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Kimiko Sews

A Gentlewoman's Creative Blog

Heated knife try, and the first painted sample
tudor ensemble 1
(Cross posted from A Gentlewoman's Blog: http://kimiko1.com/blog/2016/01/heated-knife-try-first-painted-sample/)

Egenolff modelbuch plate 47(d). Cropped from the longer strip. Egenolff modelbuch plate 47(d). Cropped from the longer strip.

Another day, and more planned work on the next stencil. This is the simple one, that will decorate the neckline of my kirtle. Nothing too fancy, just something that might be seen when the gown is worn over it, or just looks nice on its own. Again, it will be in silver and gold, which will go nicely, I think, over the blue linen.

So, as I mentioned in yesterday’s post, I would be trying out the hot knife to see how well it works when heated up. Well, it doesn’t. There was no cutting power at all through mylar, and I played with it while I watched the metal holder turn interesting colors as it was heating up. It stuck out so far away with the added length of the holder, it was like holding a pencil at the eraser end while trying to draw, even though I was holding it in the same place as I did the stencil cutter yesterday. Just not going to work. So, it is cooling off so I can actually cut the stencil with the stencil cutting tip.

That stencil cutting bit, with the fine tip at the end, actually droops a little now from the heat and applied pressure. But it did not seem to impede the cutting of the mylar much, so I’m ok with it being that way. If I do more stencils I will look and see if more tips can be purchased, as at some point I’m expecting it might snap off.

Overall with the tool set, I’m ok with it. The blade section leaves much to be desired, though if it did work it seems best for sharp corners and straight cuts, but definitely not curves. But the stencil cutting bit, while it now droops, has done what I needed it to do fairly well and decently fast, far better than trying to do that work with an actual X-acto blade. Currently I think I will give the set 3 stars.

So, while I waited for the blade to cool so I could cut the next stencil, I pulled out the paint tools and supplies, ironed my sample fabric, and gave the stencil a go.

Stencil painting supplies and tools. Stencil painting supplies and tools.

This is most of what I used. If you click on the photo you can find out more details. You can now see the blue linen I’m going to be working on. The Lumiere paints are fresh. I once worked with similar paints in a stamping project years ago, and those paints were dried in the bottle, so I had to buy new stuff. The stencil brushes had better reviews than the bulk stencil brush pack I thought about getting. Since brushes are the main tools of this art, it is worth paying extra to not have hairs falling off, or other problems while you are using them, so I don’t mind. Cheap causes problems, so use better quality brushes and paints when you can.

One item not seen here is wax paper. In my readings I had heard that the paint did not go through the fabric. Same from my previous experience stamping. But of course, each situation is going to be different, and I found that with the amount of pouncing I had to do to get the paints into corners and such, that some of that paint did leak onto the backside. Thankfully, I caught it while it was still fresh, not dried, so I could clean up the paint. I then put down a layer of wax paper to work on, and it worked quite nicely. You could also use cheap butcher paper, which I do have around here. I just wanted the paints to be less likely to stick to the back of the fabric.

My first stencil sample My first stencil sample

So, what did my sample look like? Here is it.

The gold is definitely on the yellow side, which is what I wanted. I haven’t used the silver yet, but the two should contrast nicely with each other, and still look good on the blue. It is hard to see from this image, but the paint sparkles nicely.

One problem I had was I did up the sample without the re-positioning stencil spray, which is still in transit. It is due to arrive on Thursday, the last of my ordered supplies. So, that upper left vine thorn is actually larger than it should be, because the fabric stuck to the brush and paint as I was pouncing on the paint, which moved the whole fabric out of place. That should be resolved once the spray arrives, and can be used. I will be testing again before working on my project to make sure.

So, next is to cut out that small stencil, and then wait for the spray on Thursday. So, no stencil painting until this weekend, most likely. I am itching to get painted, but that sample convinced me that waiting would be the better thing to do. So, until next time.

1501 to 1550, Clothing, Other Arts, Product Review, fabric-painting, finish_it
(Cross posted from A Gentlewoman's Blog: http://kimiko1.com/blog/2016/01/heated-knife-try-first-painted-sample/. Comments can be posted here or there.)

Stencil Creation Day
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(Cross posted from A Gentlewoman's Blog: http://kimiko1.com/blog/2016/01/stencil-creation-day/)

Today we had planned to go to the mountains, to enjoy the snow while the whole family had the day as a holiday. The rains that came in early this morning meant we had to come up with other plans.

