beadwork, craft, creativity, design, fashion design

Switching modes…is difficult.

As is making even not-so-difficult decisions about whether to accept an interview (for a temporary position) offered by HR. The HR that let me go, after 10 years of service. That HR.

Then there is my Vocational program assuming that I’ll either be in college or working…when right now I’m re-evaluating my life and what I want to do with it (a.k.a. finding reasons to stay alive — which is important)…which doesn’t quite involve them.

And then there is University, which I’m only in to get an inroad into a job I may actually be able to tolerate long-term, where we’ve entered the end phase of tons of group work and have stopped communicating. I want to ask when we will get started…

Then there is my personal life, which is beginning to turn over into creative work: particularly, sewing and beadwork. I’ve gotten enough together that I could make a good return beading…though I wonder, at this point, if I would be willing to sell patterns as well as (or instead of) finished objects.

The major issue with either is that many beadwork patterns are easy to deconstruct, if you know what you’re doing…and I’d venture to say that all can be replicated, with the right skill set. But I have bought some self-published books that are as good as, or better than, books coming from the major publishers…which would be Kalmbach, Interweave, and Lark Crafts, for beadwork.

There are some decent books from other publishers, too, but as we move from craft domain to domain — the publishers change. The people who publish books on silversmithing might not be into bead knitting, for example. So far as I can see, those are totally different market segments, with different motivations, different investments, and different levels of familiarity with different technologies. But both of them can make a bracelet.

Beadwork (often) entails a love of color, while hot metalwork entails a love of form and fire (and is relatively starved of color work, in my experience — with the exception of enameling, and working with brass and copper [which also technically fall under “silversmithing”, as non-ferrous metalworking which is not goldsmithing]).

I would only expect the love of color and texture to be magnified in bead knitting, which is kind of a hybrid between straight-out beadwork and the tactile and meditative pleasures of knitting…but I haven’t yet tried it. I do have a set of Size 1 knitting needles now, though. I also know a couple of places where I can get (heavyweight) spooled silk beading thread.

The thing is, to do this, you have to have interest and skill in knitting, which is an area I touch on tangentially, not fully. Lacemaking is another area I’m touching on, specifically with tatting — because I could see its application in craft jewelry.

A while back, I taught myself shuttle tatting, though that’s harder to do in a jewelry context than needle tatting. I started working with the latter just recently to see what I could do, without having to wind a shuttle to the middle of the work. Right now, I know I can make button loops with C-Lon Standard (TEX 210) and the heavyweight C-Lon TEX 400. This is with Sizes #5 and #3 tatting needles, respectively.

The resulting buttonholes are large, round, and relatively stiff…not that much of an improvement over making my own toggles out of glass seed beads (which I’m always afraid will crush or chip [after having heard the squeal of Mother-of-Pearl against glass]), but definitely more finished-appearing than a braided loop.

Using anything finer than TEX 210 and 400 basically requires using a shuttle…the needles I’ve been using (Handy Hands) just aren’t the right diameter. In shuttle tatting, you’re wrapping the thread around another loop of thread; in needle tatting, you’re wrapping it around the needle, which may not be the same diameter as the thread. With something like C-Lon, which doesn’t have a lot of stretch, that means it’s hard, with finer diameters, to slide the knots off of the needle and onto the thread itself.

It makes sense now, intuitively, as to why the heavier diameters would be easier to use: you get a lot more wiggle room in relation to the size of the cord. The cord is also harder to flex to create the double knots, which gives extra space next to the needle.

C-Lon Micro (TEX 70), for example…doesn’t work well with any of the needles I have, as it catches at the eye of the most appropriate-sized tatting needle. It will, however, work with a shuttle. C-Lon Fine (TEX 135) also doesn’t work with any of my needles. Either the needle is too wide (causing a “scrunchie effect” once completed), or I can’t fit the thread through the needle’s eye.

