#but they have embroidery functions.....

[decayingliberty]

Im looking into affordable sewing machines and.... what the heck is a sewing machine without pedal, how do you make it sew then?

[bismuthburnsblue]

with the year coming to a close, its time to start thinking about some 2025 sewing goals!

starting off with... a soft shopping ban '''':) my stash is full to bursting and i have so many exciting projects i could make in there, theres simply no need for new things.

(im calling it a soft ban because im certain im missing things from all of my projects (notions especially, i usually only pick those as i finalise the design) and im not going restrain myself to my stash if a better choice is available, but it needs to be a purchase for a specific project only.)

ok on to the more fun things! im splitting my year into two (slightly uneven) sections- up until the end of may, im going to be throwing myself into costume work, and then from there i want to focus wholly on fashion & restyling pieces, as i have many, many things ive pushed aside for showy pieces in the past couple years.

for cosplays, heres the breakdown!

Lady Stede Bonnet is my main goal of the year, she will be what im putting the most time into. a (mostly) historical robe à la française inspired by Stede's iconic blue suit. i dont have any base layers to work from, so theres going to be so much to do before we get into the main dress! Heres a list:

Shift

Stays

Pocket Hoops

Under Petticoat

Petticoat

Main Robe

Stomacher

STRETCH- Fichu

STRETCH- Tie On Pocket (collab?)

Wig Styling!

STRETCH- Fan

STRETCH- Knife

its a lot to look at, but hopefully at least some of these will be pretty quick makes! ive listed a few stretch goals, mostly accessories, but id like to get to them if time allows!

if i finish Lady Stede in time (or, more likely, if i get stupidly frustrated at any point and need to put her down for a little) im going to pick up Janet again! i made the skirt back september, and cut out the waistcoat too! i have the fabric for the blouse & was planning on modifying my anne blouse pattern for it, so it should be perfect for when i need something easy for a minute.

as an ultra stretch goal, i also want to make Froggie Senshi! ill talk more about it in its own post, but i think its going to be a great comfy casual cosplay for the end of a long weekend. ill only be working on this one if i have time & energy though! (id actually really like to get a group together for this one but... logistics yknow?)

either way, post may mcm, im taking a break from making costumes! im not sure exactly what fashion pieces i want to make yet, i think ill see how im feeling when the time comes, but im excited for it! ive been feeling a bit constrained by my wardrobe recently, so im hoping adding some fresh pieces will revitalise it :)

i hope youre as excited to follow along as i am to make them!

[espytalks]

i fixed my ripped jeans :)

[bhaalsdeepbat]

Someone was talking about how tailoring and embroidery are two different skills, and I keep thinking about a Tav who thinks they're the same bringing a bunch of fabric and thread to Astarion hoping he can bibbity-bobbity-gay-hands magic a dress, but instead of a gorgeous gown, they end up with an abomination that would scandalize any seamstress and make any designer faint

[scatteredcloud]

3D printer is such a good white noise machine <3 I love my new toys

[unnonexistence]

have just discovered that the other half is hunting down bugs

i think about half of learning to code is sitting around puzzled by something going "there HAS to be an easy way to do this" until you remember the right term to google

[handweavers]

something that comes up for me over and over is a deep frustration with academics who write about and study craft but have little hands-on experience with working with that craft, because it leads to them making mistakes in their analysis and even labelling of objects and techniques incorrectly. i see this from something as simple as textiles on display in museums being labelled with techniques that are very obviously wrong (claiming something is knit when it's clearly crochet, woven when that technique could only be done as embroidery applied to cloth off-loom) to articles and books written about the history of various aspects of textiles making considerable errors when trying to describe basic aspects of textile craft-knowledge (ex. a book i read recently that tried to say that dyeing cotton is far easier than dyeing wool because cotton takes colour more easily than wool, and used that as part of an argument as to why cotton became so prominent in the industrial revolution, which is so blatantly incorrect to any dyer that it seriously harms the argument being made even if the overall point is ultimately correct)