So, this afternoon I got out my new stencil making supplies, and decided to take my original design that I made yesterday, and make the stencils a reality. And in learning how to work with hand made mylar stencils, I found and mostly corrected a big mistake from my original design, as you will see.

Today’s post will have lots of photos for you. But, let’s start with my light box. The only tool I didn’t photograph. It has been very helpful in making my various crafts, so it is today’s unsung hero. I got it several years ago from Joann’s, with those handy coupons.

Stencil printout over mylar, marked and ready to trace. Stencil printout over mylar, marked and ready to trace.

This photo shows my design as I had printed out, and marked up with a highlighter, and pencil marks. It is glowing because I photographed it while sitting on the lit light box. I wanted to be sure that the bridges I had created would be wide enough, so I decided that some parts had to be overlayed with a second stencil, so that the center bits wouldn’t get lost. I realized later I could have just made most of them all in one, but I’m learning.

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1501 to 1550, Clothing, Other Arts, fabric-painting, finish_it
(Cross posted from A Gentlewoman's Blog: http://kimiko1.com/blog/2016/01/stencil-creation-day/. Comments can be posted here or there.)

UFO Camp Kirtle
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(Cross posted from A Gentlewoman's Blog: http://kimiko1.com/blog/2016/01/ufo-camp-kirtle/)

UFOs, UnFinished Objects, we all have them. We who create things often find themselves unable to finish something, so the project languishes until some time later – days, months, sometimes years later. I’ve quite a few in my project bins. The one I pulled out recently, and began to finish, was a linen camp kirtle that I started shortly after I was elevated as a laurel a couple of years ago. It does not appear that I’ve written about it before. Figures.

Egenolff modelbuch plate 47(d). Cropped from the longer strip. Egenolff modelbuch plate 47(d). Cropped from the longer strip.

It is a blue linen kirtle, to replace my old, worn out, blue linen kirtle that I’ve worn for years now. This time it has a proper lining, applied by hand for each panel, and the bodice is interlined in hemp canvas. The edges are bound in bias cut fabric. I’ve been slowly working on it here and there, mostly at demos. I just was kinda blasé about it, really. I finally figured out it needed something more to make it visually interesting, to make it worthy of being worn by a Laurel, who really should improve her garb wardrobe, even if it is a garment planned to be worn during the hottest of events, or under my wool short gown, or other garb (I’ve got ideas).

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(Cross posted from A Gentlewoman's Blog: http://kimiko1.com/blog/2016/01/ufo-camp-kirtle/. Comments can be posted here or there.)

That Old "Irish Dress"
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(Cross posted from A Gentlewoman's Blog: http://kimiko1.com/blog/2015/12/that-old-irish-dress/)

On Wednesday, there was a query on the SCA Garb group in Facebook, asking the following:

I am looking for an SCA history lesson.

Someone has asked me about the “Irish Overdress” and how it became part of SCA culture. I have some theories, but I am still relatively new to this game, so I would greatly appreciate some insight.

All I can find is “Renaissance” costumers which feel very Ren faire. I suppose it is supposed to be relatively late?

Simplicity Pattern #8855, Out of Print. Scottish or Irish Traditional Womans Costume Pattern cover image. Simplicity Pattern #8855, Out of Print. Scottish or Irish Traditional Women’s Costume Pattern cover image.

Well, I wasn’t around way back when in the SCA, but I was around somewhat way back when, before the Irish and Scots became such a popular costuming hit in the renaissance faire (RenFaire) community. So, I decided to share my story, which I tried to keep brief in reply.

I then decided why not share that same story in my blog, with photos! So I dug into my digital files, and found some old photos that can help illuminate the narrative, a little.

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Designing and Decorating Clothes Pt.1
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(Cross posted from A Gentlewoman's Blog: http://kimiko1.com/blog/2015/12/designing-and-decorating-clothes-pt1/)

So, last post, at the end, I mention the online pdf Designing and Decorating Clothes book, which is available online. I’m now in the process of reading that book, and some of the info is quite eye opening! Some of it is familiar, which means modern fashion books haven’t tossed out all the rules. They just may not know where the rules come from.

So, before I get into this, I am realizing that some of the info in this book, I have read in more modern fashion how-to books, that I had read back in college up to a few years ago. However, those book discussed how to use some of the simplified rules for buying clothes that will look good on you. I only found one 1970s book that discussed how to translate some of that info for actual sewing of personal clothing, but it was simplified, and not as helpful as I had hoped. I’ve not taken any formal fashion design courses, so I’ve no comparison to modern fashion course info.