I have also tried working with Milliner’s needles, prior to having broken down and bought the Tatting needles: it works, but I question if they’re long enough. (Milliner’s needles are also much sharper, so you have to be careful not to scratch or stab yourself when forming the hitches.)

If I hadn’t tried this, I’d still be thinking of the possibility, but not the reality, of using tatting to form buttonholes for clasps. I still can do it, but the possibility is now limited, in my mind. Either use TEX 210 and 400 with tatting needles, or try TEX 135 or 70 with a shuttle…and keep in mind that you may get a stiff and very round buttonhole.

The other route is to find a set of tatting needles which will work with finer threads, meaning that the eyes have to be especially fine. Given how firm all forms of C-Lon cord I’ve used are, I’m not betting that I’ll be able to fit something like that through (or over) those needles. Tatting (to make lace) is generally done with softer threads — which beads may damage.

On the other hand, I’ve just finished a necklace which has been years in the making. Using the C-Lon Micro for it seems to have been a very good choice: it feels tough, and was thick enough to hold knots at the terminations. As I’ve been using clamshell bead tips to finish the work, I was glad when the knots were large enough not to slip through the holes.

Finding out possibilities and what they actually look and feel like in action, is extremely important. At least so, from a design + construction perspective. Thinking up dreams of, “what could be,” is something I did for years; it doesn’t necessarily get anything done. It takes experimentation to figure out what works and what doesn’t. Maybe I should say, it takes the risk of failure, to find out what works, and what doesn’t.

The forgiving thing about beadwork is that if your design doesn’t work out, you can clip your piece apart and try again.

It feels difficult to get myself out of Academic Mode and into Creative Mode. It’s even harder to let go of Creative Mode, once I’m in it, and slide back into Academic Mode: I want to stay where I am. I get involved with my projects. This happens even knowing I have to get back into Academics at some time, which tends to fill me with dread and anxiety. It’s hard to get out of Academic Mode in the first place, because I have a level of guilt for not spending my time studying.

I’m thinking that’s not a good way to enjoy living. Especially if what you’re studying, in order to earn a livable salary, doesn’t fit your core drives (or relieve your core banes: like uncleanliness, and random social interaction with strangers). It’s just something you do so you aren’t homeless or dependent. It’s not like you actually want to do it, or in a perfect world, would choose to do it. At least not after you’ve encountered the reality of the job and environment.

And it’s like, how many more years, how much more of my resources, am I going to commit to this? For the sake of a salary?

There are other things I can do, if cash is my only motivator. I may not be able to afford to live in the San Francisco Bay Area while I’m doing it…but to be honest, most of the world can’t afford to live in the San Francisco Bay Area. We’re dealing with an inflated economy and gentrification, with high-wage earners moving in from outside, displacing the people who made the place what it was: the people who made this a nice place to live. What I can see is that someday — when technology shifts again, or when the climate shifts more completely — this area risks becoming another ghost region.

Early morning, on November 2nd — I began writing a post after having had a conversation with relatives. Its details should likely go into another, separate post, but I realized that through my clothing and jewelry, I could develop my own identity expression. I could also help others define theirs, or at least give them more options.

I’ve had a consistent problem with being able to present myself as I wish, with ready-to-wear clothing. The problem is that the clothes which fit my body usually also code me as a woman, socially — which is not something I’m set on. I began thinking on how to alter that. It’s not like it isn’t possible. It just requires creative thought, and the ability to realize those thoughts in reality.

That is, it’s possible to create clothes cut for and which will fit female bodies, without also making them to code as, “feminine.” It’s not like there isn’t a market for this: or there wouldn’t be so many people who are assumed to be, “women”, wearing men’s clothes. The problem is, after one reaches a certain point in their maturity, men’s clothes don’t quite fit correctly. At least, that’s been my experience. The body type I had in my early 20’s is not the body type I have in my late 30’s.

