Stephanie Brown really is the funniest person and has been from the second she debuted. The real reason Batman fired her is he knew he couldn't stand up to the onslaught of her snark. He was afraid.
And this isn't even including her as Batgirl.
(I'm not specifying every single issue here bc it's a lot and you can just go through the Steph wiki to see, but it's a ton of issues of Robin, Green Arrow (2001) #5, Young Justice #30, Batgirl (2000) #26, #28)
#this makes me actually wanna read her#we’ll make a steph fan out of me yet
This is genuine curiosity, I'm not being snarky, but considering you have a 90s/early 2000s era Tim Robin icon I'm surprised you haven't read about Steph--is it just you've read YJ and other batfamily appearances but not his main title or something like that? Or you're fandom-only? No judgement either way, just curious.
The good news I have is if you're a Tim fan and decide to read his Robin series, you're actually going to get at least 70% of the comics that feature Steph pre-StephBatgirl as a side effect anyway, so, doing your due dillengence as a Tim fan means learning all about Steph. They're both a big part of each other's early development.
Someone in a weaving discord I'm in saw this much-jpg'd image on Facebook. They enjoyed it and crossposted it. I enjoyed it and asked if there was a source. Alas, unattributed. We would never know.
Not so! By their magical librarianship and citation-hunting powers, @ginneke tracked the image first to Pinterest, then a long-defunct blog, then a connection with the 1960s fairytale retellings of Amadel Williams-Ellis illustrated by one William Stobbs. He had the correct whimsical art style - a hit! Another server member suggested a likely candidate tale of Baba Yaga involving a cat and a loom.
Unfortunately, these books have never been digitised, not even the tables of contents, so there was no way to know whether they might be correct. And my various libraries had never heard of the books. However, for about £7 each on ebay they were within my shenanigans budget - I was invested now.
I ordered two, mostly at random. Leafed all the way through both of them, got nearly to the end with some delightful other creatures but not yet the Loom Cat...
..... and then all of a sudden there it was! In a Baba Yaga story in Round a the World Fairy Tales exactly as predicted! Success in tracking down an 80-year-old untitled children's book illustration via several people and much joy. I'm very satisfied and will put the full Baba Yaga tale in a reblog.
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Sewing a turn of the 15th century French kirtle in doll scale
Another day, another historical doll outfit! This time it's Late Medieval. This was a popular style from about 1380-1420 France and Alpine area, but I specifically based this dress on French illuminations from the early 15th century, which mostly effects the details, like headwear. As always I hand stitched everything and stuck to historical construction methods as much as I could.
Chemise
I made a very simple chemise. The construction is based on what we know from extant finds, made out of simple rectangles and triangles, like earlier unlaced kirtles. Based on illustrations, chemise was fairly slim but unfitted enough it didn't need closures. I made it from linen, because it's not very gathered and won't bulk up too much, so I don't need to use my very fine cotton voile.
Cote
Cote is just the French word for kirtle, so appropriate here. This is the supportive layer cote, which was sort of an undergarment, but was considered fully dressed, if informal on it's own. The sleeves on this underlayer were always long and either fully fitted or gathered at the wrist. Some fitted sleeve styles had a flare at the wrist which covered the hand. The very fitted look was achieved with buttons. The silhouette was smooth and fitted, the waistline was slightly above the natural waist, though that was not as pronounced in France as in Northern Italy. Abdomen was emphasized, round lower stomach was the body ideal. The cut of the dress left plenty of room there. To fill that room I folded the chemise under the abdomen as a sort of padding. This was common to do with any kind of skirts, primarily to raise the hem when working, but why not for this purpose also? The necklines were fairly low and very wide.
I used cotton because I didn't have suitable thin enough wool that wouldn't have created too much bulk on this scale, but the cote should have been made from. The cotton is tightly woven and sells the look of a woven wool in this scale well enough for me. I didn't finish seems or line it to avoid bulk. I did give the lacing a cording to reinforce it and avoid wrinkling. The cotton was originally white, but I dyed it with iron oxide, basically rust, which at least is very much historical.
