Slat Chairs - Day 1

We have a very small camp at Pennsic. It is a small group of us close knit friends that camp together with our kids and most years the kids outnumber the grown ups. We like to keep it small and family friendly and the original idea was to be as period as possible. Of course we still have propane stoves and toys and crayons that are not strictly period but we try our best to keep the glaring mundane stuff out of site. Money and time are always a factor but every year we try to do a little better. This year we are trying to make our common areas more medieval looking. Our biggest offense (other than the Coleman lanterns) is our mundane camp chairs. I have a medieval looking chair I purchased a couple years back and that it is great for our dining table and it was definitely a splurge for me to buy it back when we had the means to splurge. We art thinking for the dining table we will try and get some 2nd hand or inexpensive new wooden folding chairs and that will look better than our current situation. This weekend we drove to my in-laws so we could take advantage of my father-in-law's most excellent woodshop in the basement and his considerable expertise to help us make a few slat chairs for around our fire pit.

In 2000 we had him help us make our canopy bed from a pattern we bought at Panther Primative (which is where we got the tent from) and we are still enjoying our bed. Last year I bought the pattern for the chairs and it took many months of nagging to get to this point today :) I was not really in on the discussion of what wood to get, and didn't go shopping with the guys so I can't get specific on the deviations from the pattern. I think it was just the thickness of the slats.

The pattern for the chairs we are making one "double wide" loveseat, and 2 adult size chairs. 

Frederick's material list

 

 This wood will be used for cutting the rails for the chairs the bottom picture is the wood for the slats.

The wood we used is clear white pine. It is really nice quality.

We decided to seal the final chairs with Thompson's water sealer so they can withstand many years of the harsh Pennsic weather.

Frederick glued the paper pattern for the chair rails to a piece of Masonite to make it a more sturdy pattern. (After this picture was taken we made him put on safety glasses!!!)

I got to use the chop saw!!!! My job was to cut 13 x 3 feet sections for the slats on the double wide chair and 26 x 18 inche sections for the 2 single person chairs.

Chopping away with my face shield (Safety first!!!)

 

 

My father-in-law setting up the router for me.

Frederick sanding down his template

 

 

The templates at the top of the picture and the wood for the "cleats" (rails that add stability to the chair) are in the bottom of the picture.

Drawing out the chair rails on the wood using his awesome templates.

I have moved on to the router. Both long edges on one side of the wood will be rounded. The edges will be rounded by my Father-in-law since doing the edges are way beyond my skill level.

Frederick is using the chop saw to cut down the chair rail wood to make it easier to work with.

Frederick working the band saw to cut out the chair rails. These chairs would have been so much more work if we didn't have all these great tools to help us.

Frederick sanding the chair rails on the belt sander. You can see all the sawdust in the air.

 doing the final sanding on the chair rails using a fine grade sand paper.

Frederick said I needed to put some muscle into it!

 

Frederick proud of his "bone pile".

Chair rails for the double wide chair.

 

Cleat slats all routed and sanded.

 

Slats for the single size chairs.

 

Chair rails for the single chairs

 

More slats for the single size chair.

Slats for the double wide chair.

 

Tomorrow we just need to finish sanding the chair rails on the belt sander, use the router to round the edges of the slats, drill holes for the screws put it all together then stain. 

 

My silk painting experiment

I have wanted to make silk banners with my hubby's heraldry on it for many years. I have seen so many beautifully painted silk banners and the people who made them always assured me it was easy. The problem was I didn't know what the right paints for the job. I am a big fan of Dharma Trading (I have been getting tie dye supplies from them for years) but there were so many choices I didn't know where to begin.

The original plan was to make 2 long thin silk banners with my husbands heraldry on them. The first one is going to go on a finial on the top of our round pavilion and the second will go on a banner pole that my son can carry when we walk with my hubby to battle. Our camp at Pennsic would also love to have silk banners lining the walls of our common tent with all or our personal heraldry along with the baronies and kingdoms we belong to.

I decided instead of continue my fruitless search for someone to walk me through it, that I would use my chemistry training and run an experiment of my own, and it was so much fun!!!!

I ordered two starter kits from Dharma, the first was the Jacquard silk colors (green label) starter kit which had a gutta resist  and the other was the silk painting starter kit and that one had a water based resist.  The first kit had silk dyes that needed to go through a chemical rinse and the gutta would not wash out. The second kit has silk paints that needed to be heat set with an iron and the water based gutta will wash out in warm water after setting. I also purchased a set of silk hankies so I could mix and match the kit contents and see what I liked the best. Here are my results.