Examples of design lines on the fashion forms. Examples of design lines on the fashion forms.

This old book dates to 1930, with its very tall, narrow fashion models, and outdated fashion style is going even further in depth than anything I’ve read before. And more importantly, it discusses how to do this with clothing design sketches, or even how to translate it to garments that are draped on the body! Btw, garment draping is a different, earlier course in the series. I will need to find a copy, although I do have my modern draping book already, and know the basics of draping on a form.

One Greek principle of proportion is discussed, and dissected in a clear diagram. I finally understand why the drop waisted dress is actually a thing, provided it ends where it looks proportioned right on the person, which in mass market garments won’t happen. I now understand where a blouse should end on a skirt in the right proportion, and it is not at your waistline unless you are doing something else to modify the proportions or style.

Just to give you a glimpse of the historical ideal model, this comes from page 20 of the book.

An outline of each of the various figures is given so that it will be an easy matter for you to obtain the basic lines. In Fig. 17 is shown the figure outline of the average type, representing a woman who ranges in height from 5 feet, 3 inches to 5 feet, 5 inches, and weighs approximately 120 pounds. Her bust measurement may vary from 34 to 37 inches and her hip size should be not more than 3 inches greater than her bust measure. The individual so fortunate as to possess such a figure is the easiest of all types for which to design garments. To a certain extent, she may wear almost anything for lines that run across the figure look as well on her as lengthwise ones, flared, straight-line, bouffant or princess silhouettes become her, and practically every sort of trimming detail is appropriate on her clothes. Yet, on her, as on any one else, falls the responsibility of avoiding the commonplace and of choosing right colors as well as garments that suit her type, her age, and the purpose and occasion for which they are desired.

I haven’t seen such measurements on myself since I was in jr. high school, and I know I won’t again. And I’m now wondering what exactly a bouffant style was. My mind thinks of clown costumes for some reason.

There are some aspects, like the height/weight charts, the fashion design model, and certain admonitions that are products of their time. I have to keep in mind that they had a different way of life then, and that we are given certain freedoms today, like wearing pants. But as I’ve mentioned before, the art principles transcend their time and historical oddities. I plan to draw on a copy of myself, and I’m no fashion model. But clothes for me would do best on a model of me, and this book does discuss how to design for the stout me.

I am finding the use of every single model, where the break point is at the hip level, rather annoying. Usually, even when they discuss trying to de-emphasize the hipline, they still put in a belt, pouf, blouse end, or something at that same line. It’s very much an historical style, but annoying while I’m reading and trying to understand the principles discussed.

But I am enjoying the different types of sleeves, and jabots, collars, cuffs, and various aspects of clothing design we just don’t see anymore, except maybe in evening wear. But pointed sleeve heads! Not round, pointed, and not to the neck like a raglan style sleeve, but just a pointed sleeve head, attached into a shoulder line that I presume would have to be modified from our usual round armscye as it goes up into the shoulder seam. What a fascinating idea.

I’ve finished reading the Designing Clothes portion, and at the end it seems to have covered how to adapt professional designs rather quickly. The various aspects of fitting for stout women, be they short or not, was also a bit short but informative. In their info, I think I fall under “tall stately”, even though I’m only an inch above their average. But while I’m stout, I’m not short. I’m going to have to digest and practice their advice for various aspects. It did remind me much of the more modern clothing books on how to wear purchased items, like scarves, to add to or minimize a certain area. I may just have to add more modern reading materials for my understanding, again.

The pdf is a two part book, and so I will finish up the commentary on part 2 another time. It’s on decoration and ornamentation, and apparently that is two different things, used for two different purposes. Another day.

Other Clothing, Product Review, Research, 20th century, book_review, research, WIDAS
(Cross posted from A Gentlewoman's Blog: http://kimiko1.com/blog/2015/12/designing-and-decorating-clothes-pt1/. Comments can be posted here or there.)

The Dress Doctors and the Lost Art of Dress
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(Cross posted from A Gentlewoman's Blog: http://kimiko1.com/blog/2015/12/the-dress-doctors-and-the-lost-art-of-dress/)

Building on my excitement post of last time, a few things have occurred.

One, the book The Moulage by Kenneth D King has arrived on Friday, and I’ve started reading it. I will be working on the moulage for myself shortly, and will have more info to give after I’ve done the work. I’ve also bought needed supplies for my moulage, and for my updated dressform.

