EowynsArtifacts

I found, again, a piece I designed and started stitching somewhere in the mid-1980s. I had just learned the art of counted cross-stitch (thank you ngelinadb!) and was wanting a strip of embroidery to put on either side of the skirt opening for my next Elizabethan gown. Well, it was never finished.

Now my skills have improved, I no longer use Aida cloth for much of anything, and I likely will not ever finish it (though I did finish the one thread of black left loose in the photo). The signs of age on this piece are evident in the discoloration of the ground fabric and the rusted-in needle marks. And it will never be the edge of an Elizabethan skirt opening (not an historically-compatible choice - let us leave it at that). But the designs are good, and the project ambitious. It deserves to be retired honorably.
( The pictures )

Last night, I declared the goldwork dragon done. If you recall, I started this project at the end of November in 2008. Links to the progress can be found by looking for goldwork tag. The inspiration for this piece was the collection of photos posted by racaire T < http://www.flickr.com/photos/racaire/sets/72157602018340363/> of the Treasury / Schatzkammer in Austria, Vienna. I was particularly inspired by the very dimensional couched goldwork on the Wappenrock (herald's tabard) of the kings of Bohemia.

So I drew a dragon's head, traced it to muslin, and used felting needles to turn wool roving into a felt base for the couched thread. I worked on the felt base until mid-December (perhaps 2 weeks), when I started couching gold thread on it. The gold is Benton & Johnson #380. The silk is Soie Ovale red.

The dragon got his name in January - Chrysophylax, meaning gold from the Tolkien story "Farmer Giles of Ham."

Couching step completed Feb. 8, 2009. So the project didn't actually take that long. I summarized the materials, etc. in the Feb 9th post. But the more I looked at it, the more I didn't like the red couching thread on the face. It was intended to be reminiscent of scales. It looked a bit like pox. So I started removing the red threads from the face. Definately not as much fun. I replaced the red with either yellow silk, or brown polyester thread. The more I looked at the piece, the more I noticed problems. Lesson learned: don't work on something like this without adequate magnification and glasses.

I finally declared it done. Not all the red is gone, but it is much better, to my eye. So last night, I took it off the stretcher bars, cut it down, folded the muslin to the back. It was now a slip. But it really wanted to be more dimensional. So I played with it, making the neck roll up, and the forehead move back more. Once I got a shape that was closer to what I was looking for originally, I then started stuffing the form with shaped bits of craft felt, until I finished off the back with a level piece of felt.

The mouth needed to be embroidered with red silk, so that the inside looks better. When this slip is eventually added to something, then the slip edges will be covered. Until then, just the yellow felt shows. Also, I will want to add a tongue then, and I think add some more gold for the far eyebrow. But other than that, it is now totally done. I'll bring it to the IKINS display next weekend.

( pictures of the last stages under the cut )

I have lost a little weight, maybe 5 lbs, and the GFD is a tad large now. Not much, but it does not support in front -- the ladies just fall down. I'm not sure how much I can keep fussing with it. And if I keep losing weight, which is the hope (and has been for several years now), then even adjusting it on the side seams will not be more than a stop gap. So I have made the dress, as well as I possibly can, and will likely not be able to wear it much longer. Thus it is, it seems, with any dress I make carefully -- it stops fitting very quickly. If I don't make clothes, then it seems my weight stabilizes for years on end. *sigh* And that is why these days I rarely make clothing for myself. It seems like it fits for a few months, and then, pfffft! I change sizes and it stops fitting.

So here is the dress in whatever glory it might have, while it still mostly fits, worn with the apron.
( pictures )

I'm one of those people with lots of projects going -- some more rapidly than others. I'm trying to do a better job of packaging the smaller projects so that all I have to do is pick it up and go, and I have all the stuff needed to work it together. The bigger projects typically need more materials, and are fussier in terms of the attention that must be paid. If I'm going to a meeting, mindless is better.

Recently completed projects:
0. Gothic Fitted Dress (GFD) - made and remade. Handwork was in the fitting and the buttonholes.

