of reactions – including some things that made me flinch.

First of all – the Doctor is an alien that totally changes appearance when regenerating, and while keeping knowledge and experience, also changes character quite a bit. So I’m firmly in the “there’s no reason this could not include a gender change” camp.

That also seems to have been the idea of the original creator Sydney Newman, as several articles have stated over the years, like this one. Or this one. That was back in 1986, by the way – so the idea of having the Doctor regenerate as a woman is not new at all.

But what really stuck in my head was a tweet (which I have unfortunately not saved, or bookmarked, or whatever) that more or less said “if you are starting to watch Dr Who because of a woman lead now, you’re just as pathetic as those who stop watching it because of it”.

And oh, I’ve mulled that over and over again, coming to the conclusion that this is so wrong. On so many levels.

There is no law that makes someone keep liking something that has changed – and a regeneration in Dr Who always means a change. Just like a new showrunner. Or a new companion. There’s also no law that makes someone keep liking something for years and years – people change, too. I remember being totally in love with Monty Python’s Flying Circus when I was younger, and utterly amused by The Young Ones. I actually fell off the couch laughing once when I was introduced to them at my guest-parent’s home in lovely Broadstairs in Britain. Many years later, we got the DVD, and it was mostly just too absurd for me. I still enjoy the weird and absurd humour of both MPFC and The Young Ones, but only when I’m in the right mood, and only in rather small doses. Those series, obviously, have not changed – but I did. And that is fine; just like some friendships or relationships are fading from our lives, some books lose their personal importance over the years, our taste in clothing changes, old hobbies are given up and new ones are taken up, these things come and fade and new things replace them.

So if somebody is not feeling like a female Doctor will be their thing – it’s a perfectly valid personal decision, and nobody should be saying anything against it. Personally, I’d say it would be nice to give the new thing a chance, but if it doesn’t work – fine. Stopping to watch something one has fallen out of love with is not pathetic at all; on the contrary, I’d say that going on to watch a series that you have stopped enjoying, just because it was The Thing years earlier, is pathetic. So it irks me, this “if you are stopping because of a female Doctor”.

The other half of that tweet, though, irks me even more. I’d assume that the creator of the tweet likes the show. Now… if you like something, shouldn’t you be delighted about people discovering it? About new potential fans? More folks giving it a look and deciding that they might like it?

I have stopped watching because I wasn’t happy with what Moffat did as a showrunner. Does that mean, following that logic, that I’m not allowed to watch the new season with a different lead writer?

It’s not that there is a finite amount of Dr Who available, and having more people discover and watch it would take away from those who already love it. Calling those who consider a first look at the series, or a second one because a female lead sounds intriguing to them, pathetic (or any other names), does a disservice to the makers of the show (because people might just reconsider). It also casts a very, very bad light on the fans of the series. I would not want to belong to a fanbase that is so… weird… about who is allowed to start or stop watching something, and why.

So… if someone is getting interested into Dr Who because of the new Doctor – lovely. If someone is getting interested because of the new writer – lovely. If someone is getting interested because a black cat crossed the street and then caught a mouse? In my view, there’s no reason not to welcome anybody to something new that I love. After all, the worst that can happen is that they find out they don’t like it after all (and maybe think me a bit weird for liking it). Best case I have someone new to share my interest with, talk about related stuff, and enjoy the thing we now both like. And that’s a nice thing for everybody.

[syndicated profile] jessicamgrimm_feed
As promised in an earlier post, here's how I load-up my tiny masterpieces into those clever Dandelyne mini-hoops. Although your mini-hoop comes with mounting instructions, I did not find them very useful for heavily embroidered pieces. You see, Dandelyne advises you to just push your masterpiece in from the back using the wooden centre piece. Then you glue your excess fabric onto the back of this wooden centre piece. I am sure this works just fine when you use a printed fabric or something quite sturdy like an aida with some cross-stitch embroidery. However, it does not work so brilliantly with heavily embroidered slippery fabric. Fear not! Here's the solution. And it is pretty simple too!

Once you've cut out your mini-masterpiece (including the seam allowance!), stitch a running stitch along the edge using sewing thread. Use a knot to anchor your thread and don't place your stitches too close to the fabric edge (fraying!). Place the wooden centre piece on the back of your embroidery.

Pull your thread taut so the fabric folds around the wooden centre piece. Check the front, adjust if necessary, then start lacing. I am sure there is a pretty looking orderly way to do this, but that's just not me I am afraid. When sufficiently laced, secure your thread well.

Now you can carefully push your mounted embroidery into the Dandelyne hoop from the front. This gives you maximum control over where it is going. And the whole lacing prevents it puckering, especially near the screw at the top. Once your embroidery is in, follow the Dandelyne instructions for adding the screw. Masterpiece finished!

Where to find the original Dandelyne mini-hoops? There is a special section on the Dandelyne website stating stockists in your country. Accidentally, my first three miniature Elegant Schwalm Butterfly necklaces are up for sale in my webshop!

Finished dragons

Jul. 25th, 2017 09:55 am
[syndicated profile] opusanglicanum_feed

Posted by opusanglicanum

I actually finished this two weeks ago, but I’ve been so busy rushing about, and I had a backlog of posts to catch up.

I’ m going to post some unwrapping pictures anyway, partly because I didn’t see the whole thing until I unwrapped it,

And partly in the hope that Facebook won’t grab the picture of the finished piece,

Because Facebook will no longer allow me to choose which photo gets displayed, and also because my dislike of Facebook grows more with every passing day.

but here it is

I’m very pleased with it, even if it does make the first one look a bit rubbish.

its been displayed twice, at the imc, and at Lincolnshire embroidery guild, ( neither of which I remembered to take photos at) but I still haven’t had the chance to properly finish the edges to hang it nicely.