Hose
I made the hose from cotton as well for the same reasons as I did the cote. Long pointed style became fashionable around this time, as well as sewing leather soles in the bottoms of the hose instead of using shoes. Though often pattens (wooden flipflops basically) could be used when walking outside to protect the leather soles.
Cornettes or horned hair
I tied the hair with a tape on cornettes, where the volume of hair was tied on the temples to create a bit of horned appearance, especially when combined with the horned headwear. The sort of fillet which became more of a forehead loop seemed to have been tied into the hair, which I did.
Cotehardie
Cotehardie meant literally "bold cote", and in France that was what the formal outer cote was called. It was basically the same as cote, but made from more expensive materials and often had large hanging sleeves. I went with widening triangular sleeves, since they were perhaps the most popular sleeves at the time. I used fine fulled wool (verka) I had enough scraps left from. White fur was popular lining material, but obviously I can't use fur in this scale, I wish I had some light white velvet, it would have been pretty good, but I didn't. I lined the skirt and the sleeves with white cotton to imitate the look without adding too much body or extra bulk. I decorated the neckline with a simple golden trim. I thought about adding a bit of golden embroidery around it too, like seemed to have been popular, but my local crafts store had run out of golden thread so I decided to go with this only.
Accessories
Unlike the belt used with houppelande, which was below bust, the belt used with the kirtle or cotehardie, was very low, under the abdomen to emphasize it. I went for a silk belt look, which I'm imagining is embroidered/woven with golden thread, since embroidery that small would have been too painful. I had an old broken necklace, which I could use for the metallic parts.
With the pouch I went for the tasseled drawstring look, with simple embroidery manageable in this scale. I used linen for it.
Headwear
I made her a chaperon, which likely was where the escoffion got it's beginning, escoffion being the round tube-like headwear worn on top of the head seen in several primary source images above. Early form of escoffion was becoming very popular at the time, though chaperon's were still seen on women too. Chaperon, as seen below both on the left-most woman and the man in the middle was actually just the hood rolled into a circle.
Because the horned look was popular, the escoffion and chaperon were often worn over the wired horned veil, so I first made that. I made it from cotton to make it as light as possible. It was just a square I hemmed. I just used some wire to poke out the horns from her hair and pinned the veil close from the back and onto her hair from the top.
Then I made the open hood. It was just the regular hood which had become very popular during the last century and which had ever longer narrow tip, but it was pinned and worn open, probably because of the hair style and to again create the horned look. I made if from the same cotton I made the hose, even though it too should be from wool. But it was already too bulky as it was.
And finally I could make the chaperon. Here's first chaperon without wire or veil under it and then with those. The effect isn't as pronounced as I would have hoped because the hood is too bulky, but there is an effect which is nice.
What kind of sorcery is this?! I can never turn more than 10 cards in sequence because they just refuse to cooperate and you have like, what, 35? 40?! HOW?!?!
40 in the tree strap above! The most I ever tried was 44 for this ramshorn strap below - that was tough, but also ok because the groups turned separately? I think my hands would murder me if I tried to go any higher on my backstrap setup though ;) I think the trick is maintaining appropriate tension!
@diamondot speaking for myself, i just decided to learn it one day a few years ago (i had a viking phase ok) and simply started with it. It's surprisingly easy since all the info is available on the net. Honestly, i don't remember where i started since it has been so long ago and now i just browse pinterest for patterns alone. Google tablet weaving or card weaving (same thing, different names) patterns and some basic explanations and yt vids for how to turn and weave the stuff. Things like
S and Z threading are there for a reason, so mind your card orientation. Start with some easy pattern like simple wave or diamonds above, 6 - 10 cards are good for your first project. Don't lose hope in initial stage. Streching and threading all that yarn can take anything between 20 minutes and 3 hours depending on how big is the pattern and how skilled you are. Since you need some lenghts to secure ends and to turn cards, use about 40 cm more than wished lenght of your final product. Secure lose ends after threading through cards so you won't end with a bundled mess. Streching/knotting them to something is one way. Taping each card threads together or using weights (check pictures below) is another way (good only for shorter stuff though). Cards could be made out of anything as long as they have smooth edges and rounded corners. Cardboard, thicker plastic sheet, literal cards cut into squares with holes punched through them, whatever. These are mine 2 decks, minus cards i am using atm.
