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The finished product! Loft is a Link from @bonus-links by @ezdotjpg. The weaving process is detailed here for the alpaca overtunic. The undertunic was hand sewed in linen, and the amber necklace is hemp. Pleated pants were from a past project. Sadly, I do not own a Goddess Harp, so a Turkish lyre will have to do.
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Much gratitude to one of my partners for driving me out to Huckleberry Reserve Faron Woods and taking pictures.
This is some handspun merino I dyed with onion skins! Not a lot left for the weft, so may pick a different weft yarn in the morning after a good night's sleep. I was out camping all weekend and need an easy task for the evening
This took more time designing than making I think. It's based on an Ashford knitters loom, I was going to buy one and I still might get a bigger one later, but the idea was to make the sides of it all pretty and have multiple cross piece sets to make a loom the width of your current project so if you're making a 2" band you don't need to lug the 48" loom around.
I think most people just solve this problem by having multiple looms.
Each side piece is 2x6mm and one 3mm piece of poplar laser ply which has been glued together. The decorative pieces were cut out of the 3mm layer and painted separately while the rest was stained, after they were glued together it was finished with a Matt clear acrylic spray.
The cross pieces are Tasmanian oak and were not finished beyond a bit of sanding. The bracing pieces were a pain in the neck because they were too long to fit in the drill press and I can't drill straight to save my life so it took a couple of goes to get right. This is also the reason the different sizes are on hold until I need a different sized loom.
3d printing was used for the handles and ratchets and the washers between all of the moving parts
The reed was laser cut out of 3mm poplar laser ply as well, I am wondering if it would have been better to 3d print it, the edges are a little splintery.
Overall it went together a little tight, but with a bit of sanding everything moves as it should.
I don't currently have a long enough stick shuttle and at the price they are to buy vs how much effort it would be to make something even close to the same quality, well, it will be arriving on Wednesday and I'll start actually weaving then.
I tried looking at yarns for weaving some nicer cloth and uh I need to do a bit more research before I get into that (Ne 8/4? Nm 14/4?? 10-18 epi??? What is a sett???? Do I care if it's unmercerised?????????) SO, the acrylic wool from spotlight is ABSOLUTELY FINE for testing the loom.
I'll post more side detail pics later, I ran out of photo slots.
Marking my second project on a rigid heddle loom, I finally got around to finishing my not-a-cosplay-I-swear tunic to be linked (heh) in the future.
(Edit: Final product here!)
This tunic splits the difference between the original reference image here, and the comic pages. The only noticeable factors are that the hem's curve is somewhat shallow, and that the sleeve details are three parts (as versus five).
The tunic shaping is also modified to be more... Tunic-y. That is to say, made of rectangles and straight seams—so no set-in sleeves, and a bit of a wider shape to account for the woven fabric type.
It will be accompanied by a linen under-tunic and hemp-amber necklace. Made because they all look nice together, but also separately.
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Starting out, I calculated how much yarn would be needed for the body (incorrectly), and set up all of my warp threads.
After my first project's hiccups, the warp threads were individually tied so as to minimize risk of uneven tension.
For whatever reason, I decided to curve the hem as part of the piece, rather than enforcing, trimming, and hemming to a curve. (This was also incorrect—or at least a bad move.)
The full, finished back piece is pictured above, and is a little more loosely woven than the front panel, but is still absolutely warm enough to justify material costs.
The neckline for the front was made in two parts starting at the split. The widest part of the neckline was essentially cut away. All fringe was woven in on the neckline (and the hem), and the shoulder seams were bound together with this method as well. Side seams were just back-stitched.
The neckline was crocheted with a lighter yarn as a border, and a faux closure was attached to match the reference.
As mentioned, the smart move would have been to curve the bottom of the tunic through enforcement, trimming, and hemming, so to make the front more even with the back, this is what I ended up doing, despite that it was... Already curved.
The sleeves deserved a gusset, especially because those aid a place that would normally be a weak point on regular fabric, and would be extra prone to pulling on something handwoven like this.
Finally, sleeve decorations were chain-stitched in the accent color to match the neckline.
It took several months of intermittent work to finish, but could have probably been less had the tall task of weaving in several hundred loose threads not daunted me so much.
It was made from alpaca, which I justify via my intention to wear this as it gets colder in the northern hemisphere, but also because I could not get my hands on hemp yarn (which would have made more sense in the context of the setting).
In Calabria weaving has its roots in Magna Graecia, the civilisation built by ancient Greeks on Italy's southern coast. Still, until fifty years ago many Calabrian families owned a hand loom at home and self-produced most of their fabrics.