The point is that there is cultural space and coding made for cisgender men and cisgender women which signify their gender to people on sight. If you’re a gender minority, however: that isn’t necessarily the case. Not only are there no words to describe who you are, but there are no special signifiers that positively match your identity. And if there were, I’m not sure it would be safe…but, progress is being made.

I’d hope that in 40-50 years, there will be vocabulary and a safe place for people who are gender-nonbinary or third-gender, or otherwise currently not provided with correctly-coded tools with which to present. I would also hope that the erasure of gender minorities in the English language and cultural sphere, finds a way to cease in a respectful manner.

The night before last, I realized that I could and should get back to work on the “blouse” I’ve been trying to make for 10 years. I got about halfway through construction (having cut and marked the pieces previously), though I still have some alterations to make. This is Folkwear #111, “Nepali Blouse,” which I’m altering to have a much longer hem, and side inserts. I appreciated the toile, but it was much too short and revealing, for me.

The pattern itself is for something worn as an undergarment in Nepal, which makes sense if you live there, and it’s cold! Instead of the traditional fabric choices, though, I’m going for a dark cotton batik. After this is done, I can work on some outer layers.

And no, I don’t know the gender status of those who would be wearing this, normally. The pattern and styling is just something I like.

At this time, though, I find myself required to get back to my graded work…which I don’t want to do. Of course. Writing this, is kind of edging me back into thinking in words…which I need.

Wow, though. I mean, wow.

I am wondering when the last time was that I was so reticent about getting back into schoolwork…

craft, design, fabric, garments, sewing

There’s always more to do, isn’t there?

Always. More. I was just looking through the (sparse) image logs I have on my current machine. I also have about 30 gigs of images archived on a memory stick. Most of it is from the community-college Art program. I’ll likely want to note which classes I was taking, when; that information is not in the same place.

What I’ve been advised to do is to copy all of my image storage onto my hard drive, then deal with it from there. It sounds like a good plan, especially as I’ve learned that, “save it and forget it,” is overly optimistic. (Backups can fail, that is.)

Today, I’ve mostly been dealing with face masks. I have 21 cuts of pre-shrunk, ironed batik for the outer portions (which I may have overdone); right now I’m picking out which Kona cottons to use on the backs, and what fabric to use for the ties. I have a lot of light-to-midweight quilting cotton which should be great for ties…but I don’t know how many I’ll get out of one Fat Quarter. All it takes to figure it out, though, is measurement and a little math.

Anyhow, there is not going to be a shortage of masks, here. I can see why people say they get burned-out on them; they can get really repetitive, at least unless I refine the design on each iteration. The latter keeps things interesting, but I can also see just wanting to get through them, as they’re needed almost immediately. The ones we need to send out, we can send out; I have a plan to replace them (plus), now. I just don’t want to send the ones I know are fragile…I can fix them, I don’t know if others can.

Not to mention that there is the stress of what to do when I run out of fabric, or thread. It may not have been the smartest thing to do, but that’s why I cut up the entirety of the batik Fat Quarters. It stops me from guessing, and lets me know what I do have. (The batiks are supposed to be good for filtering, so there are some on the outside of almost all of my masks.)

I also have more batik; it’s just more closely woven, more expensive, and in larger quantities. In other words: it’s nicer. :) But the higher quality does make it harder to sew, as it’s more resistant to the sewing machine (I’ve had the motor jam on me multiple times while trying to sew through too many layers of either the [tightly woven] good batik, or the [midweight] Kona cotton).

I also have quite a bit of soft, fine muslin, though that would likely go to ties, if it went to anything. I am not sure how effective it would be as a mask, even doubled. The reason to use it for ties is to avoid bumps of fabric at the corners of the masks (I have a sizable length of this which would allow one long tie instead of two short ones), though if I just moved in the corners of the ties a bit, I could probably take down a lot of that bulk.