the thing is that craft is a language, an embodied knowledge that crosses the boundaries of spoken communication into a physical understanding. craft has theory, but it is not theoretical: there is a necessary physicality to our work, to our knowledge, that cannot be substituted. two artisans who share a craft share a language, even if that language is not verbal. when you understand how a material functions and behaves without deliberate thought, when the material knowledge becomes instinct, when your hands know these things just as well if not better than your conscious mind does, new avenues of communication are opened. an embodied knowledge of a craft is its own language that is able to be communicated across time, and one easily misunderstood by those without that fluency. an academic whose knowledge is entirely theoretical may look at a piece of metalwork from the 3rd century and struggle to understand the function or intent of it, but if you were to show the same piece to a living blacksmith they would likely be able to tell you with startling accuracy what their ancient colleague was trying to do.

a more elaborate example: when i was in residence at a dye studio on bali, the dyer who mentored me showed me a bowl of shimmering grey mud, and explained in bahasa that they harvest the mud several feet under the roots of certain species of mangroves. once the mud is cleaned and strained, it's mixed with bran water and left to ferment for weeks to months.  he noted that the mud cannot be used until the fermentation process has left a glittering sheen to its surface. when layered over a fermented dye containing the flowers from a tree, the cloth turns grey, and repeated dippings in the flower-liquid and mud vats deepen this colour until it's a warm black. 

he didn't explain why this works, and he did not have to. his methods are different from mine, but the same chemical processes are occurring. tannins always turn grey when they interact with iron and they don't react to other additives the same way, so tannins (polyphenols) and iron must be fundamental parts of this process. many types of earthen clay contain a type of bacteria that creates biogenic iron as a byproduct, and mixing bran water with this mud would give the bacteria sugars to feast upon, multiplying, and producing more of this biogenic iron. when the iron content is high enough that the mud shimmers, applying this fermented mixture to cloth soaked in tannins would cause the iron to react with the tannin and finally, miraculously: a deep, living grey-black cloth.

in my dye studio i have dissolved iron sulphide ii in boiling water and submerged cloth soaked in tannin extract in this iron water, and watched it emerge, chemically altered, now deep and living grey-black just like the cloth my mentor on bali dyed. when i watched him dip cloth in this brown bath of fermented flower-water, and then into the shimmering mud and witness the cloth emerge this same shade of grey, i understand exactly what he was doing and why. embodied craft knowledge is its own language, and if you're going to dedicate your life to writing about a craft it would be of great benefit to actually "speak" that language, or you're likely to make serious errors.

the arrogance is not that different from a historian or anthropologist who tries to study a culture or people without understanding their written or spoken tongue, and then makes mistakes in their analysis because they are fundamentally disconnected from the way the people they are talking about communicate. the voyeuristic academic desire to observe and analyse the world at a distance, without participating in it. how often academics will write about social movements, political theory and philosophy and never actually get involved in any of these movements while they're happening. my issue with the way they interact with craft is less serious than the others i mentioned, but one that constantly bothers me when coming into contact with the divide between "those who make a living writing about a subject" and "those who make a living doing that subject"

[that-bitchdanni]

might fuck around and wear shirts and jean jackets with the sleeves ripped off and jeans with no knees

[rpvlix]

//Most of the siblings have really strong fashion senses in my head, but I could not for the life of me tell you what Fous or Kenny wear. I do not know. When i imagine them my brain just kind of puts nothing there and pretends not to notice.

[artifacts-and-arthropods]

500-year-old Snake Figure from Peru (Incan Empire), c. 1450-1532 CE: this fiber craft snake was made from cotton and camelid hair, and it has a total length of 86.4cm (about 34in)

This piece was crafted by shaping a cotton core into the basic form of a snake and then wrapping it in structural cords. Colorful threads were then used to create the surface pattern, producing a zig-zag design that covers most of the snake's body. Some of its facial features were also decorated with embroidery.

A double-braided rope is attached to the distal end of the snake's body, near the tip of its tail, and another rope is attached along the ventral side, where it forms a small loop just behind the snake's lower jaw. Similar features have been found in other serpentine figures from the same region/time period, suggesting that these objects may have been designed for a common purpose.