      Kit #1

 This kit contained the Jacquard silk dyes and the gutta resist. The dye has the advantage over paint because when it dries it feels like part of the fabric, it is actually dying the fabric as opposed to paint that just lays on top. This test did not work out as well as I had hoped because I think I had a bad batch of gutta. It was so thick and dried out it was extremely difficult to get it through the metal point on the applicator bottle. As a result some of my gutta lines were bad and I had a lot of bleed through. When they get in a new batch of gutta over at Dharma Trading, I would like to try again. It did seem I could get a thinner line with this gutta, with the water based gutta it spread out a lot more when it got on the fabric. I think also when doing the silk banners for the common tent it might be nice to use a black colored gutta and it would look a bit like stained glass when done.

 I love to collect medieval style coloring books. The bold lines in the designs are great for tracing through fabric for an embroidery design or applique. And now I found another great use for them, silk hanky designs :) Since I was only using 12 x 12 silk hankies I used an inexpensive 12 x 12 wooden frame I bought at Michael's to stretch out the silk. Now that I feel I will be doing this a lot more in the future I will invest in a fabric stretcher frame . I pulled out my little light box to trace the design but the silk was so fine I didn't need it.

 Here is the silk hanky with the design traced on the silk in pencil. I used rubber bands and safety pins stretched over the push pins that came with the other kit to really stretch it out.
I put some of the gutta into a small squeeze bottle with a metal tip and went over all the pencil lines and made sure that all the lines that passed over each other had a good solid connection. The gutta stops the dye from spreading to an area you don't want it to go into. As I mentioned before my gutta was hard to work with so I had a lot of bleeding. After the gutta is put on the silk I let is sit and dry for about an hour or so before going in with the dye.

I applied the dye with the sumi brush that came with the kit. I really liked how the brush came to a point but I washed it in warm water to try and get the dye out before the next color and the brush totally puffed up. Maybe I shouldn't have washed it, but I would be surprised if these were supposed to be one use brushes. After the dying was all done I let it dry for 24 hours. Then I rinsed it in the fixative bath according to the directions on the bottle.

The finished result!!  The color remained nice and bright I was really happy with the results despite the color bleeding. It actually kind of has a water color effect. When you feel the silk you can feel the gutta there but not the dye.

 Kit #2

 

 

 This kit contained Dye-na-flow silk paint and water based gutta that can be washed out after you heat set the paint.

I traced the pattern in pencil and attached it to the frame the same way as with the kit #1 sample

 

The water based gutta was much easier to work with. It glided out of the applicator bottle easily but it did spread out a little more when it hit the silk. For my husband's heraldic banner that shouldn't be too much of a problem since it is green on white. I will just shift the gutta over a little bit onto the white part of the design. After I applied the gutta I let it dry for about an hour before adding the paint. 



 

The paint went on easily as well. The colors were nice and bright.

After the painting was done I let the design dry again for 24 hours. Then I went over it according to the directions with a hot iron with a scrap cloth under and over the design. After it was heat set I washed the silk in warm soapy water and the resist easily came off and the paint stayed intact.

 



The final result. It was very easy to work with both the water based resist and the dye-na-flow paints. There is definitely a difference in the final appearance. This definitely has a "paint" appearance to it, and it does slightly stiffen the silk where the paint is. For the heraldic banners hanging on the walls it would be fine, but for the heraldic banners we want to flow in the breeze we will definitely go with the dyes. that leads me to my next experiment........

Silk Dye with Water based resist 

 



 In the Dharma Trading catalog it says that the water based resist doesn't do to well going through the chemical fixative used with the silk dyes. But I was in the mood to experiment and since I didn't have a good result with the gutta resist in the first kit (I didn't know for sure it was a bad batch until I wrote this post and saw it on their website) so I forged ahead in the name of science!!!

I traced the design using pencil, stretched the hanky on my frame, added the water based gutta and let it dry for about an hour. Then I added the Jacquard silk dyes using the sumi brush and a regular paint brush. I let that all dry for 24 hours and then put it in the chemical fixative rinse. The water based gutta had no problem washing out at all!

