lisaeldarkmorn

[lisaeldarkmorn]

Incorporating accent fabrics

Howdy! Today, we're going to talk about using accent fabrics when designing garb. I love the pop of color and contrast that a good accent fabric can provide--it can take your piece from simple to stunning. It can also be fairly simple--you can just swap out pieces that you were going to have to cut separately anyway.

The most important parts of including accent fabrics, in my opinion:

Try to use a fabric of the same material type, fiber content, and weight. If you don't, make sure you pre-shrink and dye test your separate fabrics to help prevent any issues that might occur when combined.

Use a fabric that doesn't clash with your base fabric. You can refer to some information on color theory, which I plan on discussing in detail later.

Use accent fabrics symmetrically.

Note: Anything I suggest here can be turned on its head for artistic effect. Maybe you want that tunic to be blindingly clashy! Maybe the accent fabric is a different weight for airiness.

Places where I like to use accent fabrics:

Gores/godets

Neck facings/sleeve facings

Trim/appliqué

Sleeves

Waistbands

Pocket linings

Bodice linings

Accent on a neck facing

Accent colors on gores and trim

Matching the lining to the garb accent color

Yellow as an accent color in the appliqué

Accent color trim

Using the accent color in the gores and satin stitching at the shoulders

These are just a few ideas! How have you used accent fabrics? Happy crafting!--<3 Lisael

[lisaeldarkmorn]

Clipping curves; or, how to get curves to lie flat!

Happy Tuesday, crafting friends, and welcome back to #garbglowup! I have an interesting topic for you today!

Have you ever been reading a pattern that tells you to "clip the curves"? If you're like me, that sentence is...completely unhelpful. What the heck is that supposed to mean, anyway?

Or, maybe you have sewn something together, like a neck facing, and when you turn it out and iron it, you get some weird puckering. That doesn't make sense, you say. I did it exactly like the pattern said!

The solution is clipping curves, which, to put it simply, is making small cuts in the seam allowance to help fabric stretch or pinch the way you want it to.

There are two situations when you want to clip curves:

Concave seams: Concave seams are formed when the finished edge of a seam constitutes the inside of a curve. (For example: a rounded neckline.) This causes a seam where your seam allowance wants to stretch.

The soft curve of the neckline is a concave seam, whereas the top points of the keyhole are convex seams.

To give the fabric a chance to stretch to form the curve, cut slits or make a series of wedge-shaped triangular cuts into the seam allowance just up to the seam. DO NOT EVER CUT THE SEAM THREADS. (If you cut the seam threads, the seam unravels or breaks.)

This is the back panel of the same tunic--it doesn't have wandering keyhole syndrome. :D

Convex seam: Convex seams are formed when the finished edge of a seam constitutes the outside of a curve. (For example: a belt favor with a rounded bottom, or a pointed cap sleeve, or the points of a keyhole neckline.) This causes a seam where there is more fabric on the seam than necessary, which can cause bunching. Clipping curves or cutting off the corner is essential to achieving good, sharp points.

To remove some of the fabric to prevent bunching, cut out a series of triangles along the seam allowance on your curve. Cut up to the seam or a thread or two outside of it. Again, DO NOT EVER CUT THE SEAM THREADS.

There you go! Clipping curves isn't so scary now, is it? Happy crafting!--<3 Lisael

[lisaeldarkmorn]

Sorry, guys--between Christmas and New Year's day and being sick, I missed a couple updates! Regularly scheduled blog posts resume next Wednesday at noon. :)--<3 Lisael

[lisaeldarkmorn]

Showing your persona through your garb

Happy Tuesday, friends! I posted a special editorial last week about the value of cultivating personas and roleplay, but today, we’re all about constructive positivity in action! Today, let’s GET HYPE about showing your persona through your garb! We’ll start with some theory, then move on to some borrowed ideas, and then end with some examples.

I must also recommend this excellent article. I found it when researching costuming for Dystopia Rising, but it’s applicable to any situation where you’re trying to create a character.