Right now I do, actually, want to get back to work on the Nepali Blouse. It’s something I can do anytime, but I haven’t even wound the first bobbin, yet. We actually have more bobbins than I thought; I stalled because I thought there was only one empty one. Apparently, there are a bunch more empty bobbins, which just aren’t with the rest.

Right now I’m using Coats & Clark Dual Duty thread, which seems good enough (this is what I grew up with). The blouse, I got Gutermann thread for (it was a nice color match); but how old is it? I’m not sure — but if I look at my archives, it’s probably really old. I also don’t know how the fabric it’s made of, will sew…particularly, I’m not sure if I’ll have to use a different needle (or if I damaged the one that’s in there). I’m not quite advanced enough to know that, yet. M can help.

But tomorrow, I can wind the Gutermann bobbin, sew some scraps of the blouse material, and see how it comes out and if the needle needs changing. I’ve also just checked: I’ll need to make ties that are 2″ wide…unless I need to wrangle that a bit, in order to fit a multiple of 2 or 4 onto the Fat Quarter. Math, right?

The Internet (not my ruler, I haven’t checked) says the Fat Quarter should be 18″x22″. The 22″ is likely the length that I have lined up with the long side of the ruler (it has shrunk), which means the 18″ length is what I’m fitting 8 strips into, 2″ wide each: giving me 2″ of wiggle room and full ties for two masks.

That is what I’m talking about. Math.

I stopped work on this earlier tonight because I needed to think about what I was doing. It’s apparent, now, that I’ll end up using a lot more fabric for ties than I had predicted: however, it’s all (or, almost all) washed, dried, and ironed, now.

And I don’t have to make all 21 masks. :) However, I do have little cuts into the edges of some of these Fat Quarters. I’ll go and check on them now; I can easily swap out these lightweight things for uncut Fat Quarters, if I need to.

Just. Who knew that sewing would be such a useful skill (these days, at least)?

fiber arts, garments, needlework, sewing, tatting

Crochet lace?

Today I realized that if I wanted to add lace accents to clothing, I can make the lace using a crochet technique.  It’s been a fairly long time since I did any crochet, but I find it much easier than knitting.  If I wanted to try my hand at it, I do have some laceweight yarn, which I think is alpaca.  I also have fine cotton crochet thread, which would likely be what I’d use if I put lace cuffs on a shirt, for example.

I found one book specializing in crochet lace patterns today, but it focused on bedspreads and tablecloths, which is not really what I want to make.  New Tatting focuses on doilies, which again, is not really what I want to make.  There’s always the option of going back to Ravelry, if they’re still up, and actually that may be a very good option.

I have in mind a shawl pattern with a lot of openwork between denser areas of stitching.  It would probably take me a while, though, given that the yarns are so tiny and the hooks are so tiny.  But! I know I can crochet, and I can read crochet diagrams; whereas tatting is almost totally foreign to me right now.  And I have all the stuff I need to crochet, including some backup manuals.  ;)

Sounds good?  :)  I’ll add it to my “things I can do” list.

garments, sewing

Seven Treasures rumination

I’ve had in the back of my mind an idea for the slits on the sides of the Nepali blouse. This would be to leave them open where they are, and insert a couple of panels of Seven Treasures stitch to hold them together. How to make the Seven Treasures lacing is gone over in John Marshall’s _Make Your Own Japanese Clothes_ (page 88).

The thing is that the instructions are for panels which remain the same distance apart from each other along their length.  I’m not sure it will work out for a triangular opening.

And I’m not sure I wouldn’t need to insert eyelets if I used this lacing, as it’s done in a thick material and not with sewing thread.  Inserting eyelets means I’d need something to use as an anvil…and you can see where this is going.

I suppose I could try this out on my muslin version, but really, I don’t expect it to work.

The reason to do this, by the way, would be so that I could get the Seven Treasures-patterned fabric and make the hakama-inspired skirt to match…

garments, sewing

materials gathering for altered Folkwear blouse, + hybrid skirt dreaming

I found the perfect batik for the Nepali blouse. It isn’t really feminine (at all), but then…well, if you know me, you know this can be a good thing for something I (in specific) will be wearing. As long as it’s tasteful.