 The final result. I was very happy with the result I got from using the jacquard silk dye and the water based gutta. I think this is the combination I am going to go with for the heraldic banners for my hubby. I still have lots of everything left from the starter kit. I think I will have to host my own silk painting workshop for my medieval friends.



Fleece to Frock - Black Welsh Mountain sheep raw fleece to 14th century surcoat

Author's note: This is the tale of my project to make a 14th century surcoat starting with a raw sheep fleece. This was a very long project, and it even sat unworked for a few years. I hope in the future to post these projects in installments while they are in process in the future. Since this is my most important project right now, I am posting everything I have done up to this point. My research for this project will be posted at a later date (like after I figure out what is the best way to post it to this blog). I started this project not really knowing what I was doing and I learned a lot in the process. I purposely used some modern prep in the making of this dress. It was a conscious decision to do so for one reason or another. I have noted it all in my research but not here in this blog post. I welcome your comments and insights if you have done a similar project or if you have some researched information you would like to share. But please be nice :)

I learned to spin at Pennsic 34 (in 2005 for you mundanes). It was not long after that I, like so many new spinners who had come before me, had the bright idea of making a medieval dress from start to finish. Raw sheep fleece to finished dress. I knew that was going to be far in my future especially since I had no immediate plans to start weaving.

 Fast forward to 2011 and the release of the Fleece and Fiber source book. That year all it was all the rage to do a breed study along with the book. I started one too, but I wanted to go a step further and do a Medieval breed study. Here was the start of my research. Along with the book and breed sampler that I got from the Spinning Loft I also got the companion video with Deb Robson. When she got to the Black Welsh Mountain sheep I new instantly that I wanted to make my first fleece to frock out of that wool. Of course it was a rare breed and REALLY rare in North America , but luckily I was able to find a fleece in June (a few months after sheering season) on Etsy at Blue Shepard Farms. I was on my way!!!!

Picture: Black Welsh Mountain sheep

I was super excited to get started. But I had some time to think about how I would go about it. I decided in order to finish the spinning in a "reasonable" amount of time I would spin on my spinning wheel and not my drop spindle. The fiber length was pretty short, so I had to card it. I didn't own a loom but as the cleaning, carding and spinning was going to take a while I had time to deal with how I would weave it. I don't think I originally planned on it being an A and S submission and I had only done casual research on medieval spinning up to this point.

When the fiber arrived it was very dirty, as raw fleeces often are. It was in better shape than I had hoped but I had not been trained in buying and sorting raw fleeces so I just started washing it all. ( I have learned my lesson!!).

picture of fleece the day it arrived.

 

Washing the Fleece

I used Unicorn Scour Power to wash my fleece. I put the recommended amount of soap in a bin of almost boiling hot water. I then placed as much fleece as I could get in a mesh bag without stuffing it and placed that in the soapy water. I let it sit for the recommended amount of time ( I think it is 15 minutes ), then I poured out the very dirty water and bag of fleece into the tub, refilled the bin with hot water approximately the same temp that was just dumped ( I used my best guess, not a thermometer) then added another dose of scour power (again using the recommendations on the back of the bottle) and let soak again. Dumped water and did a couple of soakings with just water and no soap. I could have used a few more soap dips because I didn't get all the grease out of the fleece, but I got the dirt out. I wound up not minding the grease and that all came out in the fulling (see below).

 

Picture: dirty fleece in the mesh bag. It was washed in a Rubbermaid bin in our bathtub.

 

Drying the fleece

When I took the mesh bag out of the tub after its last rinse it took a ride in our washing machine on the spin cycle. This helped to get a lot of the water out. I then put the fleece on these stackable sweater drying racks I got at a linens and things (remember them?) I had to keep and eye on them to make sure the squirrels didn't try and steal my wool while it was drying (it happens, google it). It turned the fleece over periodically while it was in the sun and if I remember correctly it took a few hours for each rack of fleece to dry. The whole washing and drying process took about 3 days.

 

Picture: mostly clean fleece sitting in the sun to dry. You can see all the hay and grass that was in the fleece.

 

Carding the cleaned wool

 I got out my trusty Schacht wool carders and carded up a basket of rolags. To keep my wrists from getting to fatigued an in order to keep from getting really bored I usually card up a basket at a time. Spin that up, then card up another basket. The first basket of rolags really wound up being a sample skein of yarn, because after it was plied I decided it was to thick a yarn to be used for this purpose. It is now part of the samples I bring with me when I demo this project so people can handle the finished 2 ply yarn.