1. Veil and 2 headbands to go with the GFD - just needed to hem them - made of linen, used linen thread, did most of it by feel while passenger on way to Crown (normally I can't stitch in the car, but at 5 mph for hours, it was easy). When I tried this on with false braids, my German heritage just shown out - hausfrau, definitely! OK - not embroidery, but it is hand-sewing!

2. Apron with honeycomb smocking at top, to go with the GFD - Cristal showed us how to do it at a Lyondemere A&S meeting a couple weeks before Crown. All done by hand - most of the pleating was done on said trip to Crown, rest while watching TV. No machine stitching at all. Again, more hand-sewing than embroidery, but the smocking is kinda embroidery.

Almost done projects:

3. Pinwoven tapestry designed by Mistress Phillippa, from the class she taught at the Griffin Fiber Retreat in June. It is done with needle threaded with pretty yarns, so it must be embroidery, right? There is still room to stuff in more blue yarn, so it isn't quite done. And I'm looking for some nice-looking short sticks (wood or metal) to weave into and form the edges, to disguise my g'dawful selvedges.

4. "Chysophylax" - the gold thread over needle-felted wool dragon's head. This was a first foray into needlefelting, and most of the gold thread (well, Benton and Johnson imitation gold thread) was laid over it without using magnification. I held the thread in place with red flat silk, hoping it would look like scales. It works on the neck, but I'm afraid the face just looks confused with all the spots. So I've been removing the red silk from the face and replacing it with golden brown flat silk. That is much better. But looking at it with a magnifying glass, I see how really wretchedly I laid the gold thread. Not sure it is worth the work to fix it. I may just stop soon and declare it done. Then I will cut it out of the muslin backing, and applique it to some saturated-hue silk fabric - maybe blue, maybe red, maybe green. After that, not sure what to do with it. Book cover has been suggested, but I think the result is a bit fragile for that. The models (where I got the idea) are 16th c. German herald's tabards. This would be a very small herald. Another possibility is a seal bag. But do I really need still another elaborated embroidered bag? OK, silly question.

Somewhere in the middle projects:

5. "The Dancing Dragon" - This is my Opus Anglicanum piece - started a couple years ago when Richenda and Guiseppe were creating Opus entries for Estrella, set aside to do the push on finishing the Elizabethan Sweet Bag. I have most of the silk done. I bought some genuine gold thread for the majority of the background, but find it is too thick a diameter. I'm sure I'll use that thread for something, but I really need to order the right stuff from Hedgehog so I can go forward on this. Of course, I could finish everything else on the piece, and get back to the background, but I haven't picked it up again. Inspiration for design: a dragon in a Bestiary book at the J. Paul Getty museum. I've admired that dragon for years, so used many of the design features from it to design my own. Mine has my Pippin-dog's face, though. The overall design is a barbed circle, such as that found on Opus copes of the 14th c. And it includes a depiction of Noggin-Knocker, the spear that Otuell made and that knocked a crease into my head one Easter not so long ago. Materials include some white flat silk that Astra and Astridhr reeled off themselves.

5.5 The Elizabethan Sweet Bag Stitches sampler - All the different kinds of linear and filler stitches done in Gold and Silver. It is interesting, intellectually, and a good reference. Not too exciting, though (forgot this in first post - edited to add it)

6. Mary of Hungary smock - I've done the smocking on the sleeves, but need to lay out the smocking for the front and back, then just do it. It won't take that long. But the impetus has mostly fled. Once I finish the smock, I'll make the dress.

Barely Begun / Planning Stages:
7. A coif - blackwork, from the class taught by Linn Skinner a half-dozen years ago. She took an historical coif and charted all the fill patterns. I took the motifs for that coif, and added more motifs (the original is roses and pansies, alternating; I added borage, cornflower, carnation, honeysuckle, etc. in the same style). However, I also made the coif bigger, because the original didn't look big enough. I was wrong -- I should have used it at the size given. So I need to refigure the size, and put the correct size edge on the coif. Then I can start the fill patterns. it is 40-count linen, lovely stuff. I've only done a couple petals.