What I found was a very dark blue-green cotton with white accents at $9/yd, plus matching Gutermann thread for under $2, and the sew-in snaps for the cuffs for same. It wasn’t at the place I was planning to go to — it was at a place I’d never been before, but I feel good about the purchase, and about having gone there.

Side note, I also have started reading the article “East Asian philosophy” in an older version of the Routledge Encyclopedia of Philosophy, which outlines some of the major differences between East Asian and Western thought. It’s interesting to see how deep the fundamental philosophical differences go between Western and Eastern cultures — things that I hadn’t even thought of, such as the concept of a personal soul being the basis for the concept of individual rights and sovereignty. Not individual-in-relation-to, but stand-alone identity, as illusory as that may be. But I can clearly see myself being caught in a dialectic between East and West, and coming to understand them both more fully.

I kind of wonder what the “South Asian philosophy” article looks like, now…

Anyhow. After hitting the first store, I trekked over to the place I was originally going to and picked up some dark, soft interfacing and a pair of fabric shears. This was at 20% off, so the interfacing was almost free with the shears. (I ended up needing one yard, by the way.)

What I was told at the first store is that it’s estimated my cotton batik will shrink about 5% in the wash, as hot water is used to set the dye in manufacturing. What I was told at the second store about my interfacing was to submerge it in very hot water and let it soak for 20 minutes to preshrink it, and see if it’s going to bleed. I still need to do that. If it bleeds…I’m using white. I don’t want my collar stained.

Maybe I should use white, anyway. Now that I’ve got the fabric at home, I can see if a white interfacing will show through too much.

Other than that…I have the idea to make a hakama-like skirt. Just not exactly hakama. I’ve been finding multiple fabrics that would look nice as an insert into a plainer garment, but which would be too loud on their own. One of these I saw at the store where I got my batik…it was sort of a version on Seven Treasures, I believe. Indigo and light blue. Made into its own garment, I wouldn’t wear it; but as an accent on another piece, it would be perfect.

What I have in mind is basically an A-line skirt which is open in the center front for maybe 6-8″, with a wide inverted box pleat at the center back. What I want to do is to insert a generous amount of accent material in mirrored knife pleats between the two front panels of the A-line, with the rest of this skirt being a solid color or a very subdued print. This will allow me to have a tailored skirt in which I’ll still retain mobility — at least if I don’t go crazy chaining the pleats to each other.

What I can see being an issue right now is that this seems to recommend pattern drafting and a higher level of skill, and I’m way too new to sewing to be able to do that and not be frustrated. I can, however, buy a cheap pattern for a long A-line skirt and alter it. The hard part will be the shaping at the hips and waist (I’m curvier than I used to be, and I don’t have a block/sloper), and the zipper or buttons I’ll need to fasten the thing.

I suppose I can start thinking on it now, knowing that it’s something to work up to. There’s no time limit on this, I suppose.

garments, sewing

heading up to buying fabric, and altering pattern

I should be going out tomorrow to try and find a suitable cloth for the Nepali blouse. What I want to do is lengthen both front panels and the two back panels, along with the slits on the sides (which hit above my pant line at the current time).

I should need about three yards of material for this, assuming that I lengthen the front and back pieces a maximum of eight inches, which means I’ll need 16″ more material. Normally I’d be using 2.5 yards of material w/o allowing for strategic placement of the pattern on the fabric. Half a yard is 18″. This last time I believe I got 2.75 yards of muslin and it was more than enough for the basic garment.

The major thing is that I don’t want to be showing skin, and the slits at the sides will show my skin (or more likely, undershirt), and the hem is so high that if I lift my arms above my head, I’m pretty sure my belly will show (which makes me uncomfortable normally, regardless of whether my belly is large or not).