I’m not starting number three until September, as I have another project for August.

finished size is about two foot by five, all naturally dyed wool.

I do, however, have some rather spiffy greeting cards of it…

Which are three for £5, plus 50p postage in the UK , or £1 elsewhere. All the other cards are still available, so you can mix and match. However if you want to buy its pm and PayPal at the moment, the shop wasn’t working very well ( postage options were too confusing) so I’ve not renewed the subscription and my aim for summer is to get a new computer so I can wrangle a new shop – any money from cards will go to new computer.

all kits are available, too, but it’s pm for the moment. I’ll do an easy listing for the stitch along kit, which will be ready next week. It’s looking fab, I’m just a bit behind schedule.


Currently going on…

Jul. 25th, 2017 08:31 am
[syndicated profile] togs_from_bogs_feed

Posted by Katrin

Things currently going on? Lots.

Knitting is progressing, slowly but surely, so there might be a new sweater this winter. There’s stuff for the next museum project hanging out here, waiting for the next step. I also have to take stock of the things in storage for the shop and re-order a few items.

Apart from that, planning for the next European Textile Forum is going on, which includes figuring out the programme, which will most probably include a nice excursion. (If you’re interested in the Forum, or know somebody who might be – please spread the word, and if you are planning to come, register soon. We have a few places left, but not many, and having people register early makes things much easier all around.) Together with the planning, I’m trying to solve a few not-yet-issues at the website, which – as usual – takes way more time than it should.

Then, there’s article writing and conference preparation for other talks – which is, fortunately, mostly under control at the moment (which means I’m not ridiculously behind schedule, and can still sleep at night).

To balance all this, there’s cake, and tea, and coffee. Because everything is better with cake, tea, and coffee…

There’ll be a new Doctor.

Jul. 24th, 2017 07:59 am
[syndicated profile] togs_from_bogs_feed

Posted by Katrin

A few years ago (well, quite a few by now), I got introduced to Dr Who. And I totally, utterly and completely loved it.

I slowly fell out of love with the current story, first when Matt Smith did the Doctor (I just couldn’t get to really like his version), and then more and more as Steven Moffat, as the showrunner, left his marks all over the stories. Monsters changed. Storylines became… weird. We stopped watching. (Which, in our case, also meant we stopped buying – because we have no TV, so any films or series we like, we buy to watch.)

Now, however, Steven Moffat is leaving Dr Who, handing the mighty pen over to somebody else (whose work I don’t know at all, so I’ll let myself be surprised). And furthermore, a few days ago, the 13th Doctor was revealed… who is, all by herself, a reason for me to give this wonderful series another chance to win its way back into my heart. And onto my screen.

So… 2018. Well, probably a bit later, as we’ll have to wait for the DVDs to come out… but then, it’s only time, right?

On Break

Jul. 23rd, 2017 04:54 pm
[syndicated profile] edythmiller_feed
Source
Just a quick note that I'll be taking a break from the blog for the next several weeks. I wasn't able to swing going to Pennsic War this year, but I hope all of you headed there have a fun and safe time. I'll be back to my regular posting schedule in late August.

Medieval furniture at Saumur castle

Jul. 23rd, 2017 02:56 pm
[syndicated profile] st_thomas_guild_feed
Left: Saumur castle in September 1440 from Les Très Riches Heures du duc de Berry, (musée Condé, Ms.65, folio 9v). Right: Saumur castle in July 2017.

Saumur castle has been immortalized by the illumination of the month September in the 'Tres Riches Heures de Duc du Berry'  (around 1440), likely by Barthemeus van Eyck. The castle mostly has remained the same on the outside as the 14th century illumination, though having less fancy pinnacles now. The castle was rebuild in 1367 by Louis I of Anjou, grandson of Philip VI, who had the old round towers replaced by octagonal ones. The comfort of the castle was further improved by Count Rene of Anjou, known as the good King Rene, who called it the 'château d'amour'. In the 16th century, the Italian Bartolomeo added bastions and star-shaped curtain walls to the castle. The castle now houses a small 'Musee des arts decoratifs', which has some medieval furniture - several chests as well as an armoire.

The armoire dates from the end of the 15th century and is made from oak. It originates from France. The armoire has two sets of double doors each with their own lock. Inv. No. 919.13.2.5.
 
 
Left: The front of the armoire has four rows of linenfold panels, while the sides have three rows of linenfold panels. 
Right: Detail of the door hinge.


 The linenfold patterns end in hearts and clovers.

A simple oak chest with linenfold panels dating from the end of the 15th century or early 16th century. Originates from France. Inv. No 2001.2.1. The right triangular support for the leg is missing.

Left: The side of the chest has two panels. 
Right: The hinges for the lid are on the inside, while that for the lock is on the outside of the lid. 

Left: A supportive rail is connected to the lid with wooden dowels and iron nails. 
Right: The underside of the chest has one supportive rail in the middle.

 
Another overview of the chest.


Oak chest with small linenfold panels dating from the 15th century. Originates from France. Inv. No. 919.13.4.3. 
The lid has a different patina, and probably is a replacement.

The lock is fitted with three decorated iron clamps to the chest.

The sides of the chest.


A decorated oak chest dating from the 15th century from France. Inv. No 906.0.851. The chest is constructed with dovetails resulting in a legless bottom. The chest therefore has to rest on a separate frame, in this case a modern one.  

The lock seems to be replaced as there is a repair behind it and the lock hinge is missing as well. 

Left: The chest is connected by dovetails, but also reinforced by iron corner brackets. Right: The lid is newer that the rest of the chest, which also explains the missing lock hinge.