Very little is known about the original function and significance of these artifacts; they may have been created as decorative elements, costume elements, ceremonial props, toys, gifts, grave goods, or simply as pieces of artwork.

The Metropolitan Museum of Art argues that this figure might have been used as a prop during a particular Andean tradition:

In a ritual combat known as ayllar, snakes made of wool were used as projectiles. This effigy snake may have been worn around the neck—a powerful personal adornment of the paramount Inca and his allies—until it was needed as a weapon. The wearer would then grab the cord, swing the snake, and hurl it in the direction of the opponent. The heavy head would propel the figure forward. The simultaneous release of many would produce a scenario of “flying snakes” thrown at enemies.

The same custom is described in an account from a Spanish chronicler named Cristóbal de Albornoz, who referred to the tradition as "the game of the ayllus and the Amaru" ("El juego de los ayllus y el Amaru").

The image below depicts a very similar artifact from the same region/time period.

Why Indigenous Artifacts Should be Returned to Indigenous Communities.

Sources & More Info:

Metropolitan Museum of Art: Snake Ornament

Serpent Symbology: Representations of Snakes in Art

Journal de la Société des Américanistes: El Juego de los ayllus y el Amaru

Yale University Art Gallery: Votive Fiber Sculpture of an Anaconda

[shortnotsweet]

This technically applies to my Stepmother AU in which Alicent is around six years older than Rhaenyra, and occupies a wicked stepmother role as opposed to ex ‘friends-to-first loves-to-enemies’. Despite lacking the foundation of shared girlhood, both find simultaneous comfort and rivalry in one another, and undergo a gravitational pull. A young Rhaenyra’s eagerness to participate in swordplay and political affairs at a young is accommodated for, and she grows up with a sword in one hand and the weight of experience in another, which further helps pave her way to the throne.

Alicent’s Costuming

Alicent’s clothing is almost entirely bottle, emerald, or forest green. While there is layering present in her skirts and jackets, the accent should always be a darker green than the base color. The fabric is deep, rich, and retains an undeniably high-quality luster. Look to velvets and silks. Gold embroidery lingers around her sleeves, neck, and hemline to elevate the coloring.

Metallic embellishments should be almost military-like, and appear heavy. Contribute to the imagery of chains or shackles in addition to her status

Draws inspiration from historically accurate stiffness and Victorian shapes, with a tapered waist, imposing, puffy sleeves, and a high neckline. Despite inaccuracies, this shape is evocative of someone elegantly and conservatively feminine, repressed, and capable of exerting power over others. Reference a classic, trussed hourglass shape. Skirts should be notably heavy and full; may make noise in movement

The coloring and shapes remain relatively consistent but lack variation; this is to demonstrate a lack of freedom and exploration, as well as an adherence to conventional feminine roles

Despite these limitations, her costuming should always be put-together, coordinated, and unquestionably fashionable. Tight sleeve cuffs may be accompanied by a more traditionally medieval fan sleeve

Shoes should stick mostly to slippers, or flat designs

In this AU, her hair leans more towards a dark brown instead of auburn, as her show counterpart. This is mostly due to faux-book accuracy and to simplify the sketch process, since keeping her hair darker in comparison to Rhaenyra’s lighter hair translates more easily in uncolored renderings.

Keep her hair either in a tidy bun or pulled back and loose; avoid too many intricate shapes, braids, or styles. Occasionally, the hair will hang loose. Lean into medieval or royal headpieces, clips, coverings, etc.

Rhaenyra’s Costuming

Rhaenyra’s clothes are primarily black and red, occasionally accented or substituted with neutrals such as beige, white, or gray. Exceptions may include blue or yellow, but she generally stays in this color palette.

Strong focus is drawn to her shoulders and neckline, sometimes with embroidered or embellished detailing. She often has strong, angular shoulders in her dresses or jackets, occasionally theatrically pointed. Off-the shoulder necklines emphasize her collarbones and a certain broadness.