One of the reasons I’ve liked sewing is that you get to customize your clothes, so for someone like me who says that just because I’m female doesn’t mean I want to show my body to the world (honestly I don’t know why clothes designers seem to think that female = sex object, even if unwilling), it’s good to know that I can modify what I’m wearing.

So basically I want to make this tunic-length. Slit on the sides but not to the point that people can see my skin. Long enough so that if I reach over my head, no one’s going to be looking at my navel.

As for fabric choice — I’m thinking something between violet, blue, and blue-green, though a brown will also work. I want it mid-ranged to dark in tone. This pattern is a good choice for showing off the print of something like a subdued batik. It should drape well, not wrinkle easily, and not be translucent (as the fabric overlaps itself and the interfacing is opaque and also unbleached, it is easy to see in the muslin version that the muslin is translucent).

I’ll also need maybe .75 yards of interfacing. I want to use a lightweight silk (probably not white), as I’ve noticed the nonwoven stuff tends to roll up on itself after a while of washing. (Granted, though, this was in a ready-made shirt.) This would be encased inside the collar, so it probably won’t get very worn. I’m thinking of cutting the interfacing on the bias, though, after seeing what a stiff collar looks like. I should probably still get at least .75 yards, but I need to check pattern requirements.

I also need to topstitch closer to the edge of the collar, next time.

It will probably be easier next time to use…well, I suppose I can use that white silk basting thread to mark points on the fabric, if I’m using a darker fabric. It’s a bigger pain than using chalk, but I know the silk won’t melt into the fabric, never to wash out, unlike the chalk.

Right now I’m thinking rayon, or a wrinkle-resistant cotton.

M told me that we have another pattern here which is like what I’m thinking of, with the tunic idea — but it’s a bit too untailored for me. The pattern I’m working with has been fine to the point of realizing it was uncomfortably short, and I can easily remedy that. I’ll just have to lengthen the waist and the portion below the waist, and make sure those lengths match before cutting my material.

And I need to get some sleep.

garments, sewing

working again on Folkwear Nepali blouse

I’m back to working on the Folkwear blouse. I need to use a much lighter interfacing next time (this time, it was broadcloth or canvas, I’m not entirely sure of the difference between them), because of the difficulty of machine-sewing over many folded layers in the corners of the collar.

I finished the slipstitching, and got the topstitching on the collar and facing done earlier, plus removal of the temporary basting of the collar to the interfacing. Now all that has to be done before I can work again is that the table needs to be cleared off and wiped down from dinner. Then I’ll work on sewing in the gussets.

It was intimidating to restart the project after so long, but after I got into it, it was easy. I’ve also started making notes on the instructions — I basted in a couple of ties on the wrong panel, making the article of clothing cross left-over-right instead of right-over-left. Which is correct if it’s a Japanese top (where you only cross the garment right-over-left for a dead person), but I’m not so sure it’s correct for a Nepali top. I suppose I can run a search on it.

Regardless, I pulled out the thread markers which said where to attach the ties, and the ties are basted in now, so maybe I shouldn’t worry about it so much.

I also found that my 20% off coupon for my regular fabric store expires very soon, so there may be a trip there within the next several days. I’m still undecided on whether I want to get fabric shears from them…

(EDIT: I just ran a search on my pattern and it’s a Nepali blouse, not a Tibetan blouse, though the permalink probably still says it’s a Tibetan blouse. Sorry about that.)

garments

I haven’t forgotten about you, blouse.

So I’ve gotten a little derailed as far as what I’ve been working on. This is relatively normal for me, though. It’s one of the reasons I keep a blog — to remind myself of what I was doing, and try and gently nudge along focus on a project. :)

I still need to finish slipstitching the collar to the body of the Folkwear blouse, though that shouldn’t be too hard — I’ve got about 6″ or less left, and then I can start with machine topstitching. I think the part I’m dreading is setting in the sleeves, but I’ve got to remember that it’s only muslin, and it’s only for practice this time.