A richly carved chest with the arms of France and Brittany on it. It dates from the 15th century from France and is made from walnut. The chest has its original frame, which is also decorated. Inv. No. 906.0.850. The lid is also a replacement here.

The carved rose and tracery patterns are all different.

 
Left: There is only a bracket at the top of the chest corner. The dovetails are well visible. 
 Right: The most right carved panel is a lion.

Left: The lock is decorated as well, the lock hinge is missing. Right: The side of the chest is very plain. 
Iron corner brackets are on the front and the back of the chest, as well as on the chest frame.

Final dragons

Jul. 23rd, 2017 12:39 pm
[syndicated profile] opusanglicanum_feed

Posted by opusanglicanum

just under the wire for posting this week – been having phone problems.

what you see here is the dragon version of a superhero movie. You can tell they’re superheroes by the little capes, you see. Although I don’t know which one thinks he’s batman and which thinks he’s superman- I just hope thier mum catches them before they jump off the coals he’d roof thinking they have actual superpowers.


Returning to the Regency

Jul. 23rd, 2017 09:37 am
[syndicated profile] evashistoriccostumes_feed
I of course blame Alfhild. She was the one who got me into calligraphy and illumination, something I enjoy immensely, and she re-awakened my interest in making clothing from the early 19th century. This is my previous excursion into this period, made in 2006.


But it is too big now, and it's more fun to make somthing new anyway. or some things - since I have already bought fabric for three gowns ;)

And made a new bonnet.



This was a 60s style straw hat, tall, and with a sort of lamphade brim, that I bought very cheaply at a market som years ago, more to support the organization who sold it than because it fit me. Because it didn't - just like cloche hats that type of hat makes me look like I'm nothing but broad cheek bones.
So I never wore it. And one night last week I couldn't sleep and went up to get some more painkillers, and to cut the hat into a bonnet :)
I need to line the crown, because it snags my hair, but I love how tall it is.

I have also bought material for another bonnet: a braided place mat and a cotton satin sheet that was reduced by 70%. It will be enough to make a summer spencer too.


I was lazy this time and didn't unravel the stitching on the braid, but just cut the place mat to shape. I have made hats from place mats before, unraveling the braid and shaping it while sewing, like this cute 1940s breton hat:


But it does take quite a while to do.

I have also taken in my regency stays so that they fit my new size (if I made new ones I would make the gores in the cups somewhat shorter).


I need to take in my petticoat somewhat too of course.

I have also sewn the skirt on my first new gown, and started embroidering it.


The colour is seen in several late 18th-early 19th century pictures, though then probably made from silk, and not from cotton. Inspiration for embroidering it was gowns like this:

Which of course is silk, and has a much more rich and complicated embroidery. But I think my gown will look pretty with its cotton embroidery. The pattern I use is the same as on the cap of my folk costume, which is roughly from this period.

The other gowns I plan are to made from a saree that hasn't arrived yet, and from this printed thin cotton:


The bonnet with purple cotton satin is of course intended to be worn with that gown.

I also bought these shoes on sale yesterday, and though the metal details aren't to my liking, I think they will do. Especially after I've painted over the brass ;)


We plan to have a picnic Gunnebo House the first weekend in September, so I have to finish at least one gown by then.

Current Knitting.

Jul. 21st, 2017 08:36 am
[syndicated profile] togs_from_bogs_feed

Posted by Katrin

I sometimes complain that my knitting projects all take ages and ages – though I know very well that this is not due to my knitting really slowly. My actual knitting speed is more of a medium speed, but I tend to not knit most of the time. And if you let that half-finished pair of socks languish on the needles for half a year… well, then it will take more than half a year to make a pair of socks.

Anyway, current knitting is more or less progressing, for a change – though in the case of this sweater, the wool has already sat around for a long time, so maybe the languishing is all dealt with and I can finish this (astounding thought!) without too much downtime:

moyenage_waist

It’s the Moyen Age sweater, and I really like the cable motif (though I have no clue why it has the name it has). It hits a nice balance for me between mind-numbingly plain stockinette (booooring!) and excitement and fingerwrestling with the cables (tight knitting has its downsides), so I’m happy to knit on it, and I’m already past the waist decreases and starting to increase again.

The other knitting-related thing is not progressed much – the first bobbin of grey Gotland yarn is finished, but the second still is in this sad state:

halfspun

I haven’t gotten around to sit and spin in the evenings these last days (or weeks? Time flies), but it’s on my list, and some day, it will be full, and then it will be plied, and then there’s a gauge swatch in the future, and figuring out how to combine that yarn with the half-Gotland-half-colourful yarn. And then, eventually, a garment.

Just in case the sweater is finished before the spinning is, though, there’s something else hanging out here in the stash. I was accosted by this yarn a few days ago – it sat in the “really really has to go so is really really reduced”-bin in a yarn store I happened to pass. Well, what can I say – it’s silk, it’s blue, and it was cheap. And obviously, it’s now mine.

truesilk

Also… it should be sufficient for a small jacket. For summer chill. (Next summer, obviously!)

The long-eared Jerboa Doodle

Jul. 20th, 2017 12:13 pm
[syndicated profile] jessicamgrimm_feed
A couple of days ago, I received my July #broderibox from Nordic Needle. It contained grey and silver metallic threads, silver beads, beading thread and a bead nabber (more on the tool, further down). Flicking through my Millie Marotta colouring books, I came across Euchoreutes naso or long-eared Jerboa. A kind of mouse with large ears, a tuff on its tail and the ability to jump high living in China and Mongolia. Although the creature is light reddish-brown with a white underside, I decided to make mine grey. As usual, I worked my embroidery doodle on 18 TPI Antique canvas. The pattern was transferred using a fine black permanent marker.