There should be decent variety in her clothing; there is a hypothetical outfit for every occasion and more (for battle, for riding, everyday, formal, feasts, everyday, etc.), and most should be composed of multiple pieces and utilize generous layering. This includes under-fabric, belts and corsets, jackets and doublets, draped fabric for aesthetic purpose, and even functional capes.

Most of her clothes should provide visual aid for movement; additional fabric to her skirts, for example. Her clothes should be highly stylized but still easy to move in. In riding and battle gear, it is presumed that she wears pants and boots under her skirts, even if they are not visible.

Shoes lean more into boot cuts, still practical but should have a sleek and uniform quality to them. When she walks, she should make some kind of noise. Shoes should usually be black or potentially red, the latter for decorative purposes.

Overall her style should be more contemporary and lean into the fantasy element. She’s not opposed to oriental details or showing skin, and her costumes should reflect both couture-height drama and period-reliant aspects. Longer lines and diagonal hems mean she is not as devoted to an hourglass shape, and her high collars should always be decorative in some respect.

Keep her hair long and mostly loose, sometimes pulled back. Small braids should be implied as incorporated. Occasional hairstyles feature complicated braids. With the exception of highly decorative braided styles, simple buns should be avoided unless accompanied with very high necklines.

Avoid headpieces that are not either a) her crown or b) ceremonial.

[celestial-sphere-press]

what kind/style of endbands do you usually do? they look so good 👀

hi!! sorry for taking a while to answer, I wanted to make sure I could give you my best answer.

I usually do what's called a "double core" endband. I use double core endbands over the "bead on front" method because bead on front style is not great for uneven distributions of color, irregular patterns, or using more than three colors. Functionally it works by having your extra threads wrapped up inside the thread that is showing, forming the smaller secondary core. Ultimately you are doing figure 8s around the main core & then your secondary core of thread. This keeps things pretty neat & tidy. The tutorial I first used was this one by DAS Bookbinding, though I don't think his endband tutorials are his best ones. Another binder I've spoken with endbands about a lot is maleeka, who recently did an endband tutorial herself.

maybe I should do one... but it takes a lot for me to get enough motivation to make videos. I'll take this opportunity to write up some tips I've shared when people ask instead:

1. Endband core material is the MOST IMPORTANT component. You need a core that is stiff but flexible - it should NOT be floppy because it wiggles everywhere under the tension of the thread, but still needs to flex with the opening & closing of the book. You want something that doesn't compress, to reduce tension shifts in thread creating a lumpy endband. Have a smooth core is less critical but helps to avoid snagging threads & allows you some leeway on sliding threads around for adjustments. My personal choice is smooth leather jewelers cord (link is just an example, I get mine from a local craft store).

2. Thread size. All your threads need to be the same size; it will be visible if you are using two different sizes, and mess with your front core. Additionally, I know lots of people will use larger twists of multiple strands of embroidery thread, which can work, but is more likely to compress & alter its size in unexpected ways. A single strand is preferable. If you want something thicker you can find some thread weights that are heavier twists intended to be used in a single strand, not pulled apart. I prefer smaller sizes because it works better for the gradient designs I like.

3. Silk thread is your friend (if you can spend the money on it). It reduces fuzz (no fuzz like you get with cotton/DMC embroidery thread), it's usually easier to manage, has a more compact twist, and a higher shine. I use Japanese silk hand sewing thread in size #9 (9号). There's multiple brands (Tire, Daruma, KNK/kanagawa, etc). Here's a wholesale listing (minimum 20,000¥ for international). A non-Japanese brand is Guterman silk (German brand). Both the Japanese & German threads come in a heavier weight (Japanese is #16, Guterman is buttonhole).

4. Thread tension is the most important part of the actual technique. You need to ensure the threads currently wrapped in the secondary core keep tension when you are working the thread around them.

