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More bowls

When I was out walking, I found a nerblåst box in a park. After talking with people at the Parks Department got the green light that I could take it to wood crafts. A friend came with a chainsaw and we got ourselves a high askkubbar, about 70 cm long and 20-25 cm in diameter. To celebrate the new timber supply turned me two larger bowls.


The two front bowls are turned into ash and the rear of the birch. All of them are turned into fresh wood which gives a slightly oval shape after drying. The diameters are about 18, 16 and 11 cm. Inspiration for birch bowl is lifted from the findings and reconstructions of the so-called "poringers", depicted and described in "The Wooden Bowl" by Robin Wood.

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lobe Bowls


If the art of turning a corner bowl.


subject sawed split and peeled. I tend to bark from the middle and down and then turn around and bark the second half. This way you do not have an ax near the hand you hold with Tabitha. Thread edges and the surface smoothed.


In order not to have excessive material in the lathe cut substance more or less square, the center is highlighted and the back yxas to roughly before the piece is placed in the lathe.


bowl turned bottom. Larger bowls, I usually turning entirely on the double but it is difficult in small bowls. Therefore turned a suitably sized heel that fits in svarvshucken allowing easy access to turning the inside. There bowl shape connects to the square-plate lathe I have a shallow groove so that the contoured surface remains about half a mm into the plate. I do it on both sides of the plate. The track inform that work when I then carve clean slipcovers are.


Bowl turned inside. When the cavity is dug away releasing tension the wood so that it does not fully retain its circular shape. It is therefore important that the erosion occurs in stages so as to lathes finished surface and remove material near the center of the layers with successively greater depths. If turning the inside rough and then go back and cut the finished surface has teamed bowl and the wall will be uneven in thickness. This effect is greater the larger bowl is turning.


As the lobe cavity has a square plate that sticks out around the edge to get to aim from side to rim of the bowl to fall in line with the bowl on the plate. When turning the inside you can take the help of a lamp to see how thick the shield wall. When the inside is finished sandwich unloaded cavity and the underside carve cleanly with a spoon knife.


lobe The form is marked and cut along the cut marks. By cutting repeated cuts with a sharp knife tip, from both the top and bottom, removed the parts to be removed with minimal finishing work on the cut surface. Lobe were cut clean the surfaces and edges. Here facilitators to have the lathe added cordon along the curvature of the dish. It simply inserts into the bowl and the chips are falling off when you reach the machined groove.


From a log to get out two bowls and a hefty pile of chips. To bowls to dry quickly enough so they do not mold or crack, they are added in a paper bag.

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Crutch

It seemed to me that I wanted to make a stick, and to have the walking stick in a LARP I'm going on and then the mother spoke in shortened verson. I picked a topic of hazel, a rougher, almost horizontal branch with two adult fast vertical branches. I took off the last piece of the crude stream to form the elbow, and kept one branch to form the stick shaft. The diameter of the rough area was about 12 cm and the two vertical branches was approximately half that diameter. The length is now about 170 cm and I will probably shorten the normal length of a cane in the future.


picture shows the growth of the cane. Top: The substance unaltered. Middle: The stick fifteen minutes later when I yxat away the worst. Bottom: The stick after another half an hour when I crossed the tape with a knife, knife and Vanves planer.


Detailed view showing the bend, first rough hew and then the almost finished state. When it dried, I cut the finished surface.


Finally I forced down the stick on the underside of a shelf so that it is not in the way and so it has been fixed in the straight position. The plan is for it to maintain the straight shape when dry. We'll see how it goes.

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Kantväv

I agree on with a new cap and shows this in a successful experiment with edge weave. The technique described in Textiles and Clothing, p. 161st Headgear'm in the wool lined with thin wool and this tissue bind layers together while it builds on and secures the edge without building any additional thickness.


It is a brickväv with four washers and four wires in each tile. The fabric is sewn into the edge with the story.