Two, I got a book from the library called The Lost Art of Dress: The Women Who Once Made America Stylish by Prof. Linda Przybyszewski, PhD. It is quite a fascinating look at the history of dress from the late 19th into the 20th century, by highly educated women the author calls The Dress Doctors. Ladies who had PhDs in the sciences, like chemistry, but because of their times, when men ruled the universities, were unable to teach in their chosen sciences. So they spent their years educating other women in Home Economics, a field we don’t hear much about today (it was a near dead field when I was in high school). This book was quite eye opening to me, in a variety of ways, and it’s info is encouraging me to look up those old books that once taught the actual ART of dressing well.

The series of educational books and pamphlets covered a wide variety of topics for the working and poor women who would be educated by these Dress Doctors. It covered sewing, cooking, make clothing for their family, decorating items, making things for the home, etc. Even how to set up their own sewing business. And when I talk about learning how to sew, it was more that that, not only just sewing or shopping, but how to choose your wardrobe artistically, and usually with thrift in mind. When I say artistically, I’m talking of the principles of line, contrast, balance, color, and proportion like the Greeks had started, and as seen in art from the renaissance and other historical styles of art.

While she does discuss some of the rules of dress that the well to do would follow, the focus was more on what the everyday woman; be she a student, a woman working in the office, or a woman working in the home, should wear for their real life occasions. There are occasions for dress, from the business suit to work in, to the outfit to wear on the street shopping, to the day dress to clean the home in, to evening wear that all women should indulge in (when fiscally possible, that is), to clothing for sports viewing, or sports playing, to going out in the evening for whatever special event.

There is also discussion on the planning and selection, the budgeting for our family’s yearly wardrobe, “shopping” your own closet first before buying or making an item to complement what you have. Have you ever heard such a thing? I hadn’t, although it is what I try to do in my fabric stash. But I was never informed of doing such a thing when I was taking home ec courses in Jr. High. I think some modern fashions books cover some of these areas, although I don’t recall budgets being a big part of them. She even discusses historical clothing budgets (around 10-12% of yearly income, compared to modern 25% or more, to many of us not even having a budget, wildly blowing lots of money on disposable clothing we may not even wear.)

And then the book goes into what happened in the 1960s and 70s, when the rules these Dress Doctors spent decades instructing women on, got tossed out the window in youthful rebellion, and in the name of Women’s Liberation movement. I think the saddest and frustrating part, is that in our continuing emphasis on youth, we mature ladies are now wearing clothing developed for our daughters and granddaughters. We no longer wear sophisticated clothing that only a mature, sexual woman can really pull off. We see mature clothing as something dowdy and frumpy, because that is what modern designers are making for mature women. I’m sorry, I’m not ready to dress for retirement. But I can’t wear what my daughter loves, either. I need my own style for my own mature age.

We have seriously lost our understanding of how to dress well, for various reasons. I know that I have never really understood these basics as applied to dress, and yet I knew there had to be a missing key to being as well dressed as my Mom (when she went out of the house), or my wealthy Aunt Margie (who loved to dress to show off her husband’s wealth). It was something neither of them bothered to tell me, as it was something they just “knew” from their own years of sewing (my mom), or being dressed in well to do high end department stores (my aunt).

If you can get a copy of this book from your library, or want your own copy, I do recommend getting a copy to read. If you know me at all, you know that I had very little interest in modern fashions, or even in vintage fashion. Mainly because I hated how it looks – sack dresses, sack shirts, skin tight pants with words across your bottoms, zip up jackets with logos across your chest. But this book has really opened my eyes to why I hated modern stuff, and gave me new appreciation for those fascinating fashions of the past century. I’ve got a new set of eyes now, and some creative ideas blooming in mind for how I live. We shall see where this leads.

Thankfully, there are various old books mentioned in the book, and some of those old books are available online, in whole or in part. Some are available for purchase as a reprint (but at a price), or available as a used book (for even higher prices). I hope to share a few of those pdfs of interest in this blog in the future as I find and read them. Look for my tags below, specifically WIDAS for Women’s Institute of Domestic Arts & Sciences.

Remember, the images seen in the books will be showing clothing fashions of the 20th century, but the general art concepts will be of interest to the modern reader and designer, or even to those who love vintage or historical clothing. It will help to understand the principles behind your choices. It even helps to know what rules you are breaking, should you prefer the modern youthful rebellious and cheap garments of printed sacks/tubes.