1) Have a cohesive idea.

This personally has been my struggle in demonstrating my persona through my garb. I’ve had many ideas over my Amtgard lifetime, and they don’t all coincide.

Ideally, you should be able to encapsulate your persona in 3-4 words. My current persona garb goal is “Valkyrie Sailor Moon”.

How is your persona similar to you? How is it different? What are your persona’s ideals, hopes, and dislikes? (If you need some help fleshing out your persona, check out this survey by Lady Dahlia Aed of the Wetlands.)

2) Have a focal or statement piece.

I think a key to defining a persona is to have a signature garb piece. This is something that when other players are asked to quickly describe you, this piece comes to mind.

For Amtgard, this can be tricky–we all have lots of garb that we want to wear!–but I think Lisael’s defining statement piece is a sluff coat with black rus pants. This is kind of how I see myself mentally when I envision my persona.

Identifying my signature garb piece is much easier for my Dystopia Rising persona. Filly wears a distinctive off-white infinity scarf. Practically, the scarf makes me identifiable in the dark, but persona-wise, the scarf is practical and multi-purpose: I can use it to wipe sweat, as a sling for a broken arm, to help filter dusty air, or to staunch blood or apply pressure.

3) Focus on the details.

One of the best ways to elevate your garb from “costume you wear” to “clothes your persona wears” is to focus on the littlest of details.

For example, if your persona is historically based, do a little research regarding the crafting techniques and technology of the time. You don’t have to create everything authentically, but for example, how did people of your persona’s culture fasten their garments? What colors of dye were available in the time period and region, and would they be available to someone of your persona’s socioeconomic status?

You can also display important parts of your persona’s character and personality through minor details.

Does your persona follow a faith? Would they display this, and how? They might wear a religious symbol or embroider their garb with runes of power. They might have a religious tattoo. They might carry faith beads on their belt. They might have scrolls with prayers hanging from their tassets.

Is your persona frugal, or do they come from a poor background? They might wear patched or “upcycled” garments. Their garb might be mismatched because it’s comprised of what they have scrounged. They might have limited accoutrements, or they might have a treasured, tarnished, gaudy bauble.

Is/was your persona a part of the military, or did they receive military training? Their garb might be precisely fitted and pressed, or it might incorporate military-style elements, like epaulets or blazoned emblems. They might look very orderly, with limited doodads.

Is your persona a traveler? They might have extra pockets for storing supplies on their person, or they might have extra water containers. If they traverse the wilds, they may incorporate more natural decorations in their everyday apparel, which could change with the seasons.

Is your costume practical wear for your persona’s daily activities? Long, billowy sleeves get in the way of bowstrings. Dresses can be hard to move in. Corsets make it difficult to breathe, which is necessary for athletic activity.

These are just a few ideas. Most or all of these can be incorporated into field garb without hindering your ability to be battlefield effective, and these ideas can also be incorporated in ways from free to fancy.

A few borrowed ideas:

I definitely feel there are a few key concepts we as Amtgarders can borrow from Dystopia Rising and other full-immersion LARPs. Just a highlight:

Distressing clothing. Surely not all of us would have immaculate garb in this fantasy world. Tea-staining, strategic fraying at points of stress, and visible repairs are easy ways to distress garb and show that your persona lives in a realistic world.

Form over fashion. Would your character and their clothing really be able to survive the field of battle? Will you (the player) hurt or endanger yourself or others because of your costume?

Convert pre-existing garments. One way to make your garb realistic is to use real clothing as a base. Sometimes off-the-rack items (like scrub pants or a flowy blouse) can be converted into good, immersive garb. Thrift store finds are great.

NOW FOR ALL THE PICTURES!

Suki (Asuka Nosaka, for Amtgard). Suki has a strong Norse flavor in her garb. One of the things I love about this ensemble is that all the pieces compliment each other, but they don’t all have to be worn together to make sense.

Another shot of Suki showing the layers. Suki also uses her hair to add to her garb and persona.