I have more to add, but it’s long, so I’ll put it in a separate post.

garments

Folkwear trial blouse update

I did get some work done on the blouse today, including making the upper four ties and sewing much of the collar — which I should note, initially was intimidating to me. But breaking things down into reasonable-sized chunks really helps me a lot.

I’ll probably work on it again tomorrow, though I also want to go out and get some silk thread for basting (it’s supposed to be easier to remove than standard cotton or polyester thread, which counts when the basting has been machine-sewn over). I should also note that diagonal basting gets caught by the presser foot — I had to keep pressing the thread down with my fingers so it wouldn’t gather the fabric.

I’ve got to remember not to safety-pin pattern pieces to fabric pieces — my fabric pieces get big holes in them that way. Luckily it was just the ties, and it was just muslin.

Either I need to get a light thread and re-baste the relevant sections of the collar…or just try my best to remove the basting after the collar is assembled. (It would have been easier just to machine-baste rather than hand-baste, though the basting would not be removable on the inside of the collar that way — unless I cut it into pieces on the wrong side and then picked the loops out from the right side.) I should check to see if I actually *do* have anything else to baste before committing to a trip tomorrow, though. After all, I could work on this all day straight otherwise.

I’ve been wanting to get some larger-gauge earrings, but seeing as I have less free funds to work with this month, I think that the money would be better put to fabric for the final version of this blouse. I mean, what do I do with earrings? Put them in and forget about them? Whereas constructing a nice blouse would keep me occupied for a while. Plus then I get another wardrobe element. I don’t need more jewelry, really. But I do need some clothing to go with my skirts.

For the final version of this I’m going to need:

1) fabric
2) light interfacing (woven or nonwoven, doesn’t matter)
3) matching high-quality thread
4) silk basting thread

I’m thinking of a dark blue batik for the fabric, but I don’t know if that will work out. If I use dark blue, I can use some of the Gutermann blue thread I’ve already got. But if I’m using batik, a dark bluish green could also work. I should probably check my wardrobe and see what I want it to match. I already know that the purple skirt is out, it has a hole in it. And I do have a lot of blue skirts. Plus I just got two mandarin-collar blouses in blue (one is indigo), so maybe I could do something a little different.

I need to check the tip of the sewing-machine needle and make sure it isn’t burred from sewing over that glass-head pin. I hope I didn’t hurt the pin too bad, either. I think I may have chipped it, but I didn’t think to feel the head to see if it was damaged before putting it back into the pincushion. Need to remember that next time.

(X-posted)

garments

Folkwear blouse trial construction

Got a lot done today.

I was able to work on the Folkwear pattern for a good deal of the afternoon and into the night. Right now it’s just a trial garment so that I am not so intimidated by the thought of messing up nice fabric that I don’t work on it at all.

Hopefully after I’ve done this, I’ll know what I’m actually supposed to do the second time around. And I’ll have one more thing to wear around the house. ;D I’ve been writing down working notes in my sewing notebook, so that should help me next time.

I’ve gotten to the part where I’m supposed to baste the interfacing into the collar, but haven’t done that yet, and sewing in bed doesn’t sound like a good idea. I’ve been up for a long time; I should probably get some rest and start fresh tomorrow.

I think I may sew more in the future. Having a project to direct my waking attention to helps me to not go back to bed in the middle of the day. And it keeps me from being bored. Along with my music, it very effectively helps me feel that I’m doing something constructive, and, at least, distracts me from the low-level depression I’ve been feeling lately. That’s if it doesn’t actually alleviate it.

And I’m gaining a skill! Some method of garment construction that isn’t dependent on yarn. And gets me back to working with needles, which I’m familiar with from the beadwork and that one class I took.

Speaking of which, I should probably go back and practice my handsewing stitches, see if I lost any of them. I have enough scrap fabric now to do this.

For now I should get some rest.