I was going to take this opportunity to do some advertising for a Course weekend ( The fashion-conscious middle ages, October 17 to 19 ) I'll keep in cooperation with LajvVekstaden . It gets a little theory of historical costume, different types of sources (gems, art, scriptures sources, etc.). We do basmönster with personalized fit and watching a lot of fun techniques and costume details. Edge fabric above is an example. Do not hesitate to sign up. Seating is limited so it is good to be out in time. Notification is via LARP workshop website.

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purse from Bergen

Early of the summer I had the opportunity to visit Bruges Museum in Bergen, which was great fun. The museum has a large collection of finds from the excavations of the mede ancient port town in the mountains. It refers mainly to the finds from the late 1200's and early 1300's. It was very inspiring and I photographed the masses. In other words, you can probably expect your multiple projects in the future, inspired by medieval Bergen. Now only a purse.


Left: Scrotum, made of bark tanned goatskin from Morjärvs tannery. It is cut as a circle with a diameter of 22 cm. Pull The shoe consists of a strap cut from the same leather as the scrotum and sits in 40 evenly spaced holes, about 1 inch from edge. Woodworking is made of the same belt as the draw cord and even the sitting for 40 holes, spaced so that each of laskningshålen sits in line between a Hali draw cord and the circle's center, about 6 cm from the edge. It consists of one lap move through the holes so that the draw cord, complemented by a round whipping each stitch inserted behind the strap from the first lap.
Right: Photo of the find. Unfortunately the photo opportunities are limited by the stand's glass walls.

It is an interesting finding that strongly reminiscent of findings described in Purses in Pieces in intercept and appearance, with circular leather and decorative pleats. The difference is that this purse has a butting Kunt "waist" known as the folds in place and ensuring that the bottom is always bowl-shaped, even if the scrotum is fully open.


on request I add a picture of scrotum in open and took the opportunity to squeeze in a picture with the belt tied on the opening so that it is securely closed.

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purse

I've just delivered a belt bag that a friend ordered me off. It is based on various bags of Purses in Pieces, by Olaf Goubitz. I have also glanced a lot of bags that mikkelf84 done, which is always inspiring.


bag faces made of 1.5 mm black cowhide and goatskin tanned with bark from Morjärvs tanning in butting and pouches. The buckle is cast in bronze and tinned.


To the left you can see some of the bag's details with the lid open. The inside of the lid is lined with hand-woven linen. On the right, seen from behind the bag.


lining of the lid consists of a piece of leather with the broken pattern, sewn onto a piece of hand-woven linen. Fabric selvage utnytjas to prevent the fabric from fraying at the top. Only after the leather sewn down cut the excess fabric away. In this way, lining the outer shape clearly marked on the fabric so that the lining is correct shape compared with lid. Otherwise, it's easy to change shape and getting a poor fit where the seams are tightening the leather. The highlight will be removed when the fabric is cut clean. Bundles consisting of one piece, sewn in place with double-stitched by a thin black leather strap.


higher edge of bundles of reinforced with a decorative kastsöm and rolled edge simultaneously so that the cut edge is hidden. Woodworking joining the lid and the top edge of the cover lining of the bag front and back. Laskremen is about 5 mm wide and is cut from the same leather as bundles.

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Touring Sewing

I started many years ago that handsy a tent. My girlfriend had just broken up and I felt no further. I found that if I still should feel bad I might as well do something productive while. So, I started to sew me a tent. Sadly, this is how afterwards, I began to feel better before I was finished, the tent was not quite clear. It can be used but sealing the opening of the tent and a few other details were not ready made. It was almost clear now for Medieval Week in Visby and I took the opportunity to shoot it for the blog.