Suki showing the undertunic and her hairstyle from a different angle.

Another shot of Suki showing the layers of the caftan and undertunic. The garb pieces all complement one another. The undertunic has gray and turquoise at the sleeves, creating a smooth transition where the white of the undertunic peeking through might have been jarring.

Aidan (Kristoffer Harrington, for Dystopia Rising). Note the fraying and discoloration detail, the pauldron made out of reclaimed material, the patches and hanging pieces, the cup and canteen, and the kneepad on the knee that he kneels on when he shoots.

Aidan (Kristoffer Harrington, for Dystopia Rising). Another shot of Aidan from a different angle showing other parts of his ensemble.

Boudreaux Percival Oilspill/BP (Julian Cearley, for Dystopia Rising). Note the fraying and discoloration on his garb. The details are nice, too–the netting and bucket hat are because he plays a Baywalker, which is someone from one of the coastal communities. His vest is beautifully pocketed and discolored with black for ink stains, because he plays a printer. (Photo courtesy of Heather Halstead, for Dystopia Rising: Texas)

BP and Dr. Centex Washbourne/Doc Fancypants (Julian Cearley and Kiara Everlen, for Dystopia Rising). Note the contrast between the two characters: Doc Fancypants is, well, very fancy, with jewelry and garments made of fine fabrics. BP is dirty, but obviously put together. These minor details help accentuate the differences in the strains of humanity that they play. (Photo courtesy of Heather Halstead, for Dystopia Rising: Texas)

Jameson Wattson “Sparky” Sparks (Brandon Brashier, for Dystopia Rising). Sparky is also a Baywalker, but he lives on a boat, unlike BP. He has a more piratey flair. Note the pauldron made of a leather electrician’s toolbelt and reclaimed license plates. (Photo courtesy of Andy Goth, for Dystopia Rising: Arkansas)

Sparky and Myrtle Clearwater the 4th (Brandon Brashier and Maggie Brashier, for Dystopia Rising). Note the detailing and the grunge work, as well as the practical items like bags, pockets, and sturdy boots. (Photo courtesy of Andy Goth, for Dystopia Rising: Arkansas)

Another shot of Sparky and Myrtle. (Photo courtesy of Andy Goth, for Dystopia Rising: Arkansas)

Roscoe Kuykendahl (Cory Maughmer, for Dystopia Rising). Roscoe is another Baywalker in our crew. He is a scrounger trying to build his family’s salvage business in what remains of sunken Houston. His clothes are patched with found/scavenged fabric, he has plenty of sturdy pockets for stashing away his finds, and he’s armed to protect himself from thieves (and zed gators).

More detail of Roscoe’s getup.

More details of Roscoe’s getup. Note the layers–each layer is individually distressed, detailed, and functional. He has rope and a hammer for his salvage equipment. His vest lettering is stenciled and utilitarian, with both new and mended rips. Baywalkers are known for being practical people who are good at surviving in an even harsher than normal environment, and his clothing reflects that.

Cory Maughmer in his Mandalorian Merc armor. Note the character that he has included in the armor with the strategic scuffing.

Voodoo Hocus Mojo and Juju Hex Mojo (Chelsea Dacus and Julian Cearley, for Amtgard). Juju was a dwarven king for a reign in the Kingdom of the Wetlands. Aside from the awesome beards, he made a special dwarven hammer with excellent details. Even weapons can help demonstrate your persona! (Really cool side note–Julian made the little gold and silver beard rings out of parts of hair accessories that he found at the dollar store!)

A larger group of dwarves!

Juju Hex Mojo and Voodoo Hex Mojo with their more detailed beards.

All the dwarves!

Flotsam and Jetsam group (for Dystopia Rising). Each of the characters has a ton of detail put into their costumes that helps express exactly who they are.

Groch Weir (for Amtgard). Groch is clearly recognizable as a barbarian with a Highland flair. He has many accessories and details from head to toe that accentuate and demonstrate his persona.