Picture: Basket with all cleaned wool in it with my hand carders on top.

Picture: filling the card with locks.

I recently learned the technique of teasing the locks apart with my hands before I put them on the cards. It helps to separate the fibers so it is less carding to be done, it helps to get some more of the dirt and veggie matter out of the wool locks and it helps to separate out the fibers that are too short .See the little fiber clump in the bottom right of the carder in the above picture? That is from a second cut done when shearing the fleece. That is way to short to be spun and just makes a little lump in the spun single. Guess how I know that?

 

Picture: carding away in my favorite spot on the floor in front of the TV.

Picture: after a few passes with the cards I remove the carded fiber and put it on the opposite card and repeat until it is carded to my satisfaction.

Picture: Good enough for me. Time to make a rolag.

 

I don't do anything special when I make a rolag. I just losen the fiber from the card and then roll with my hands to make a tube. Some people use a pencil or dowel in the center to make a really tight rolag, but since I had a lot of veggie matter and 2nd cuts in these that I had to pick out as I drafted ( I will definitely sort the next fleece better) I didn't bother making a tight rolag.

 

Picture: my basket of rolags ready to be spun.

 

As I look at this picture I realize just how much junk I allowed through in my original rolags. Originally I didn't want to throw out ANY of the fleece I paid good money for, but now I realize that it makes for crappy yarn. There was a 2 year gap between the spinning of the first basket of rolags and the second basket so the final yarn looks much better than my first sampler does. My next fleece to frock will be a much better quality as well. My total hours spent carding was approximately 21 hours. I just finished carding the last batch of raw wool into rolags this week so I hoping that I can actually meet my deadline of having the dress finished for this Pennsic.
 

Spinning wool into yarn
This is by far the most time consuming part of the process. I am spinning on my Schacht Lady Bug wheel using the same backwards draw I would use on a drop spindle. I have also spun some of the wool up on a drop spindle so that I can compare both ways of spinning in my demo material. Other than the fact that I spin a little better on the drop spindle (I have more experience with the drop spindle) it is hard to tell what is what. I also spun on each for an hour in order to get my yards/hour ratio. I am keeping track of all the hours spent on this dress so that I can charge a labor rate and put a price tag on the dress just to compare it to modern clothing prices. I calculated my spinning mileage to be 46 yards/hour on the drop spindle and 70 yards per hour on the wheel. I can use this to calculate how long it would have taken me to do the same yardage all on the drop spindle. So far I have spent 46.5 hours spinning.  Just like the carding I like to mix it up when I spin, so I fill all three of my smaller bobins with singles then I put on my bulky flyer for plying. I don't have to do it this way but I like having the larger skein of plied yarn that the bulky bobbins allow me to have. I have been spinning all the singles Z (clockwise) and have been plying S (counterclockwise). Something I would like to try in the future is playing around with Z and S spinning and the difference it makes in the final weave. I saw a lovely presentation of this at Kings and Queens Arts and Science champions this past year in Dragonship Haven. It was really amazing work.
I have one basket of rolags left to spin then ply it all up, set them and then on to weaving!!!

Picture: My ladybug wheel. The bobbin on the upper right of the lazy kate is textured yarn for another project.

Picture: Singles on the bobbin

Picture: The original sampler yarn that was too thick, but still very nice.

Picture: Spinning up some singles on the ladybug wheel

 

 

 

 

Weaving the finished yarn

I haven't gotten to the point of weaving the finished fabric, but I did do a bunch of samples. In the course of my research I have decided to full (or felt) the final surcoat. I have read some of the ways they did this medieval and I think a more modern way of fulling (felling) the final fabric will suit me better.

I did a lot of thinking about what loom to get. I knew that most of my weaving would be for medieval projects so I didn't mind getting something simple. My biggest consideration was space, we just don't have much space at all so I decided to go with a rigid heddle loom that could fold up. I liked the Schacht flip loom because my project could stay on it if it was folded and I absolutely LOVE my Ladybug wheel and I was guessing the same quality standards would apply to their looms as well. I was right. I purchased the 20 inch width loom because I figure if I am making fabric for garb or cloaks it would be useful to have the wider width available. I also like that I can also add another heddle if I want to give me more weaving possibilities. But not right now, I am still in the very beginning stages. I don't even have a warping board yet, so my decision to make this all one color warp was an easy one :).