A simple equestrian camping, 3x5 m base and 1.8 m high. It is sewn from the army linen draw sheet which is tightly woven, relatively thin and completely impregnated. It has been demonstrated to be impregnated by no means necessary as long as you have sufficient slope on the sheet and also avoid any access to the sheet from the inside. Draw sheet has a width of 80 cm, which is a very comfortable width for a tent of this size.


is stitched webbing reinforcement onto the tent's opening. The tent is sewn with waxed segelmakarnål and sailmaker yarn from Beck and Rep. on Gotland. An important detail to make this process quick and easy using sykrokar. I had a hook that I drew in a thong on your waist and a hook that I hold in an element. In this way, it stretched fabrics in the right position without having to pin and have both hands free for stitching. There is also a good idea to keep track of how long stitches are taken. I found that 90-10 mm between stitches was appropriate given the appearance and time efficiency.


calf muscles are sewn together with double rows whipping and about 2 cm overlap. To the extent that you do not have the selvedge folded raw edge in the overlap. The fabric is folded so that it constantly throws around a folded edge which makes work much easier. After having sewn first edge turns to the fabric and fold it so that others sömen also sewn on the weight of edge from the back. In the picture above you can clearly see the result where one roll seam is visible from the front and the other from the back.



Tent is for most a major investment in both time and money. I will therefore demonstrate a relatively simple way of using modern technology to plan their tents and avoid unnecessary mistakes once you put the scissors in the fabric. I used two free software that has been of great help to me when planning including tents. Same programs and the same basic method, I even used to generate patterns to jonglerbollar, headgear other projects where I want to translate a 3D object's surface to a sewing pattern. The programs I use here is called Blender 3D (advanced 3D graphic modeling tool) and Inkscape (vector graphics program). Both are free software, which is free to download and use. On the home page above, there are programs to download and links to tutorials and other useful information to get started.

We begin by modeling the tent in Blender 3D. I will not go into detail how I do this, there are good tutorials for on the website and it is very elementary geometry it is about so it should not pose some problems for the person who puts back into it. Before modeling the tent do I calculate the wallpaper roll of fabric and expect the help of the base surface into shape so that the radius of the tubular glands and a long length of the side breaks even on an integer curtains. My tent has wallpaper roll 76 cm, exclusive seam allowance, leaving radius 1.5 m with six panels in each circle and 3x76 cm in long hand. With this in mind, I modeled the tent below so that it is in full scale in the program.


When I modeled the tent that I have been pleased with the shape I marked two edges and marked them as seams (mark the desired line and press Ctrl-E -> "Mark Seam"). Now I know the program was the tent should be cut up when I then flatten out the geometry.


I now share the canvas in two and set up working the fields so that I have "UV Face Select" on the left and the "UV / Image Editor" on the right. I hold the mouse pointer over the left field of work and press 'a' so that the whole geometry is selected. Däreter I press "u" and select "unwraps". I will receive the flattened geometry of the working area to the right and saves it to a svg file (UVS -> Scripts -> Save UV Face Layout). Of course I save work at regular intervals so as not to ever get work done.

I turn now Blender 3D and open the svg file in Inkscape.

Each part of the flattened geometry is now a vector graphic. The whole geometry is a grouping of objects and thereby hangs together as an object. I peel it up so that the wallpaper roll is the same as actual wallpaper roll, but keep me on a scale of 1:10 for easier printing. I duplicate the geometry, move one to the page and press Ctrl-u to dissolve the group. I can now move around elements and add it on the line so that it would be subcontracted to a fabric. When I'm satisfied I gruperar the now well-ordered parts (Ctrl-g) and can now easily read the fabric requirement that the length of the selected object (still in the scale 1:10). If I want I can also print out the flattened geometry so that I cut with scissors and tape can build a simple model that one can look at, sample furniture, etc.

When you get the hang of how programs work, they are very powerful design tool that helps to save time, effort and avoid unnecessary mistakes.

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Ring Buckle

In early July, I did a chin strap in late medieval style. The technology is probably quite unhistorical and the result has no direct model, but it is reminiscent of the shape and style of the finds from London, mountains, etc.. The rings overall diameter is about 45 mm.


The work began with a 2 mm brass wire bent into an overlapping ring. The sawed off with a guldsmedssåg and brazed together with a small piece of silver solder. The ring was forged then out to a 4 mm Dred flat ring, which was decorated, filed and polished. The decor was carved up with a slightly jaded cold chisel and punch. The nail was driven out of brass wire of the same thickness. It is cold forged and thus deformationshärdad but the area that is folded around the ring is heated to facilitate shaped nicely.