5. Working on a curve. This is only really relevant if you're doing an endband on a rounded book, but the circumference of the curve means there's more real estate on the outside vs inside of the curve. Sometimes this can cause bunching on the secondary core. My own solution to this is that sometimes I wrap the primary core but drop a wrap here or there around the secondary core (only between two wraps of the same color I'm dropping). I uh... don't know of anyone currently recommending this besides myself so I can't point to any pro endorsement for this method, it's just what works for me. Forgive my terrible writing:

6. Pattern management. I... don't really plan much how my patterns sit on the spine, which is not very helpful. HOWEVER you can do some pattern management on the fly, if you really want your pattern to end at a certain place. Thread can be packed more or less densely on the core, resulting in some pattern compression; you could also strategically drop wraps in less noticeable locations. An unintended example: I was replicating the pattern on this endband (left) when I realize I wasn't packing the thread as densely as I had the first time around (right), which resulted in the overall pattern taking up more space. You can do this on purpose, if you need to.

this was way more than you asked but it gave me a chance to put all this in one spot. Best of luck in vanquishing the dreaded EndWyrms.

[nasa]

Space Craft! Make NASA-Inspired Creations for World Embroidery Day

It’s time to get crafty with some needle and thread. At NASA, we hope to inspire art of all kinds. To highlight #WorldEmbroideryDay on July 30, we want to know: does our imagery inspire you? Show us your art and we may feature it on social media.

How?

Search for a NASA image that inspires you. Here are a few places to get you started: Hubble, James Webb Space Telescope, Ocean Color, Landsat and Earth Observatory

Create. Over the years, we've seen a growing number of embroidered pieces that showcase our organization's research, especially with needlepoint.

Share your creation, along with the image it was inspired by, on social media using the hashtag #NASAEmbroidery. We will share selected pieces on July 30 for World Embroidery Day

Why?

NASA imagery has many functions. From studying distant galaxies to tracking ocean health, our scientists use these images to not only monitor our home planet, but better understand life beyond our solar system.

Embroidery is an ancient craft that has experienced a revival over the years. It involves decorating fabric or other materials using a needle to apply thread or yarn.  Have you recently taken up embroidery? What images are you inspired by? We’d love to see it.

Image Resources for #NASAEmbroidery Inspiration

NASA Images 

Hubble Image Gallery

NASA’s Ocean Color Image Gallery

James Webb Space Telescope

Landsat Image Gallery

Create and Share Your #NASAEmbroidery

Take a picture of your piece and upload it to Twitter, Instagram, Tumblr or Facebook. Make sure you use the hashtag #NASAEmbroidery so we know that you are taking part in the event and make sure that your privacy permissions allow us to view your post.

If the piece catches our eye, we may share your work on NASA’s main social media accounts as well as theme-related ones. We may also feature your art in a NASA Flickr gallery and our Tumblr pages. We’ll contact you directly to grant us permission to feature your work. You can follow @NASA on Twitter, Instagram and Facebook for embroidery creations, which will be featured from July 30-Aug. 1

Make sure to follow us on Tumblr for your regular dose of space!

[sorensolsikke]

here's some punk diy tips and ideas

[other than crusty pants and battle jacket, although we still love those greatly.]

why should you diy, when you can just find decorated items everywhere, you can ask. what if you are clumsy at painting or anything?

firstly, good questions. we diy so we don't give credit to the big companies who rule the world. we diy to get more independent from the system we dislike. we diy so to save money. to express uniqueness, recognize eachother and be recognized. and especially to have fun and feel cool. diy is not only about clothing, but anything you can set your mind on. of course, one cannot make EVERYTHING for themselves, there isn't enough time and energy. but making at least small steps are already a statement and more than nothing. also, helping small artists by buying their products is also pretty punk.

that being said, i provide you with some tips of mine, all gained from experience:

anything you drew/painted on, you will WANT TO protect. acrylic paint/markers + acrylic paint varnish/transparent nail polish/textile medium are your best friends. read after anything that's new to you.

i highly recommend working with old clothing or thrift shop finds when it comes to textiles, as it is environmentally friendly and you will stay in budget. Anyways, always make sure that the material you use isn't gonna be problematic. for example, if you want to do some patchwork, the material shouldn't decay easily (if it does, it will come off so quickly.). if you want to paint on it, it shouldn't be rugged.

you can not only draw/paint on your canvas shoes, but can also sew, embroidery (just make sure to use a thimble, plus floss instead of thread could make your work more durable), and add beads and trinkets to your shoelaces. in the case of shoes, never use glue (neither hot nor instant glue) – it will come off quickly. for some inspiration, i'll show you my shoes!