First thread to play with: Nordic Gold by Rainbow Gallery. The bobbin it comes on advertises it as 'Very fine, easy-to-use metallic stronger than blending filament'. It is a blend of metallized polyester and nylon. The thread is not stranded, but knitted. Using long cross-stitches and normal cross-stitches, I filled the Jerboa's tail, right foot and paw. To create the illusion of the left foot being further to the back, I used the smaller tent stitch. The Jerboa's nose was also stitched in tent stitch. This metallic thread works well indeed and stitches went in quickly. Just take care not to pull too much as the knitted structure might unravel.

Next up were the ears and the tuff on the tail. My #broderibox contained another Rainbow Gallery thread: Alpaca 18. This is a 100% fluffy Alpaca thread; perfect for recreating the illusion of hair. After all, it IS hair :). To let the thread express its fluffiness, I decided to use simple straight stitches to fill the fluffy bit on the tail and the rims of the ears. I LOVE this thread. It is so soft and has such a perfect structure. Certainly a thread to remember for future projects! By the way, the pink inside of the Jerboa's ears was stitched with a three-ply rayon thread from my stash. I think it might have been an Oliver Twist thread. This thread unravelled itself faster than I could stitch. So glad the Jerboa comes with tiny ears... Again, I used a slightly larger stitch (condensed cashmere stitch) for the ear closest to the viewer and the smaller tent stitch on the ear further to the back. This approach creates the illusion of depth.

Next up was one of my favourite threads: Vineyard Silk. A two-ply non-strandable spun silk. Before the whole #broderibox adventure, I had never heard of this brand of silk thread. What a shame! It is a really good thread for Silk Virgins as it is so well behaved. It doesn't snatch; just a dream to stitch with! I started by stitching the curved thigh with circular eyelet stitch. I don't think I ever used this particular stitch before. It is quite a textured stitch and it screams 'floral'. However, I think it works well for this particular area. Following the thigh, I filled the main body with condensed scotch stitch. This diagonal stitch fits the elongated curved back of my mouse perfectly. Last, I filled the head with Parisian stitch. This straight stitch contrasts very nicely with the diagonal stitch of the main body.

I could have left it at that. The different areas of the body of my Jerboa are distinct enough through the use of different stitches (diagonal, straight and composite). However, my #broderibox contained one more embroidery thread: Kreinik Metallics very fine (#4) braid. A great test to see how a particular metallic thread holds up, is to use it on top of already embroidered areas. I decided to stitch a chain stitch edge between the different areas of my mouse's body. The thread holds up well and didn't snatch on the previous stitches. However, compared to the Nordic Gold thread, this one unravels far quicker.

The Jerboa's eye is made up of a base layer of tent stitches using the Kreinik braid. Then I used the YLI Silamide beading thread to stitch down the silver Mill Hill glass sees beads; both part of the #broderibox. I planned to try the bead nabber tool on this part of the project, but I forgot... I will keep the tool in mind for my next beading job. Since it looks like a thimble with a sticky tip, I am particularly interested to find out if the stickiness affects the beads.

For the background of my Jerboa doodle, I used two shades of green Anchor perle #5 thread from my stash. The stitch used is Jaquard stitch and in real life, it creates such depth and movement! That's another #broderibox doodle finished. I hope to have inspired you to try your own doodles. Using colouring book graphics as a base, you can easily create fun embroideries. Look at your subject carefully to decide which stitch fits best where. Remember to use smaller stitches towards the back and more bold stitches towards the front. It is easier than you think! And great fun too :).

Fancy Linky Stuff.

Jul. 20th, 2017 08:55 am
[syndicated profile] togs_from_bogs_feed

Posted by Katrin

Here’s things in links that will hopefully amuse you:

Cat bones found by archaeologists – with traces that hint at their being used as fur suppliers (article in German).

InspiroBot is an artificial intelligence dedicated to generating unlimited amounts of unique inspirational quotes for endless enrichment of pointless human existence. Said quotes are not particularly good, but some of them are – yes, because of this – quite amusing.

The British Library is launching a project to preserve digital comics.

Costumes inspired by “The Handmaid’s Tale” are used for protests – and make a stunning visual.

Pineapple fibres are used to make sustainable fake leather, providing pineapple farmers with an extra source of income in the process.

Pondering Quattrocento caps

Jul. 19th, 2017 08:49 pm
[syndicated profile] evashistoriccostumes_feed
As you saw I made a small linen cap for my working class Italian 15th century outfit, based on several paintings.


But now I am re-making a much fancier Italian 15th century gown, which needs something equally fancy to put on the head.

So I started looking at paintings from the second half of the 15th century, and came up with these other examples of caps:

Del Cossa: Triumph of Minerva. c. 1480
Several examples of white coifs tied under the chin.



Francesco del Cossa: Triumph of Venus.  c. 1480
Two red coifs tied under the chin.




An embroidered coif, Filippino Lippi


Ippolita Sforza, by Lorenzo Costa 1490.
Cap placed on the back of the head, decorated with pearls.



Neroccio de Landi, unknown woman.
She wears a cap made of the same fabric as her under gown, and edged with pearls, and with a brooch or jewel at the top front.

Carlo Crivelli: St. Ursula 1473
Like the coifs in the del Cossa paintings her cap has deep cuts at the temples. It is of the same colour, if not maybe the same fabric, as the body of her gown.


Unknown Florentine painter, ca 1460-70
Her cap appear sot be stiffer and more buliltup than the othe rcaps seen her, but has the same shape, with deep cuts over the temples. Decorated with small pearls and gold and worn with a veil hanging from it in the back.