 I wove a 5 inch wide band on my rigid heddle loom and wove enough in length to get 3 square samples and one slightly longer one. I decided to keep it simple and used the exact same warp as weft and just using one heddle gives me an even, or balance weave fabric or "Tabby" weave. The Sett is 9epi and 9ppi ( 9 warps strings per inch and 9 weft strings per inch).

 

I plan to show more detailed pictures of the tools and procedures that I use to obtain the finished fabric. Those will happen as I go along with the project. I won't do any more weaving till all the spinning is done, because I am not entirely sure how much yardage I will have. I still don't know how long this surcoat will be.

Picture: My loom all warped up and ready to go.

 

Picture: The first couple of inches of weaving. Hard to see in this light.

Picture: Sample #1 this is a 5 inch by 5 inch piece of woven fabric. I soaked it in warm water with a little bit of soap. Then rinsed it and layed flat to dry. Nothing else was done to this fabric so that I could demo what the initial fabric looks like right off the loom.

 

 

Picture: Sample #2 I took a 5 inch by 5 inch sample from the original piece and hand sewed the edges. Then I felled (of felted) by scrubbing it and alternating it between a bucket of very hot soapy water (the soap was dish liquid) and a bucket of cold water. I did this for about 15 minutes until it shrunk and gave me a fuzzy appearance (this also makes the fabric a little water repellant, a nice plus). The final sample is 4.5 inches by 4.5 inches.

Picture: Sample #3 in researching I discovered that they would stretch out the fabric after fellling to try and regain some of the width and length lost in the process. I was surprised that I was able to easily stretch the fabric with T-pins on a blocking mat used for blocking knitted items. The final sample size is 5 inches by 5 inches so I was able to regain everything I lost in the felling.

Picture: Sample #4 I wanted to simulate "teasling". This is were they use the teasle plant which is very prickly. They would brush the fabric with them to raise the nap then shear it so that it was not fuzzy. This makes for a thinner and softer finished fabric. Having no idea where to get teasles and thinking I would be picking bits of them out of the fabric after brushing it anyway I decided to use a plastic bristled hairbrush. I cut back the nap using a pair of applique scissors. I was not sure if I would do this process on the final fabric for the dress, but the results on the sample are stunning. Black Welsh Mountain sheep is an itchy wool and not meant to be worn next to the skin (hence the surcoat and not the dress). After raising and shearing the nap the fabric is noticeably softer and has a much nicer drape. I can only imagine how laborious it will be to do on the final yards of fabric, but the outcome might just be worth it.

 

Thanks for sticking with this post to the end. From here on the posts on this project will be smaller as I will be updating as I go along. I hope I can keep up my momentum and have it all done to show at the A & S display at Pennsic this year. I have never shown anything in an A & S anything so I am more than a little nervous!!!!

 

14th century Heraldic Dress

I haven't been very good about posting my projects but I have them all organized and will start putting them up one at a time, no matter if they are finished or not. Here is a list of what I have waiting to be put on this site:
-day board cooler
-fleece to frock
-silk banner painting
-Turkish court garb
-Ottoman embroidery sash
-mudthaw embroidery

Today I am going to show my 14th century heraldic dress. This dress was dreamed up about 5 years ago when I took a fantastic spinning class called "spinning with a purpose". The class was taught at Twist Knitting and Spinning in New Hope PA by Judi Lehrhaupt. It was in that class that I first imagined spinning my own silk embroidery floss. Also in that class she stressed the importance of making a plan for everything you make and keeping the plan, drawings and samples in a 3 ring binder while you were working on it. She of course was referring to spinning projects but I had already started keeping track of how I made my garb and even have a book I keep with directions. This was something I could really use.
I wanted to do a heraldic dress with my Hubby's arms on it. His heraldry is a real pain in the ass (excuse my language) and I had long ago made a heraldic dress with my heraldry which was designed simply because I thought about having to sew it in the future.

 At some point I should put here his technical specifications of his heraldry, but since it is not my thing I will skip it for now.  Here is a picture of Frederick in an old surcoat (that needs updating too) with our very young son and you can kind of see his shield with the heraldry on it.

 

You can clearly see he was not thinking about someone having to sew it when he created it. In any case he really appreciates it when we all go to the field in his colors and I had long ago promised to make us all heraldic garb and silk paint his banner so we could go to the battles with him at Pennsic (silk banner painting is finally in the works).