Lady Guineviere Godmoney (Lind Shanin, for Dystopia Rising). Guin is a drug-addicted, bestial person who is terrifying to face in battle. She does an excellent job of demonstrating this in her costume using heavy, smeared makeup, animal antlers and bones and teeth, and a majestic feathered headdress. I’m always super impressed with Guin’s kit. (Photo courtesy of Heather Halstead, for Dystopia Rising: Texas)

Early Guin. (Photo courtesy of Heather Halstead, for Dystopia Rising: Texas)

Jaguar King (Julian Cearley, for Amtgard). Check out the awesome painted mask and furs! You can tell immediately that this guy is something different.

Jaguar King and his entourage. Note the beads and body paint, and the magnificent headdress.

Jaguar King with his entourage carrying his palanquin.

Lisael Darkmorn (Jenna Vaughan, for Amtgard). When I get dressed up like a barbarian, I like to wear red face paint and heavy eye makeup, as well as a rune of power on my forehead. I also tend to do fancy things with my hair, like braids and twists. My barbarian sash is also trimmed in zebra-stripe fleece. (Sash made by Battilde of Granite Spyre)

Sir Ozymandias de Mandaloria (Oz Wainerdi, for Amtgard). Oz in his painted paladin armor. Beyond just the armor, he has a circlet, a shemagh, and more.

Oz (Oz Wainerdi, for Amtgard). Even dressed down, Oz wears lots of necklaces and baubles, like a proper pirate. He also has a bit of a mixture of clothing styles, which suggests that he might have picked it up in his voyages to different places.

Lord Master Pickles (Chris Jacobe, for Amtgard). Pickles is always well dressed, and his attention to detail is fantastic. He is completely bedecked in his spoils of voyage, making it obvious that he is definitely a pirate.

The Pirates of Stormwall (for Amtgard). The Pirates as a group have some of the best garb/persona depictions in the Kingdom of the Wetlands. They don’t have to match to be visible as a group–in fact, it’s a little better that way.

Sir Slyddur Rahbet (Sly Symmank, for Amtgard). Sly is a neat case to study because he has several themes that he portrays in his different sets of garb. This is a picture of him with more piratey flair. He has a tricorn hat, a Jolly Roger necklace, and several other bits and bobs. Perhaps the most iconic of his pieces of garb here is the pirate coat.

Sly Symmank and Say Moore, for Amtgard/SCA. This photo was technically taken at the Texas Renaissance Festival, but I have seen Sly and Say wear similar outfits for large SCA gatherings. One of Sly’s signature garb pieces is that he is usually wearing a shemagh on his head, which is both practical and fashionable. Sly’s garb tends more toward Norse/Viking these days, typically. Say is wearing jewelry that resembles jewelry worn by Norse women.

Say Moore and Sly Symmank, for Amtgard/SCA. Even dressed down, Sly outdresses most Amtgarders. Here, he’s wearing a pouch he made out of leather he shot, skinned, and tanned himself.

Sly in his barbarian getup.

Another detailed photo of Sly in his pirate getup. (Photo courtesy of Robert Sell)

There are so many options for showing your persona through your garb. Don’t be afraid to try things! Happy crafting!–Lisael

[lisaeldarkmorn]

Showing your persona through your garb: a brief editorial

"If we give people hell for trying hard to create something they're proud of, how can we ever expect anyone to try?"--Lind of Mordengaard/Lady Guinevere Godmoney

"LARP REQUIRES COSTUMING"--Tyson Hood/Pollo

------------------

Friends, today we're going to talk about a subject that is near to my heart, but that I don't take as seriously as I should. Next week, we're going to talk about showing your persona through your garb, but first: a brief editorial.

First, we must briefly discuss a toxic, false dichotomy that so many people perpetuate: the stick jocks vs. flurbs split.