There is also a preserved Venetian cufietta, c. 1480-1520, which has some resemblance to what we see in these image. Thoughwith out the deep cutouts in front.





There are of course other types of headwear in 15th cnetury Italy - veils, of course, but also some seriously weird "half caps", such as this:


Here the front of the coif is there, but the back has been removed and the hair hangs partly over it at the sides.
Those I definitely need to do some more thinking about.

Secret Superpowers.

Jul. 19th, 2017 08:35 am
[syndicated profile] togs_from_bogs_feed

Posted by Katrin

You have probably have it happen to you – somebody you know more or less well will suddenly turn out to be surprisingly good at something that you didn’t ever connect with them. A secret superpower, so to say.

Well. I have one, too – my secret superpower is… being able to tie off balloons really, really quickly. The reason for this is my home town’s annual fair, where my parents, among other volunteers, have been selling helium-inflated balloons for a good cause for 35 years now. When I was a child, I started helping out a bit, and when my schedule allows, I still go back there to help tying off balloons.

From being a small fundraising thing, this balloon sale has grown over the years, and letting hundreds and hundreds of them fly off at the official end of the fair has become a much beloved tradition. It is a stunning sight to see more than one thousand balloons go up and off with the wind at once, balloons in all kinds of colours (though there are quite a lot of red and blue ones, that being the town’s colours). There’s an added bit of satisfaction and happiness in it for me, knowing that I’ve had a hand, literally, in getting hundreds of these balloons ready. (I’ve calculated that I have knotted at least 700, probably more like around one thousand balloons on that one day. That, at the end of the day, meant very tired fingers, a bit of skin lost even though I’ve liberally, and very early, used tape to protect the skin, and a blister in one of the weirdest spots I’ve yet had one, right on the tip of one thumb. And the pleasant feeling of having done a good job.)

And for you, here’s a little video of ascending balloons – by far not all of them are visible, as I didn’t manage to get to the best spot for filming… but you’ll get the idea.

 

[syndicated profile] racaire_feed

Posted by Racaire

2017-06 Racaire - medieval islamic inspired embroidery project - SCA - hand embroidery - Order of the Velvet Owl - Kingdom of Meridies - Islamic embroidery - medieval Arabic inscription - medieval embroidery

And once again a posting about my most recent embroidery project – my medieval islamic inspired embroidery project for my dear mother-in-law, Gloria.
I can’t tell you how great it feels to find some time and peace to post about this project again. It is a very special project which is very close to my heart.

I intended to write my next posting about it earlier but then life happened. Yeah, the last two weeks were quite rough on me. I twisted my ankle quite badly and if that wasn’t already enough, I also got a really bad stomach bug. However, there is no cause for concern – my ankle as well as my digestive system are fortunately healing steady. I should be soon my bouncy, normal self again. *giggle*

…and now back to my never ending attempt to catch up with posting about all of my projects. Well, I know, that’s wishful thinking but at least I don’t give up on trying… 😉

And now let us take a closer look at todays topic. In one of my previous postings about this project – “…my medieval islamic inspired embroidery project – from the medieval inspiration to an actual pattern or “an interesting journey” .1” – I wrote about my struggle with the actual medieval Arabic inscription and how I finally managed to solve the problem with some help. And today we are finally taking a look at the outlines for my medieval Arabic inscription – enjoy! 😀

I am sorry, but the following content is restricted to logged in members of my blog.

More about this medieval inspired embroidery project will follow soon. Though I unfortunately didn’t get to take many photos of my progress due to the shortage of time, I tried to take photos of the more interesting steps whenever I found some time. 🙂

…and as I just got the permission from Our lovely Princess to talk about my next project – well, guess who is going to make the coronation dress – a 12th century bliaut… I feel very honored but damn, I am sooooo nervous now… 

Best regards Racaire

…and here you can find some other postings about this project:

The post …my medieval islamic inspired embroidery project – from the medieval inspiration to an actual pattern or “an interesting journey” .3 appeared first on Racaire's Embroidery & Needlework....

[syndicated profile] st_thomas_guild_feed

A previous blog discussed some French chests ornamented with iron bands, which included some medieval chests from the Musee du Noyonnais. I happened to be in Noyon a few days ago and took the opportunity to visit the museum and study the chest in more detail. Actually the chest originated from the treasury of the Cathedral de Notre Dame in Noyon, next to the museum. (The museum used to be the bishops palace long ago.) Besides the chest there were more interesting medieval furniture items which are also shown in this post.




The cathedral of Noyon.


  
The Musee du Noyonnais or the former Bishops palace.

 
One of the original door of the bishops palace has remained. It is an unequal double door with a decoration of early gothic arches. Remnants of a red colour remain.

 The decoration of the door is nailed to it. One of the decorations is the head of a devil.

Chest number MN 1664. It dates after 1139-1175; and according to dendrochronological dating after 1216. It is made form oak and decorated with forged iron bands. The construction is partly that of a simple six-boarded chest, but with addition of mortise and tenons to connect the legs with the front and back boards. The thickness of the oak boards is around 4.5 cm; the boards for the lid are slightly thinner, around 3.5 cm. The chest is constructed from single boards. Also here, the lid is different, as it was made from three smaller boards.

The lid consists of three boards held together by iron bands: a simple hinge, three decorative hinges with floral designs and another simple hinge. On the front there are two lock hinges. The central lock closes from within.

Details of the decorative ironwork on the lid. There are two curious round plates nailed to the lid (one shown on the right photo).

The central front lock. Also the rim of the lid is reinforced by metal strips.