I decided since this would be mostly a hot weather dress that silk would be the best choice for the dress and I ordered raw silk in green and white and started making drawings and samples of silk embroidery floss. Initially this was going to be a full scale A&S project with documentation and everything. I was even going to hand sew the dress, I figured might as well since I was going to have to do the applique and embroidery by hand. This was in 2009 after I had been laid off from my job and I was working on my tie dye business and I had a great craft studio in my basement. I started sewing the underdress and the silk painting didn't go well before Pennsic (I didn't have the right materials) so I decided to shoot for getting it done by the following year.

Well life had other plans for us and one thing lead to another and the unfinished underdress and uncut raw silk sat in a tote bag until I took it out a few weeks ago.

I decided that before I cut anything else I needed a new body pattern. My measurements have changed quite a bit and I am embarrassed to say that I wasn't making the sleeves on my 14th century dresses with the seams in the back so I needed to start from scratch. Thanks to the help of my medieval mom and sewing muse, Lydia,

we measured me, made a pattern and she showed me how to get a sleeve pattern with the seam in the back. My way of making sleeve patterns just didn't work.
I decided to scrap the idea of making this and A&S projects since I have already started my fleece to frock project( more to come on that later) and since I had already had this sitting in a bag for close to 4 years, I didn't want to wait to do more research before I started sewing. I also scrapped the idea of hand sewing the dress and also scrapped the half sewn underdress since it was from the old pattern and was made out of broadcloth. I ordered some very nice linen to use as the underdress and I will be doing the parti coloring the opposite way on the underdress (green on right white on left, the dress is reversed) just to be cute.

I cut out the pieces for the dress and sewed the white part together completely. I will not do embroidery on that part. I am still not sure where I will applique the green scale(s) of justice. but that doesn't need to be figured out just yet. I will be lacing the dress up from the back and the sleeves will be sewn so no buttons will be used. I am going to applique crenellations like trim around the neck, bottom and center seam of dress. So I cut the white center piece 4 inches wider so I can just turn that into white applique crenellations. Unfortunately after I finished the neckline crenellations I found an awesome tutorial for doing applique which would have made it come out much better. But that is OK. I decided not to make this an A&S dress so it just needs to pass the 10 foot rule for looking good. I just have to keep telling myself this!

Here are the pictures of the green half and white half of dress so far with neck crenellations done. (with bonus pug picture)

front of dress (notice added width for crenellations)

Back of dress

Green front (side and sleeve not sewn in to make embroidery easier)

back of green side with my helper Nala.

 

I know that doing the embroidery would have been easier with the dress pieces not sewn together but I did it this way so that I could line up the scales better and I wanted to have crenellation neckline also done to help with placement.

I started the embroidery on the sleeve. And even though I did sampler I didn't do a sample on green cloth and I am not overly happy with the results. part of the problem is that I am using hand spun silk. This of course adds a coolness factor to the garb along with some more authenticity but despite my mad spinning skills my floss is not uniform at all. I think I have overcome this obstacle somewhat in my embroidery and since the final dress will have a whole lot of scales on it, I am hoping that 10 foot rule really helps me out.

I am doing the main body of the scale in laid and couching stitch and the cross arm and the pans in split stitch. I will get a more close up picture when I am happier with my results ;)
So on and on I need to go with embroidering before I get to the next step. The biggest question I have before me is "should I put a lining in the dress or not". I keep going back and forth. I feel that the dress should be lined since I am embroidering it and it will help give the silk more structure, but I really don't want to add another layer of fabric to a dress that will already have a linen under layer and will be worn at Pennsic. Plus the dress will flow beautifully without a lining at the bottom. I suppose I will just have to wait and see how it looks when finished.
I am by no means and expert when it comes to research on garb and I although I feel I am an advanced sewer, I still have a long way to go on my research knowledge. One thing I have learned and still have a hard time with, is that looking at extant pieces and embroidery and the like, is that things are not as straight and even as we expect our textiles to be. It is hard to get embroidery to look perfect when it is done by hand with hand spun silk. Not everyone had expert skills and materials. We are so used to machine made textiles that things that are handmade and not perfect look "sloppy". I am trying to get over it. I will never get to be an expert if I don't try. We all have to start somewhere so I am glad I took the A&S pressure off this dress. Getting myself back into sewing after years of not making fancy garb was hard enough. More to come as things progress.