When you start weaving and pattern looks like a total mess, try turning cards in opposite directions. It usualy solves the problem (all that forward/backward can be a bit tricky and mirroring motions/patterns/card orientation can be confusing at first seemingly messing all your work even though you are doing everything right technicaly, just in opposite order/direction). Don't lose your hope. I still manage to mess up like first 5cm of every other work i start. It's not an issue as that start usualy gets cut off anyway (the tension is not right for at least first 4 rows, aka 1 full card rotation, until all threads go up and down at least once no matter what you do. Don't sweat it). You don't need any fancy startup either. Historicaly, people used to weave like this and this and this:
I just strech the thing between 2 chairs myself. Door knobs work as well and so does staircase railing. Wherever you have some space. Long hair clips are your friend, especialy when you are done with weaving for the day and you don't want stuff to tangle
Hi. I may be late to reply but i'm in a weaving mood so here we are.
The thing is that the technique looks complicated due to the fact that there is 100 something and that number alone is scary. But. Actually several buts.
But number 1 - the technique is OLD. Meaning - while being somewhat tedious just like any other textile craft, it has been used and learned for a long long time and there's plenty of resources (check out links above or any youtube video explaining the process) of varying difficulty from complicated af to easy peasy lemon squeezy with closed eyes
But number 2 - there is only one core principle/step you need to understand and that is when some threads go from up to down or from down to up (aka when they cross), you need another thread going in between so they won't simply snap back again. That's it. That's the basic principle behind every weaving ever. What card weaving does compared to standard weave is that instead of a single thread going up and down in the single row, you get 2 or 3 or 4 or 6 or whatever number of threads your pattern calls for in the same row
But number 3 - the number of rows = number of cards. Simple as that. Cards turn around to make a cord like when you are twisting 2 or 4 or whatever numbers of threads to make a rope. If some of those threads have different colours, you get a repeating pattern.
But number 4 - card orientation or S/Z orientation or whatever other fancy name for the twisting direction simply means that if you turn all your card in the same way at the same time, which one of them will make the twisted rope in this / angle and which one will do that in this \ angle. That's it. That's the whole mystery between S/Z threading.
But number 5 - you can start with as little as 4 cards to make a custom set of shoe laces or a key strap or whatever and call yourself a weaver. Because you did that. And it was nice. And it was easy. You just turn and thread and turn and thread and then you keep repeating this while watching a movie or something. There's no need for the math finals level of concentration here.
But number 5 - no one, literally NO ONE starts with a pattern like this
No. Everybody starts with something like this
Keep it simple, keep it easy, make 10cm and be done if you want to. It's perfectly fine.
But number 6 - you don't need any fancy items for starting. No hooks, no needles, no loom, no anything. If you have 2 balls of yarn in different color or some remains of your old cross stitch project or whatever and some card-like stuff you won't be sad for making holes in it, you are all set. Back side of the sketch pad is good. Poker cards cut to squares are good. A sturdy enough sheet of plastic is also good. You remember that old pexeso pairs stack you didn't touch since you were 9? Guess what!
My point is that if this looks like something you may be interested in, then you can absolutely try doing it for literally zero cost other than your time.
This reminds me that I have my Thor’s Hammer tablet weaving project still sitting in the closet untouched for the last few (almost 3?) years... I need to get back to that eventually.
I need to show you guys my mum's card weaving.... She writes with it. She does incredibly incritate patterns. It's stunning and beautiful and I am in awe
A small selection of my mum's work! She got excited and says she has more to show you guys, and some of her best stuff has already been sold! But stay tuned for more. The blue/pink/black band is my favourite: loads of different knot-like patterns going all the way down!