Left:  The hinge for one of the side locks. The hinge folds around the corner of the lid. Right: The right (and also the left) lock is fixed on the outside of the chest.

The bottom of the chest is also made of three boards. Only the two outer iron bands go completely under the chest. The bottom boards are chamfered and enter a groove in the sides of the chest.

Left: The floral pattern of the front of the chest. The single oak board has been cracked and split in several places. You can see the dowels for the mortise and tenons in the legs. Right: One of the legs is reinforced with some iron bands.

The side of the chest. Iron bands also fold over the backside. 

 Chest number MN 1665. It dendrochonologically dates from 1191-1192. The construction is that of a simple six-boarded chest, reinforced with iron bands. All sides consist of one single boards. The lid is split in two, but the grain of the two parts connect to each other. 

 Left: The side of the chest. Right: The grains of the lid continues. A small rail is nailed to the underside of the lid.

There are five hinges on the chest; two of them also function as lock hinges on the front. 
Likely the middle hinge did this as well.

Left: The central lock is replaced. You can still see the holes for a larger lock-plate. Right: The left lock.


The right lock (plate) also seems to be remade, but the original lock-hinge was retained.


Chest number MN 1666. It dates after 1227, and dendrochronologically after 1254. It is a hutch type chest with two decorated forged iron bands. The thickness of the oak boards of the legs are around 3.5 cm; the boards for the lid are  thinner, around 2.5 cm. The sides of the chest are constructed from two boards; the front from 3 boards. The chest has two lids, each made from two boards. 
 
Left: Like the chests from the Luneburger convents, the lid pivots on a wooden pin. A wooden rail also reinforces the lid. Right: The boards of the lid are nailed to a hidden rail on the inside.

 One of the dowels of has caused a split in the leg. An iron nail above replaced it.

 The two lock-plates are different. The left lock plate has some decoration on it.

The underside of the chest consist of three boards with a supportive rail in the middle. The decorative iron band folds over the edge and is nailed to a bottom board.

 The legs have some chip-carved decoration as well. On the left you can see an oak restoration of the leg.

The floral decoration on the left and right side of the chest. 

The side of the chest. 

Chest MN 1667 is of later age and dates from the second half of the 15th century, early 16th century. The single oak boards of the chest are connected with dovetails, and reinforced with iron edges. The chest stands on a separate foot. Curiously the chest has two iron handles on each side. Three sturdy iron hinges and large locks keep the chest safe.

The Noyon cathedral once had a large 13th century armoire with similar iron floral decorations as the iron decorated chests, or the armoire in the Musee des Arts Decoratif in Paris. The armoire has three large doors with three smaller door underneath. It was likely used to store relics or sacristorial goods. Photo taken from a descriptive leaflet in the Musee du Noyonais.

 
A bit of unusual piece of furniture is this charcoal burner or brassero made of iron and copper alloys. For religious purposes this charcoal burner was used to create the ashes for ash Wednesday and to  light the paschal candles during the Liturgy of Holy Saturday. In secular live it was used as a movable heating device.The brassero dates from the early 14th century.

Birckala 1017 - Pirkkala 2017

Jul. 18th, 2017 12:26 pm
[syndicated profile] hibernaatio_feed
Hei täällä ollaan, rautakaudella! Here we are, in Finnish iron age!

Yksi kuluneen kevään suurponnistuksista omalta osaltani oli Birckala 1017 -näyttely. Vapriikista otettiin maaliskuun lopulla yhteyttä, että voisinko tehdä uuteen rautakausinäyttelyyn hieman tekstiilitöitä.
Aluksi tilaus koski neulakintaita, lautanauhaa ja kasvivärjättyjä lankoja. Helppo homma!
Mutta sitten tilaus kasvoi. Ehtisinkö pukea näyttelyyn kokonaisen perheen ja sotilaan? Ja tehdä sovitettavia vaatteita yleisölle.
Tuota... oli siinä pari isoa tilausta kesken ja Nesat ja... no okei, tehdään pois!

Viisi viikkoa aikaa.
Sinä aikana tein kaksi pellavapaitaa, kahdet villaiset housut, pronssispiraalein koristellun esiliinan ja hienon nauhan, pienen muinaismekon essuineen, seitsemän villaista tunikaa, neulakintaat, lautanauhoja, värjättyjä lankoja, kahdet säärisiteet...
Ja jouduin muutes tinkimään periaatteestani "ei ikinä ompelukoneella". Vaatteiden piiloon jäävät saumat on ommeltu koneella, mutta muuten joka ikinen näkyvä pisto mukaanlukien kaikki sisäosien huolittelut käsin.
Kankaat ovat pääosin Medeltidsmodelta, täyttä villaa. Pari pientä sovitusvaatetta on tehty ei-ihan-villasta eli sekoitekankaasta, ja säärisiteitä en todellakaan kutonut, vaan leikkasin kankaasta ja käänsin reunat.

Lisäksi kehräsin pienen näytteen vitriiniin. Kävin myös kutomassa lautanauhaa videolle (tulossa näyttelyyn) ja lisäksi luovutin museon käyttöön neulakinnaskurssien opetusmateriaalia (tulossa).
Meillä oli museoväen kanssa tapaaminen Kansallismuseon uuden perusnäyttelyn avajaisissa ja siellä Vapriikin väki kysyi, mistä löytyisi sopivia malleja Birckalan julistekuviin. Tarvittiin "kaunis nuori nainen" ja "komea tumma mies, 178 cm pitkä".
Kas, paikalla oli tuttuja Harmaasusia. Kaunis nainen... no tietenkin Laura. Ja komea mies... Julius!
Julle on kuvissa ihan omissa varusteissaan, mutta Lauralla on Birckalan näyttelyn äidin vaatteet ja Pirkka-pojalla minun tekemäni vaatetus.
Lauralla on itse asiassa tummanvihreä villamekkoni, jota olen käyttänyt viikinkimekkojen aluspukuna. Essun tein harmaasta villasta ja pronssit kieputteli Riku.