Designing and decorating clothes. Designing and planning clothes. Dress decoration and ornament.

from the Women’s Institute of Domestic Arts & Sciences.

You have to be a member of certain libraries to be able to download the full pdf, but you can read this one in full online. This one seems to cover the actual art principles involved. It links from this page:


Other Clothing, Research, 20th century, book_review, moulage, research, WIDAS
(Cross posted from A Gentlewoman's Blog: http://kimiko1.com/blog/2015/12/the-dress-doctors-and-the-lost-art-of-dress/. Comments can be posted here or there.)

Excitement has returned
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(Cross posted from A Gentlewoman's Blog: http://kimiko1.com/blog/2015/12/excitement-has-returned/)

I’m excited again, and it isn’t for anything I’ve been making, but in finally realizing that I’ve got a path forward again.

I’m not sure I want to post about it here, partly because I don’t want to jinx things. It will take time to develop the skills I need, but I need to improve some skills, better understand other skills, and take various classes to learn what it is I need to learn. It is going to take time, but really that’s all we have in life is time. So, I could use it to play video games, watch what’s going on in Facebook or on TV, or I could spend it doing something productive for my future.

And that’s why I’m excited, as my mind has been generating plans to get me to this new destination. But the key to this excitement was realizing I had to accept who I was at this point in life, and that is…


There, I said it. It has been a long time in coming, this acceptance of who I am. How long? Well, until recently, like in today, my Facebook page has said that I was a Domestic Goddess. Not really. I’m not that great at all things domestic. That is not what really defines me. But it was better than former bookkeeper, or degreed accountant. Yes, I’ve been that, have that, but it is not me. And until recently, I was okay with that mask.

[Image found at LinkedIn site (click image to view)] [Image found at LinkedIn site (click image to view)]

But the path I’ve been on for many years now was/is at odds with all of that. I wasn’t willing to admit I am an artist, until a few nights ago I had a dream. In that dream I looked around at a wide variety of groups that had a variety of skills and types, from students to mathematicians, to business types, to others I once was a part of. I did not belong in any of those groups, and it made me feel a little lonely. I was my own person, and it made me sad, until some redheaded woman asked if I wanted to join her group of other redheaded women. I said sure, because it would be nice to sit with other folks while I had my meal, to share in what they were doing. And they were creative types, doing various art forms. and they accepted me without question. And I realized as the dream faded away to the morning alarm clock, that I was fine, just sitting there with them, accepted as one of their own, even though I am no redhead.

And so the past few days, I’ve come around to realizing I’m fine, I’m creative, and that is a good thing. And I’m a creative that has a plan for sharing my creative side with others in the coming year. It is time. It is actually past time, but better to start now than to not start at all. And actually, there are others on this path, too, who may or may not be women or redheads.

So, I’m now on a more interesting path, and I will be sharing aspects of that path. First up, will be learning how to make a proper sewing moulage (\mü-ˈläzh\) from a Kenneth D. King CD book of that title, which I just ordered today. I’m doing this for myself and for my family. Then dress forms, learning proper fitting techniques (have some books, getting another, and practicing what I learn), and then back to making new and better patterns for myself, and for others. Because that is my end goal, to make patterns for others. But more on that much later. I gotta relearn how to crawl before I go out dancing again.

(Cross posted from A Gentlewoman's Blog: http://kimiko1.com/blog/2015/12/excitement-has-returned/. Comments can be posted here or there.)

Old Counted Cross-stitch Creations
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(Cross posted from A Gentlewoman's Blog: http://kimiko1.com/blog/2015/01/old-counted-cross-stitch-creations/)

When I was cleaning through my sewing room a few months ago, I rediscovered my old cross stitch designs that I had worked on in the late 1980s and 1990s. I had in fact wrote this post back then, but got side tracked before getting the photos ready. So, here they are as an actual post.

Glamis Castle (a castle in Scotland) is finished and looks like it is cleaned and ready to block and have framed. I think I finished this in the early 1990s.

Glamis Castle cross stitch, finished. Glamis Castle cross stitch, finished.

Excalibur is not quite finished, but I can wing the dark blue section to finish. I still have the old threads. I’m glad the silver threads are still shiny. A reason to not use real silver sometimes. It is done on Aida cloth, which tells me I started this before the castle piece.