(the fake moss is literally unstoppable from falling off or getting dirty. risky idea.)

it's good to carry around water and food!! you don't even have to pay for decorative water bottles and food boxes, as you can draw on glass and plastic just fine with acrylic markers. just don't forget to paint transparent nail polish all over your drawing. in at least two layers. don't be lazy or laid-back. even posca comes off while washing the dishes. and you WANT TO save your reference pictures/final designs, as the case of emergency is likely. but after all, my water bottle is exactly fine after six months, with no accuring problem.

if your current best option to get stickers from is aliexpress or overpriced decor stores, search for local artists and shops on instagram and tiktok, as it may be their most efficent way of getting you to know them. if it seems like you have no chance, you may can still find a print shop with the option of printing on self-adhesive sheets (at least in hungary, those are pretty cheap). and if you want drawings to print out as stickers, you may use your own or –ONLY IF YOU GET PERMISSION– other artist's work. not only good for decorations for like, headphones, but for vandalism too. WAIT WAIT who said that. who said it. not me. no never

(in case that's also impossible, you can create stickers by printing out/drawing a picture, cover it up in transparent adhesive tape, and then put some two-sided adhesive tape on the white side of the pic. it won't be that durable, but it functions.)

if you want to bleach-paint clothing, get some plastic brushes!! any other brush dissolves. draw your design first with chalk!! never forget to put cardboard inside the clothing, and to wash the finished work in a washing machine before you'd put it on. prepare to be patient with the process. and it's not dangerous to touch 5%-9% household bleach, just wash your hands soon after.

if you want your crusty pants to last veryyy long, wax them. look up on youtube jeans waxing.

some more things i made for myself so to give you some inspiration: totebag with pockets, a small crystal holder cabinet, badges, and i decorated some t-shirts, button-ups, an id card case, phonecase, laptop.

theoretically speaking, there is nothing that an individual would be unable to learn how to make, when it comes to diy. you can't imagine how easy it is to bake bread at home. consuming-focused media makes people believe that it's hard to make anything. of course, everyone has to decide about their own priorities, i don't want to convince or change anyone in here. and if you have any questions, send an ask!! i hope i had been helpful.

[hephaestiions]

day 7 of @hprecfest — the best of your OTP

wit's end with this prompt, went through all my oldest bookmarks to pinpoint what about harry potter & draco malfoy sank its fangs into me eleven years ago and— look—

i can't remember the first h/d fic i read, but it would have been from @dictacontrion's daily drarry quotes initiative— a splendid system queueing delicious h/d snippets that ran from 2013 to early 2022. dicta wrote many of my early h/d favourites, the stuff that really got me into this ship, but the DDQ initiative was my first exposure to what prolific reading & fandom engagement looked like. DDQ led me to dicta's curated recs here on tumblr and here on LJ— gorgeous selections that were a crash course in learning my tastes.

hungry for more lists (still didn't quite trust myself with ao3/ffnet's search functions), i found @capiturecs' meticulous & immensely navigable LJ rec archive + rec tag & @gracerene-recs' drarry tag. i still go back to these, especially for older fics i don't see recced all that much anymore.

@drarryspecificrecs' reccing & fic finding catalogues running since 2017 are something else; their work on their main blog, on @drarryspecificrecsdaily & as part of @lostdrarryfics (if i'm not mistaken) is an enduring force in this fandom. their consistent contributions put so many underrated fics on my dash i wouldn't encounter otherwise, and it's always a joy to get the tag notif when i post something on ao3. (also here's a drarry reccers masterlist curated by LDF, i haven't checked out everyone on it, but go forth & enjoy!)