* * *

This springs big this was my part of Birckala 1017 -exhibition in Vapriikki museum, Tampere. It´s about life in Tursiannotko one thousand years ago.
At the end of May the museum contacted me to ask, if I could do some tablet weaving and nalbinding for display. Yes, why not.
The order suddenly grew: can you dress whole family and a soldier? Can you make clothes for audience to fit?
Well... it was not my only work and I had NESAT coming and.. ah, ok, I´ll do it.

I had about five weeks time to make two linen shirts, seven woolen tunics, two pair of woolen trousers, apron with bronze spirals, belts, tablet weaving for display, dye yarns...
I have said that I will never use sewing machine, but now I had to... No time otherwise. But I used machine only on long seams - every visible stitch and also all finishing stiches inside clothes are hand sewn, by using only plant dyed yarns. The fabrics I used are mostly from Medeltidsmode.
The leg wraps are not hand woven - they are indeed strips of fabric. But they look ok in museum.

I also have spun a small yarn sample, and did tablet weaving on film (coming alter to exhibition) and gave museum a permission to use my nalbinding tutorials from my workshops (coming later).
We had a meeting with Vapriikki folks at Nationalmuseums new prehistory exhibition opening and they asked if I would know who could be suitable model for their posters. They need a pretty woman and a handsome man. Oh, I knew just perfect people: Laura and Julius from Greywolves.


 Tilauksen pääosa valmiina lähtemään Vapriikkiin. / The main part of the order ready to display.


Tilaukseen kuului myös vaatteiden pukeminen näyttelynukkien päälle. Noora painii isännän kimpussa. Noora auttoi myös parin mekon viimeistelyssä.
Part of the order was dressing the mannequins. Here Noora is wrestling with "daddy". Noora also helped with finishing one or two tunics.


Ei, äiti ei ole jäykkä zombie, vaan valmiina ottamaan Pirkka-pojan vastaan hevosen selästä.
No, "mum" is not a zombie, she is read to take her child from horses back.


Koska Pirkkalasta ei ole löytynyt lautanauhoja, päätin käyttää yhtä minun ja Maikin suunnittelemaa nauhamallia, jonka kuviot perustuvat suomalaiseen löytöaineistoon. Tapparan väreissä, kuului tamperelaismuseon tilaus.
Since there are no tablet weaving finds in Pirkkala, I used one of my and Maikki´s designs, based on finnish finds. The colours are after local hockey team Tappara - the museum wanted so.


Sama sini-oranssi väritys toistuu myös näyttelyyn tekemissäni neulakintaissa. Krappia ja indigoa.
Same colour code is also in the mittens. Madder and indigo.


Tilaus käsitti myös 14 eri väriä kasvivärjättyjä lankoja. Laitoin mukaan myös värjäämätöntä jaalanlampaan lankaa, että museokävijät oivaltavat, ettei aina värjätä vain valkoista lankaa.
Osa langoista on muutes käsinkehrättyä, tosin rukilla. Ja siellähän on myös näytteet Nesatissa julkistetun Kaarinan viitan langoista.

They also ordered 14 different plant dyed yarns. I added some undeyd jaalasheep yarn to show that the yarn was not always white originally.
There are also dye samples of the Kaarina shawl we presented in NESAT.
Some of the yarns are hand spun, done with spinnign wheel, not spindle.


Samat langat näyttelyssa / My yarns in display.

Nukkien villamekkojen alla on ihan oikeat rautakautiset pellavapaidat.
Undet the woolen tunics there are proper linen shirts.

Jokainen päälle näkyvä pisto on tehty käsin, kasvivärjätyillä langoilla.
Every visible stitch is hand sewn, by using plant dyed wool


Ja tässä perhe tositoimissa / the family in display


Tilaus täydentyi tipoittain. Tämän työn kuvaus oli "nätti pussi aarteiden säilyttämiseen". Pietaryrtillä värjättyä villaa, nauhan malli on Maskun Humikkalan haudasta 32.
One small part of the order "a treasure pouch"´. Plant dyed wool fabric with tablet weaving from Masku Humikkala grave 32.


Kehruunäyte, jaalanlampaan villaa./ Spinning sample, jaalasheep wool


Riku teki loppumetreillä vielä puulusikoita. Ja jossain päin näyttelyä pitäisi olla minun ikioma kauhani, joka on siis laitattu museolle, mutta ainakaan nyt sitä ei näkynyt, Toivotaan, että se ei ole tarttunut kenenkään museovieraan näppeihin...

Spoons are made by Riku. I could not find the scoop which is mine, by Riku. I borrowed it for museum because there was no time to make one. I hope no one has taken it...


Ja sitten hämärä kuva sotkusta. Tämä pistää vihaksi: se on se keskeneräinen lautanauha, joka on osa savupirtin sisustusta. Helkutti, miten se on käpsitty noin solmuun? Käydessämme Nooran kanssa näyttelyssä oli ihan pakko selvitellä sotku ja laittaa kuvio kohdalleen. Saa katsoa ja koskea, mutta ei tuhota!

And this! It makes me a bit angry: it´s unfinished tablert weaving, part of the interior. And visitors have tangled it to a horrible mess. I just had to go and untangle it. Hey people, you are allowed to touch but NOT destroy!!