Excalibur in the hand of the Lady of the Lake (unfinished). Excalibur in the hand of the Lady of the Lake (unfinished).


The Lute Player is about halfway through. I’m not sure where I put the pattern for it, so it may end up as something else. See, I had an interest in illuminations for quite awhile.

Cross stitch of a lute player, in the style of an illumination. (unfinished) Cross stitch of a lute player, in the style of an illumination. (unfinished)


I’ve really moved away from doing cross stitch pictures like these. But it would be worth getting these finished and framed for my walls, so that we can enjoy the fruits of my early work.


Embroidery, Prep & Other, embroidery, finish_it
(Cross posted from A Gentlewoman's Blog: http://kimiko1.com/blog/2015/01/old-counted-cross-stitch-creations/. Comments can be posted here or there.)

My Laurel Wreath Embroidery Design
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(Cross posted from A Gentlewoman's Blog: http://kimiko1.com/blog/2015/11/my-laurel-wreath-embroidery-design/)

It has again been some time since I posted last. But I have been busy with small projects, mostly shown on Facebook. But my mind keeps wandering back to doing a more interesting embroidery project, along with doing something that is a modern thing. So tonight I spent some time finalizing a design so I can begin this week.

My next project will be a laurel wreath for me to wear to special events. In the SCA, Companions of the Laurel are given a simple wreath of leaves to denote their station. Not a lot, really, compared to Knights with their chains, spurs and white belts. But we are after all the artistic sorts, so why not get creative in how our station is advertised, which desired at special events, like coronations and 12th Night.

I normally don’t wear a circlet, even tho I am allowed one since I was granted my Award of Arms some years ago. It simply does not work well with my French hoods or tall hats. But, I noticed that a few other Laurels from other kingdoms do wear some form of laurel wreath upon their coifs, and that I can do. And then I realized, I could make something that could be worn upon a French hood, in lieu of the typical billament of heavy jewels. I could also make the design like a billament, and wear it at other times as well, with maybe something as simple as a coif.

And so my mind wandered and tossed about many ideas and many designs. I looked at many photos of real laurel leaves, and laurel wreaths. I looked at stylized designs on the Internet, to see what I liked, and what I did not like. Until I finally realized, let’s make it simple, and let’s make it uniquely mine, just in case someone else decides to steal my final creation.

My next embroidery project design. A personal laurel wreath to wear at special events. A personal laurel wreath to wear at special events.

So, this design is what I came up with. The few orange spots are sample points for adding “berries” of some sort. At this point I’m happy with it. But, things can change when I actually work on the project, so we shall see how it ends up. Now to decide what sort of fabric to put it on.

Please note that it has my copyright all over the design. That is intentional, since it seems more and more folks, including professionals, like to steal images to reuse as their own, including my photos that had discreet copyright notices. This sadly means I will be making things clearly mine when I post.

The silver toy top badge design came from Master Bruce Draconarius of Mistholme when he first designed the badge for me (it is different than what is currently available online). I have permission to use it for personal use only, which this is. The leaves are from a Creative Commons image use site.

Embroidery, Prep & Other, accessories, embroidery, ideas, sca
(Cross posted from A Gentlewoman's Blog: http://kimiko1.com/blog/2015/11/my-laurel-wreath-embroidery-design/. Comments can be posted here or there.)

Tudor Coif Pattern
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(Cross posted from A Gentlewoman's Blog: http://kimiko1.com/blog/2015/07/tudor-coif-pattern/)

Me, test fitting a linen coif from an earlier pattern I used. Me, test fitting a linen coif from an earlier pattern I used.

A few years back, I offered a class at Great Western War where we made Tudor coifs. I made a simple hand drawn pattern that I gave to those students, and I scanned it for sharing online. But oddly, I never did back then, put it online that is.

Today after someone asked on a Facebook group about online sources for such a pattern, I remembered I had made those digital images back then. So I finally got off my behind and posted it to my web site.

You can now find the two images here, on my Workshop & Articles page from the main web site. It is under the heading “Make & Take Your Own Tudor Coif”. There was no accompanying write up on how to print and put it together, as that is what we did in class and I never wrote a handout to explain it. But you should, hopefully, be able to follow the simple notes on the pattern itself to work it out. Enjoy it and use it in good health (for personal use only). If you have any questions, feel free to post your questions below.

(Cross posted from A Gentlewoman's Blog: http://kimiko1.com/blog/2015/07/tudor-coif-pattern/. Comments can be posted here or there.)