Just stop. Perpetuating these stereotypes doesn't help anyone. Some of our greatest fighters can hang with our greatest artisans, and some of our greatest artisans prefer ditching to battlegaming. Boxes are for packing, not people. :)

My next point: we are a fantasy game. Do you know how many people have been drawn in (and how many more could be) by demonstrating that facet? Yes, we get together in costume and fight in battlegames with boffer weapons, but I never again want to hear the self-deprecating elevator pitch that "we dress up funny and hit our friends with sticks."

We should embrace, improve, and encourage the community we're trying to cultivate. I'd say the majority of us self-identify as nerds. Don't be the jerk you were trying to avoid when you joined the nerd club.

That being said, we need to encourage healthy character expression and fantasy within our game. If that first- or second- or twelfth-day newbie shows up with a slow, bulky-looking weapon that they obviously made themselves, rather than opening with, "oh, that'll never pass safety inspection" or something else negative, I want your eyes to light up. I want your heart to overflow with pride.

Do you know what that player did, first and foremost? They invested in the game. They bought in. That's HUGE! They are so excited to be a part of the community that they spent their time, money, and effort making a thing. They probably did a thing they've never done before in an effort to fit in with what can frankly be an intimidating crowd. That was you, once. Remember it.

If we cultivate new players to have enthusiasm for the game, if we build people up constructively rather than breaking them down, we will all be better for it.

Be excellent to each other!--<3 Lisael

[lisaeldarkmorn]

Prepping fabric for a project

Happy Tuesday, my garb-minded friends! Today, we’re going to talk about a topic that doesn’t get a whole lot of discussion except in criticism–how to prep your fabric before you even get sewing, including washing and ironing. Caring for fabric (and even garb) is a little different from caring for your regular clothes, but following a few simple steps before you get started on a sewing project can really save you a lot of headache during your project and enhance the quality of your finished product.

1. Know your fabric.

Step 1 takes place before you even take your fabric home. When you’re purchasing your fabric at the fabric store, read the end of the bolt to get a bunch of info about the fabric, including fiber content, width, washing instructions, and more. Until you get more familiar with fabric or if you purchase a type of fabric you haven’t used before, I highly recommend taking a picture of the end of the bolt.

I forgot to get a photo, so this is one from my friend Rai Wolfborne. Thanks!

2. Hem your fabric.

I wash all of my fabric I will use for garb before I sew with it, but before I wash it, I hem the edges!

Fabrics do all kinds of things when they’re washed, but one of the worst things that can happen is the edges of your carefully measured fabric fraying and unraveling in the washer and dryer. You can plan for this by purchasing extra fabric yardage, or you can finish the edges before you wash the fabric.

There are a few different ways you can finish your edges, but I recommend zigzag stitching or serging your edges. Serging requires a special machine.

Zigzag:

Set your machine to a zigzag stitch. I do this on my machine by turning the stitch selector knob to the zigzag setting and turning my stitch width knob up to 3 or 5. It’s okay for the stitch length to remain long–we just want a zigzaggy line, not a solid wide line like when we’re appliquéing.

Stitch about ¼ to ½ inch in from the edge on both cut edges. You don’t need to zigzag stitch the selvages.

Fabric with zigzag stitch hem to prevent fraying

Serge:

Line up the cut edge of your fabric with the cutting blade of the serger.

Stitch the length of the cut edges. You don’t need to serge the selvages.

3. Wash your fabric.

I’m gonna be honest, “to wash or not to wash” is a huge question among those in the sewing community. I am firmly in the “wash it, dangit” camp because I am terrified of fabric shrink and bleed. It’s gonna get washed eventually anyway, so you might as well wash the fabric beforehand to be aware of any of these issues.

You have two options when washing your fabric:

Wash it according to the instructions on the bolt, OR

Wash it how you realistically will wash it when it’s garb. Be honest with yourself.

A few tips:

Completely unfold the fabric and gently, loosely loop it around the agitator (if you’re using a top-loading washer).

Don’t overload your washer or throw the fabric in all wadded up!

Use a color catcher! Color catchers are pretty much the universe’s gift to garbers. You might want to use two for the first wash for especially bold colors or reds.