@bridenore has been reading fic on a scale i can only aspire to, their continuously updating rec tag is such a diverse list of reads across tropes & fests. @mxlfoydraco's one-stop-shop masterlist is also glorious.

@thedrarrylibrarian's friends of the library initiative is such a fun take on showing love to fanwork & building community— every rec, interview & adjacent commentary felt like having a warm mug of hot chocolate with a friend. here's the masterlist!

i'm also loving the collaborative brilliance of @drarry-reccage ('get recced!' is phenomenal energy)— seven pals putting time into fresh recs. individual tags: @cailynwrites' tag here; @dontthrowsticksatme's tag here; @garagepaperback's tag here; @kk1smet's tag here; @mallstars' tag here; @pl0tty's tag here; @sweatersinthesummer's tag here.

i also love @sweet-s0rr0w's recs (masterlist & tag); i love how inventive she is with themes (the collaborative sex scene rec initiative is fucking inspired). sweet is also doing recfest, check out the tag!

@ghaniblue's monthly reading lists are always fun & fresh + acari's rec tag includes their recfest entries, featuring some drarry, some other ships (including rarepairs), so go have a look!

in general, i've always loved creative recs, so @onbeinganangel's embroidery recs were some of the most fantastic stuff to ever cross my dash (i was lucky enough to get one for my birthday a few years ago & it changed my life). wistfulrats themed recs + commentary were also brilliant. this author list by @bogglebeans was also wonderfully unique & had great takes.

and! of course! @sitp-recs whose blog & person are both gems, whose participation in this fandom is an absolute beacon of light. liv reads & recs with such infectious enthusiasm & i only realised how much of a love song reccing could be for works & creators i enjoy and admire through following her. here's her masterlist of masterlists & every link is delightful. liv also runs incredibly, incredibly kind initiatives, the hidden gems series stands out, as does running @yours-drarry blog which is a platform to send appreciation to fandom participants, so if you've got some love to show someone this holiday season, hop on over!

this is by no means a comprehensive overview of all the reccing that goes on in this fandom, i'm probably missing much more than i've counted (speaking of, if you rec & i've missed you, let me know and i'll follow your tag). but among the many things i adore about h/d fandom, the robust reccing culture occupies one of the top spots, not only because it shows appreciation for creators but because it's such a distilled display of excitement for participating in fandom— all of us poking each other and being poked to go look at that cool, brilliant, fantastic thing, jittery to wax poetic about it. reccers held my hand in fandom when i didn't know what i was doing, relentlessly cheered (other) creators on, cultivated a participative space for readers & lurkers and set the bar in so many ways.

to everyone who keeps the h/d fandom alive— reccers, but also writers, artists, podficcers, fest moderators, editors, cheerleaders, readers, lurkers, everyone, everyone, past & present: you are the best of this ship.

for all the love, time & effort you've poured into this space, thank you.

[opal-tea]

Light casts a shadow. The shadow cannot exist without the light.

ough so here's the thing i wouldn't shut up about for about a week lol. this took me roughly a month to complete. i had been looking at the Alice Asylum design bible and after crying for half an hour i decided i NEEDED to get this idea out of my head. i have always thought it would be so fucking cool if Alice wielded a giant pair of embroidery scissors as a weapon. and at first, i thought "well maybe i'll just draw her in the "miss stitched" dress since embroidery scissors kind of fit the theme of that, but I really? just wanted to draw my own dress as well? so i did, and it was a pain in the ass but it ended up looking really cool and i'm really happy i ran with this whole idea. i have been fondly referring to it as the "seamstress dress". i chose phthalo green specifically because of that meme that keeps going around abt the color. i just love it, omg.

i admit that a giant pair of embroidery scissors is quite possibly the least functional and most cumbersome kind of weapon anyone could wield. but it still looks cool as fuck and i don't care. down below are some concept sketches and a flat color version of the drawing sans the scissors, just so you can see more details of the dress.

if anyone has any suggestions on what else i should add to the image description for screenreaders, please let me know. enjoy~