* * * 

Pirkkalassa eli siellä missä Tursiannotko oikeasti sijaitsee, järjestettiin järjestyksessään toiset muinaismarkkinat. Minut kutsuttiin sinne pitämään luento rautakauden pukeutumisesta.
Otin mukaan kauheasti kaikenlaista kivaa rekvisiittaa ja yritin puhua 45 minuutissa niin paljon kuin kerkesin. Yritin viestittää että a) jokainen miekkamies oli myös puettu vaatteisiin b) täällä ollaan ylpeästi muinaissuomalaisia, että jätetäänkö jooko sitä viikinkiä vähän vähemmälle, kun puhutaan Suomen rautakaudesta. Ja bonuksena, että muinaispuvun ompeleminen saumurilla on rikos.

On Pirkkala, where real Tursiannotko is, they had a theme market and I was invited to speak about Finish iron age clothing.
I took all kinds of things with me to show and tried to speak as much as possible in 45 minutes.
My agenda as that a) every sword hero was dressed in textiles and b) let´s be proudly from Finnish iron age, not those vikings! Less vikings damn it, we are in Finland! And as a bonus: using serger (overlocking machine) on these dresses is a crime, so hand sew them!


Näyttää vahvasti siltä, että olen aika hyvin varusteltu!
It seems that I am well equipped.


Halusin näyttää markkinaväelle, miltä muinaispuvut näyttävät ja otin mukaan paljon vaatteita ja nauhoja. Onneksi Mari tuli paikalle ja pääsi heti malliksi. Pistin kaikki komeudet kerralla peliin: on Maskun Humikkala 31-nauhaa, Kaukolan hopeasykeröä, käsinkudottu viitta ja Tuukkalan korusto (hups, kiireessä meni vähän vinoon). BLING!


I wanted to show the audience how Finnish iron age dresses really look so I took plenty of clothes and tablet woven bands to show. I hijacked Mari as a live model. I dressed her to all the fabulous things you can imagine Masku Humikkala 31 -band, silver basket, Tuukkala jewellery set (oops, I was in hurru so it´s a bit wonky). Real BLING!

Ja voi että oli hauskaa nähdä tämä: siinä oikealla on nimittäin minun vanha muinaispukuni, tosin tuo on selvästikin maalattu siitä kuvasta, jossa puku on Elinan päällä vuonna 2011 muotinäytöksessä.
Itse en kerennyt ottaa kuvaa tästä mainiosta tintamareskista, mutta löysin kuvan Terhi Saksan blogista ja julkaisen kuvan hänen luvallaan.

Oh how funny it was to see this tintamaresque! They had painted my old dress in it - and I even know from which picture is was taken from. It´s the one where Elina was modelling in fashion show wearing my dress in 2011.
I borrowed this picture from Terhi Saksa:


Tässä siis kuva tilanteesta, jossa tämä Pinterestissäkin kovin suosittu kuva on otettu kauan sitten:
And here is a picture from the same photo shoot years ago:


[syndicated profile] evashistoriccostumes_feed
I have now not only finished, but also photographed and written documentation for my mint green Italian outfit based on a painting by Bernardo Daddi.


The page for it is here.

Cat Shenanigans.

Jul. 18th, 2017 08:15 am
[syndicated profile] togs_from_bogs_feed

Posted by Katrin

The cat, kind soul that she is, wanted to let me know she thinks my keyboard could use a bit of a cleaning. As she is perfectly and clearly understandable when she meows and purrs, but her human personnel are a bit slow on the uptake, she had to use drastic measures to demonstrate the cleaning necessity.

Which was achieved by hooking a claw underneath the Alt-Gr key and pulling. This, of course, was at first misinterpreted by her desk-sitting, cat-petting human as a mere coincidence, as she likes to knead when she’s hanging out on the desk. The human was soon aware, though, that there was an astounding amount of dust and cat hair under that key… so obviously, there must have been a reason for the cat to do this. Right?

The culprit, erm, the graciously observant cat right after the deed, acting like nothing has happened.

The culprit, erm, the graciously observant cat right after the deed, acting like nothing has happened.

So I did take the hint, and subsequently the small vacuum cleaner with a little brush (after Madame had left the desk, of course, as she is not fond of vacuum cleaner noises), and removed more astounding amounts of cat hair and dust from underneath the other keys.

Then came the fun task of figuring out how the three bits of plastic are supposed to fit together… and after two or so false starts, I managed to get them into correct order and position again.

One of the plastic bits. And cat hair.

One of the plastic bits. And cat hair.

Placing the two white parts together again required bending the smaller one to get the little axles into their sockets again; for the rest, it was the combination of sliding something into one holder, then pressing the other end down until it clicked into place – once to fasten the white bits to the key plate, once to secure the whole setup to the keyboard again.

The two white bits, reunited, waiting to be set back into place underneath the key plate.

The two white bits, reunited, waiting to be set back into place underneath the key plate.

Actually, that was fun, if a bit scary when doing the bending-to-set-into-place-bit (especially as I had to do it twice, not getting the stacking order correctly at the first go. Not something I’d have chosen to do this morning without the cat prompt, but I do find it interesting to see how things like that work – and putting torn-apart bits together is an excellent way to figure that out.

Now, though, I hope the cat will abstain from pulling out more keys – I do have actual work to do…

Re-organizing

Jul. 18th, 2017 08:05 am
[syndicated profile] evashistoriccostumes_feed
The list of costumes that I had actually made pages for ion the left side of the blog was becoming too long and unwieldy, so I decided to organize things better. Now there are links to categories there, where you see all the costumes that I have made pages for (and some others), and can click on the images to go to their page.

Next thing I should do is to write about all the other costumes that I have ;)

ETA: I also saw this as an opportunity to add photos of costumes that I've never made pages for

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