8. Something in Whitework - Need to do another whitework piece to the specifications of the EGA Master Craftsman Counted Thread program. My last entry ("Pictish Cross Carpet Page") was fine for the whitework, but the satin stitch around it was in need of improvement on the curves, and I've already reworked it once in response to their comments. Can't rework it too many times or the ground fabric gets tired and ugly. Gotta design and do a new one.

9. Green Man in Or Nue - take the picture of the Green Man that I drew some time ago (I think I also sent it in for a CP cover), and turn it into an Or Nue piece with shades of green on the gold. Dunno how dedicated I am to that much green thread, though.

Examples of narrow, pleated aprons (and possibly smocked at the top) include

Luttrell Psalter

1538 -Lamentation of Christ, Cranach
<http://www.artunframed.com/images/artmis38/cran74.jpg>


1535, Edward Schoen, - note in Karin Larsdatter links page says this might be applicable, but the link is broken for me, alas.

Added the waist band and finished the edges. Not going to hem the bottom - it is the selvedge. I folded it up and under in the photo below. When I pleated and smocked this, i went all the way to the edges, even before I had hemmed the edge. On the left, one can see the result - not very neat. That's where I started adding the waistband. The right side is where I clipped the last smocked bits, then went back and re-stitched the new ends. This looked better overall. Hope that the re-stitching is sufficient. I suspect it will be fine.

The only thing left to do is finish stitching the folded apron strings (still open on the top of the picture), iron the apron, and it is done.

( Picture of final product )

A couple weeks ago, THL Cristal taught a Lyondemere A&S meeting on honeycomb smocking, particularly as used in aprons. She had great handouts, based on some websites of other SCA folk had put on the web, showing honeycomb smocking in use on chemises and aprons of the Middle Ages and Renaissance. One of those sources is the Lutrell Psalter, so it is clear that such an apron will go well with the Gothic Fitted Dress.

So - on the way to Crown Tourney, I was a passenger in the car. I normally cannot sew in a moving car, but since much of the trip through the LA basin was at under 10 miles an hour, often about 2 mph, I had no trouble at all. I completed two projects (hemming a veil to go with the GFD and adding the carrying cord to the pouch seen earlier) while in the LA Basin, and was ready to start a third.

So I got out the yard x half yard piece of linen, and started gathering the top. Rather than measuring dots, I used the width of my left thumb as the measure, for going in and out of the fabric. The next line of gathering stitches was a thumb's width down, and I used the fairly prominent weave structure to keep me mostly going in a straight line. By the time I'd gotten three lines of gathering stitches done, we were finally out of the traffic jam, sunset had arrived, and I had to stop.

At Crown, i added more lines of stitching as I sat in the shade, resting, but knew better than to do the smocking.

At home again, I did the smocking stitch that Cristal showed us. Below are the results of the smocking, Still need to add the ties and finish hemming.

( Pictures )

The boy volunteered to help. So, while I was at work today, he put the second coat of stain on all but one side and one back. Then, he sanded all the fiddly bits on the chair back, and painted the edges black.

I think he spent 4-5 hours on it
( pictures )

Came home at lunch to perhaps get a first coat of Arm-R-Seal on at least a couple items - the ones I lightly sanded with 320 grit sandpaper this morning. Removed dust. Not liking the look. No sealing this noon.

Here is two coats of stain on each of the cup holders - right is with a light sanding pass, left is without. Not liking it with even light sanding. So I'm going to add another coat of stain, then NOT sand it before adding the finish coat. Going back to work to think about my options.

It seems wrong to seal it without sanding in between. I know I'm a beginner (I took 1 semester of shop after I moved out here, from the local adult school, 30 years ago). Any experienced woodworkers out there? - advice?

( pictures )

I find I don't have the energy I used to, for working on stuff that requires a lot of elbow grease.

Jamal bought us a couple chairs last Christmas, from the SCA merchant that sells wonderful wood put-together-chairs. They are made from marine plywood - very strong and light. I asked for them to be unfinished, since I had not done a woodworking project in awhile. Sanding and painting can be very relaxing.