I -love- these things.

Wash different colors separately (especially vastly different colors, and ESPECIALLY reds).

Don’t overload your washer.

Be aware of your temperature settings. Hot water causes fabric fibers to expand, which can cause the dye to release from the fabric, which can cause bleed. Cold, cool, or warm are best for washing fabrics, with cold being best if you’re not sure if the fabric is color-safe. Cold water also helps set dyes.

4. Dry your fabric.

Dry your fabric following one of the two schools of thought above–either according to instructions or how you expect to dry it when it’s garb.

A few tips:

Clean out your lint trap beforehand because it will likely fill up (especially with linen and fleece).

Use dryer sheets to help deal with static.

Use heat if the fabric allows it (it helps release the wrinkles because of the steam).

Untwist your fabric gently when transferring from the washer to the dryer. Any twists in the fabric can result in deep creases, damp patches, or even stretching or distortion of the fabric. You can also snip or very gently tear any frayed strings that might keep the fabric twisted or compressed.

Take the dried fabric out of the dryer promptly and fold, hang, or iron it immediately.

5. Fold your fabric neatly.

If you aren’t going to iron your fabric immediately, it’s best to fold it neatly and put it away. Get someone to help you fold your long cuts of fabric evenly so it doesn’t warp or wrinkle too horribly!

6. Hang your fabric.

If you can’t really fold your fabric, you can hang it instead (for example, over the shower rod).

7. Iron your fabric before marking cutting designs.

If you’re like me, you probably rarely iron, so you might not be sure of the proper way to do it! Here are some pointers.

Set your iron to the hottest setting that won’t damage your fabric. For 100% cotton and 100% linen, that’s full blast, baby.

Make sure your ironing board is clean! You have to replace your ironing board cover once in a while so it doesn’t leave gunk on your fabric.

Make sure your iron is clean! Things like interfacing, synthetic fabrics, and starch (and ironed-over pins…) can gunk up your iron. There are commercial iron cleaners available in stores. There are also cleaning methods on the internet. Check your steam vents for chalky buildup, too–this is probably mineral deposits left by your tap water. You may want to use distilled water for steam if this is an issue, or you can use a separate spray bottle and forgo your steam feature on your iron entirely. From the voice of experience: dirty irons can ruin fabric.

Steam is not usually necessary if you iron straight out of the hot dryer; however, it’s great if the fabric has little gentle wrinkles all over. 100% cotton and 100% linen can be steamed, but not all fabric types can be! Double check!

As for ironing board types–there are several! I personally prefer one that is at least 60 inches wide because the widest fabric I regularly use is 60 inches wide. I also recommend a large freestanding ironing board. However, I currently use an over-the-door flip-down ironing board that is about 45 inches long. This type of ironing board is good for me because it stays in the room where I do most of my sewing and it’s easy to set up and put away, which helps eliminate the excuses I try to make about ironing. (Side note: small apartment/dorm ironing boards are best for small things like sleeves and collars, but they totally work if that’s what you have to work with!)

Let your iron heat up. The iron should have an indicator light that shuts off when the iron has heated up completely.

Place your fabric with the cut edge parallel to the long edge of the board and your selvages parallel to the end of the board.

I use relatively inexpensive irons because I have a habit of dropping and breaking them, and because I abuse them with interfacing and such. This one (it’s a Hamilton Beach) has been pretty sturdy, though.

Press the iron firmly down against the fabric and move it around in a kind of sweepy, squiggly motion, from the inside of the fabric out or from one side to the other, until all of the wrinkles are straightened.

Never leave your iron hot-side down on a piece of fabric–many fabrics burn, distort, or melt very quickly. As a general rule, if the iron is face down, it should be in motion.

If you are using steam, turn that on before ironing. If you are using a spray bottle, spray the fabric on the ironing board before ironing.

If your fabric is longer than the distance from the board to the floor, you probably want to gently roll the fabric as it pools at your feet to help prevent creases (which are especially possible while the fabric is still warm).