The whole thing was a birthday present was that I hope was appreciated.

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hooks

When I was in Karmøy Viking Festival, I made a couple of fish hooks. Smithy was tilljänglig in the evenings and Tom seemed to be responsible for the blacksmith made fish hooks which I was not late to try. I did the first one in the iron and then a brass to test the difference in approach. The basic method is the same, it forges a point to fold and then plotting out a second tip in viket. That way you get a barbed tip. It then bends to the hook, cut it to length and bend of the loop. The last files you tighten up the lead. The big difference between working methods of brass and iron is that iron is hot forged and brass kallmids with regular heating to reduce tensions. I finished the rest with a little cold forging of two hooks to thereby deformationshärda them something.



When I come home from Norway, I could compare the hooks with a photo of a bargain from medieval Söderköping (right). I already knew in advance that the wire I used was rough on the high side but the find has other features I should take to me for any fish hooks in the future. The hook is straight a bit behind the tip and is sharply bent and then have a more open bend further up the stem. In this way it strengthens the hook so that it does not bend up as easily (short lever) and the fish slides down so that it always kept the barb.

next step is to spin a rope of hair, but it will have to wait until I get hold of suitable raw materials. A pitch linen thread could probably do until further notice.

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Patina

I finally have finished a couple of patina that remained and embarrassed on the shelf. It was only the straps and left for the summer, there was need. Work.


Träbottnarna I build on the findings depictions of Stepping Through Time. The straps are based on my sketches in the book and pictures of leather-clad patina from the early 1400's. Unfortunately, I had a little rush when I made the straps and had therefore become a sewing edge reinforcements, which I already pay for. They have already stretched itself after I joined the patina of wet weather, so they need to be corrected and strengthened.


lugs on the underside of the patina makes them very comfortable to walk in. It rolls comfortably in step thanks to hällkacken not located at the rear and the front heel adds any tåleden. When going up or down a grassy slope, you very good support and it feels almost like walking the stairs. It is not quite as comfortable when going horizontally along a slope when you start to make an effort to suppress their heels in order not to tip the ladder.

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Keys and new skirt

I have not posted anything in a long time and it is partly because I got a new job and partly because I have fairly covered the project is not finished yet. In order to still contribute something new and I will put a bit of work on a skirt I made to have work clothes to work. I put the focus on keys.


I cut the fabric for all buttons at once. Otherwise, it is easy for the buttons are different sizes. Since I want to have round buttons I cut into smaller pieces of fabric to stop buttons. The pieces I cut the first square (about 27x27 mm) and then cut to hear so they become octagonal. The padding is small squares about 1 inch of the page.


To begin with, I put two pieces of upholstery fabric on the button and add padding bits so that they are in 45gradig angles to each other. If you put them without turning the button slightly angular. The button sewing I then put together by taking a stitch from side to side of my cloth and tighten so that the button folding. I then pull together the protruding corners so that the button becomes more and more rounded. Finally I attached the thread but let the thread remain. The use I then used to sew the button on the garment.


When I completed the six kmappar I need to garment sewing I fixed them on the edge of ärmslitsen.


hole to take me up with a moderately wide chisel. I then reinforces the edge of a lap langettstygn. I use this one embroidery yarn because interest rates of more than a thinner wire. With such buttonhole silk or other thin threads you may want to sew two rows with langettstygn. I begin by drawing the thread with a knot on the inside and then sew langettstygnen from RS. When I had a lap, I'm going thread by a previous sting and farces thread on the wrong side.


cutting is inspired by St. Francis skirt . The wedges in the sides are a bit out of the sleeve which gives a special case that can be seen on the skirts depicted in the tex Holkham Bible (1330's).

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Söderköpingskjorteln

County Museum in West Yorkshire sets currently out various medieval finds from Söderderköping. Among the finds are exhibited Södeköpingskjorteln in a dimly lit glass case. Her skirt is dated to the 1200s, was colored in blue and red in the mi-party. Her skirt is placed on the stand with a fragmenatarisk sleeve and it has been interpreted to cover the top and the assumed front of a glass plate at a level below. I have previously studied Nockerts interpretation of Söderköpingskjorteln as described on Marc Carlson's page - Some Clothing of the Middle Ages . I have not understood the logic of the garment after Nockerts description and therefore have not put more interest in the find.