Since it is two chairs, there are 2 seats (A, B) , 2 backs (C, D), 2 cup holders (E, F), and 4 sidepieces (G, H, I, J). The seats are close to square. The cup holders are small. These are the easy pieces. The backs and sides have all sorts of pretty scrollwork cut into them.
( details of work )

Reworking the center front a bit, pulling it in. Folded the front to the inside almost a full inch on each side, This is making the neckline too high. So I'm going to recut the neckline, too. Eventually, I'll like the fit.

edited Tuesday night to update the state --
Last night at Council meeting, I finished the new placement for the eyelets. The front is very much closer to straight grain, instead of the S-curve it had been to accommodate the bosom. I think this will solve some of the wrinkle problem I had. Having cut down the neckline, though, there is room for everyone. There is rather more cleavage and vast tracts of land than I am accustomed to showing, however.

Picture to come, when I have the lacing finished -- I need an aglet to allow me to finish the end of the cord so I can lace it up. I've been fitting it with safety pins holding it closed, and don't want a photo with the safety pins.

Next task: assembling a veil, braids, and perhaps a band to go around them, as seen in pictures from Pennsic.

A friend was sewing up a commissioned garment, and threw away some scraps. I asked if I could have them, and turned them into a little pouch that goes beautifully with the GFD. Picture below the cut. Yes, the sides are angled towards each other as it goes from base to mouth.

Went to SAS Fabrics in Hawthorne on Monday, and found some cording to use that is the perfect burgandy/purple for the GFD. Also got a yard of trim with alternate red and blue tassels. I used three of the red ones on the pouch. The one-yard piece was $5, or about 10 cents per tassel. Got other twisted cords and a dollar bag of luscious colored synthetic thread. At a quarter per spool, I can afford to play around with them for making cords or tassels or just about anything. Not good for sewing, though.

Also found, for $6/yd, a striking dark blue background / shiny gold foreground large print that looks like the print worn by the seated man in this picture: <http://collectionsonline.lacma.org/mwebcgi/mweb.exe?request=image;hex=m81_259_1.jpg> . I saw a photo of the gorgeous black and silver GFD made by myladyswardrobe and worn at Costume College. Thinking this blue and gold fabric would look great in something like what she did. Also thinking that I could wear the linen and wool GFD, with this over it, in a slightly less tight (and thus no pulling wrinkles) version. Because the existing one would do the heavy lifting. Maybe. It's a thought.

( the pouch picture )

So - I tried it on again, after ironing it mostly dry. I don't think I've lost more weight. It seems a snug fit. And yet, there is a bit of a gap at the neckline, particularly when I am sitting down. I could take it in an inch on either side. Whaaa?? And going down the center front, again, it could pull in more. The only seam I have available to play with is the center front, since the rest is all sewn together. So I'm going to fold over the buttonholes, forming a facing on the inside, and make new eyelets in the same relative positions. How can something this snug be so roomy? I have no problem breathing deeply (unlike some corsets). Is a puzzlement.

Also tried a thicker cord, instead of the thin ribbon. Prefer the cord. The ribbon just slipped and kinda cut into the eyelets; the cord seems a better choice.

And the hem that I was worried about after washing - it looks like the wool does pull down to the length of the linen lining. It has not shrunk *relieved sigh* I am going to roll the linen hem another inch, though, so it is an inch shorter than the wool. The hem is 1 inch now. I think I will just fold it again (giving me a heavier hem), instead of unpicking it and giving myself a 2 inch hem (are there consequences to doing that that I haven't thought of?)

Saw a lovely example of a GFD in a photo posted on Facebook by Master Giles, posting from Pennsic. Mistress Marcella was wearing a nicely fitted example, with a delightful headdress / veil. I think I will do an interpretation of that. It is simply beautiful.

Spent last night finishing hand-stitching the hem on the wool part of the GFD. Then I hung it up, and started measuring the lining against the outside, and pinning that. Stitched the front half-gore and straight panel. Am cutting off scads of linen to even out the hem line and fold under. Since I wore the dress to Lyondemere Anniversary, the hem is dirty. I plan to wash the garment, hang it to dry, then press the hemline, so I don't heat-seal in the dirt.