There’s a lot of detail here, but I promise, following these steps makes a clear difference in your end product! Happy crafting! <3 Lisael

[lisaeldarkmorn]

Top 5 Garber Tips

Happy Tuesday, and welcome to #garbglowup! Next week, we’ll dig deep into preparing fabric for a project, but I didn’t want to overwhelm you in the inaugural post. Today, I thought I would start with a few things I’d like you to remember as we go on this garbing journey together. It’s good to remember these tips when working through your projects. I hope they help make things less stressful, because I want garbing to be a fun, enlightening experience for you.

Top Five Garbing Tips for Everyone

1) Be patient with yourself.

You are learning a new skill, a skill with thousands of techniques that every person of every culture and experience level do just a little bit differently. It’s okay to get confused. It’s okay to get exasperated. It’s okay if you don’t get it the first or second or twentieth time. Set it down and come back when you feel refreshed or better about it.

2) Invest in quality tools.

You don’t have to buy the most expensive tools out there (trust me, sewing tools can get EXPENSIVE), but it’s best to research your purchases before buying and to buy high-quality products. A good pair of sewing shears, a solid brand name (new or used) sewing machine, and a quality soft tape measure will get you far.

3) Read the directions all the way through before starting.

I know this sounds like a trick test in elementary school, but it’s true. Even an expert at a technique might not be great at communicating that technique, or they may not organize their writing well. Read through the pattern all the way, because nothing is as frustrating as realizing they forgot to mention you need a doubled seam allowance after you’ve already cut your expensive fabric.

4) Plan your project from start to end, but don’t get crafting paralysis.

Think through your crafting project on paper before you start. Think about when you’ll need to add decoration (should I appliqué before or after construction?) and the types of techniques you will use (would serging or French seams be better for this gusset?). It’s frustrating to have to undo work to pick up a missed step, or worse, to have to start over because you painted (or stitched) yourself into a corner.

Conversely, don’t spend so much time planning that you never get started. (This tends to be my issue now, whereas planning was my bigger issue when I first started sewing.) It’s okay to make mistakes. It’s okay to screw up a whole project. The world won’t end. You’ll still learn something.

5) Take your time when working on a new technique.

This goes along with being patient with yourself. The time to learn a new technique is not the night before an arts and sciences competition. (Good grief, I’m speaking to myself as much as you.) Practice new things on scrap fabric instead of on your good fabric. Cheap sheets and broadcloth are great. (Bonus: Practice makes loaner garb.)

What is your biggest tip for crafters and garbers? What mistake do you make all the time? How do you encourage yourself?

I’ll see you next week with everything you ever needed to know about preparing fabric for a project (with pictures!). Until then, happy crafting!–<3 Lisael

[lisaeldarkmorn]

Welcome!

Welcome to #garbglowup! I’m Lisael, and I’ll be your guide through your garb mini-lessons every Tuesday.

So what is #garbglowup? Well, to put it simply, #garbglowup is there to help you with the gaps in knowledge. You can find garb tutorials all over the internet. (Thank you so much to everyone that writes them!) What I have a harder time finding are clear, concise explanations of garbing techniques that only get a brief mention in a subset of a pattern, like gathering or clipping curves, or that they assume you already know how to do, like preparing your fabric or finishing your seams.

Those are the kinds of topics I’m wanting to cover in this blog. I want each topic to take you about 20 minutes to read, understand, and try out, because I think everyone can spare about 20 minutes a week to take their garb from basic to amazing.

I’ll be publishing this garbing blog in multiple formats: here on Tumblr, on WordPress at garbglowup.wordpress.com, and on Facebook at garbglowup. If you have other formats that you think would be helpful to you, please let me know at lisaeldarkmorn@gmail.com.

I hope you’ll join me on this journey. I hope you’ll learn new things, and I hope you’ll give me feedback on the things you want to learn. I’m excited, and I hope you are, too!

Happy crafting, and I look forward to working alongside you!–<3 Lisael