Now, when I had the opportunity to see the find with their own eyes, I reacted in a number of things. The garment parts were not arranged in the order listed in the description on Marc Carlson's page. I think I can see nuanced differences among the color between the parts (see above) and assuming here that there is plaggest original colors to show through the brown color of the fabric had to be in the earth. I guess even the garment in all parts from the right side up because I have not seen any seam allowances on top. With these assumptions, I find that the garment, so that it lies on the stand, would create a garment with a diagonally same color on the right-front and left-rear and left-front and right rear. The art of the period, I have mostly seen the garments with the same color front and rear on the same side of the center line when they are vertical dual of m-party.

To get an overview of the garment and its parts, I have with the help of digital imaging scientists to simulate topvy of garment parts to be able to put together these elements in a way that makes sense.


Above shows the back parts taken from two different photos. Below is the same part of the perspective is distorted to simulate topvy. Planks in the background and the fact that two of the pieces have parallels sides eased when the debtor to obtain credible perspective.



Above shows the two images I assumed to simulate topvy of the front piece. Note that fofot been in relatively shallow angle because the shelf where the cover posted prevented a higher photo angle. One can therefore assume that the risk of errors in perspektivförvrägningen to topvy are higher for the front. The perspektivfrändrade image is shown below.


To make a garment with the same color front and rear on the same side of the center line so I moved apart the parts that have been interpreted as baktycke to my place between them in front. Below is the garment laid out symmetrically around the center line up. Note that the scale and the fragments, length probably is partly wrong because they rely on different photos and the perspective has changed. I also shifted some parts of the height to get the big wedges, which was now in hand would have approximately the same width at the same height. The red lines indicate that part of the fabric become alienated from the image.


Garments with straight pieces front and rear, with large high wedges on the sides and smaller, lower center of the wedges are common in Greenland finds. I do this find a comparison between my approximate picture of Söderköpingskjorteln and the Norlund described the find, Herjolfsnes no.43 , which are outlined on Marc Carlson's page .

in black to the right, a vector based verson of Marc Carlson's sketch of Herjolfsnes no.43. Söderköping discovery can be compared with the same sketch in red which has changed through the wedge at center front removed and the garment is otherwise made symmetrically around the center line up. Structurally see in any case I very similar. However, it is possible that my analysis is at odds with how the garment found in the soil, the surviving remnants of the seams are, etc. The sleeve is unfortunately too poorly preserved for a relevant comparison to be possible.

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Hook and eye

A while ago I tried to make a pair hooks in brass wire. When I bent to the principal form flattened me to the thread something to deformationshärda metal.


The eye is similar to a undated findings from Lund . Now I wonder if anyone has more historical references to simple hooks and eyes. I know there are molded hooks at the Historical Museum in Stockholm, which is dated to the middle ages but I have not seen examples of simple hooks made of bent wire dateradet to earlier than 1500 or so. I have certainly not been looking long and upskattar Especially if someone can help me to sort out the story behind the hooks.

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spoon from Lund

I did just a spoon to resemble one finds from Lund. The record is undated but photos of similar spoons in the art from the 1300s. I had unfortunately no picture of the model when I did the spoon and the timber I assumed was the Bork dry. I prefer to work in green wood when I do, and spoons with a picture on the find, I had been able to get the proportions better.


Picture of the discovery can be seen here .

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Ring Buckle

A friend's birthday today so I am I made a chin strap to her. It is made of three twisted brass wires, each 1.5 mm in diameter. The ring is then solded with silver. The nail is cold forged out of the same brass wire.


To access the buff in the valleys of melancholy mäsingstrådarna I use a coarse hampgarn as I waxed with polishing compound. By wrapping the yarn one lap around the ring so that it follows the twisted metal bolts and accession will I effectively to the otherwise inaccessible parts. Ring Buckle is approximately 3.5 cm in diameter.