Got the hem of the wool part of the dress pinned today, after removing the remaining duct tape. I think this will work better than before. But I still can't stand straight for long, so I'll match the linen lining to the wool. Should have done things in that order the first time. I hadn't realized how much of a limitation the length of the wool dress was going to pose. *sigh* With a choice of one or the other, I choose the wrong one first every time, it seems.

Have hand-stitched the hem on one front panel and the center gore so far. Have a feeling this is going to take several episodes of recorded TV to get done. But I can take my time now; there are no immediate deadlines.

Wore the dress to Lyondemere Anniversary today, and got a picture of it. Here is the result. It was a hit, and I got many compliments.

( the pictures )

Hung up the dress, and noticed that the wool is as much as 6 inches shorter than the linen lining in places. EEEK - Ack! After I had ironed in the crease for the hem, too! Yarg!

Am very glad it is just taped in place. Moved the tape, ran into the problem occasionally of wool section too short. Adjusted to max on the short sections, better on the others. Whole hem will need to be adjusted shorter (it was done while I was wearing my tall spring shoes. May have to wear other shoes with it later, when the hem is adjusted properly. But right now, with my knee problems, it is what it is. Possible later solution is to add a gard of another color around the hem -- very historical, and looks kinda cool -- I'm sure it was done because dresses were handed down, and they were worn forever, and that is the part that wears the most.

Finished the hem at the wrists. Left a little opening at the seam to make it easier to get on and off. I think that works fine.

Stitched up the center front with a zigzag stitch on the sewing machine. Not thrilled with the look. Later, I will do a blind stitch by hand, and take out the zig zag. But this got it done for now.

Hubby pinned the lining hem for me, but I was in pain trying to stand straight and still. The knee was Not Happy. So I am sure that the hemline is not right. I pinned the wool hem to match, but again, don't think it is correct. Duct taped the whole thing - most reversible method I could think of. Also not sure that some of the wool parts are long enough. If they are not, then there will be a very wide guard at the bottom in a contrasting color of wool -- as soon as I can get to it.

So -- hemline is probably bad, but at least I won't be tripping on the dripping folded up parts tomorrow.

GFD -- done, with compromises that can and will be backed out later. The hard parts are done. It is the prosaic, every-dress-must-have bits that I can't do at the moment. Gonna wear it anyway tomorrow, and try to fix the rest of it before the next event that I plan to go to (Crown).

The "smocklet" to go under the GFD. Note that it is open on one side, which doesn't matter, because it is worn only under the dress, never by itself.

I clearly needed a smock beneath the dress, since the holes in the front of the dress are large enough to see through. Looked through the boxes of fabric in the garage, and didn't find a thin white linen. It clearly needs to be linen, but I have a one yard by 60" piece of thicker gray linen. What else could I do with this? not much. So it became a minimal smock.

I put a gathering stitch along the top, folded it over to provide a firm top edge, and made some thin straps. What I should do is to add more fullness, cuz it doesn't quite go around. What I'm actually doing is putting some ties on the top and have it open on the side. This way it is opaque where it needs to be, in front, and loose fitting. Well, it's really a wrap garment, not a real smock. I'll call it a smocklet, since it is smaller than a smock. 'Tis enough, 'twill serve.

Pinned up the hem of the dress based on the shortest length. It is just a first crack at a level. Chopped off some of the excess length. Tried the dress over the smocklet, and it looks decent. The odd wrinkle in the back is still there. I tried pulling in the wool layer a bit at the base of the spine, and it seems to have helped. The wrinkles are still there across the bust. On the other hand, the fabric is so dark it is hard to tell. At least, hard to tell in artificial light, looking in a mirror. Hmm. Otherwise, it seems to fit well. Need to stitch up the center front of the skirt though. The hem is close, yes, but not perfect. I'll work on that tomorrow. Took off the dress, pinned the dart in the back seam.

Time for bed now.