in which our plucky heroine is a bit of a block head...
This last week has been all about block printing, first
making trim for Isabel, and then a whole assortment of trim fabrics for Thora. Blue Cedar House folks are going to the Baronial Ball in November, in Glymm Mere, and asked for some "fancy" party clothes...
Thora will be getting a new Rus/Slavic style overgown, slightly less than full length, and her best underdress will be embellished with a wide band of printed trim which will be visible at the hemline.

Started the large motif trim fabric for Thora, first pass is black ink, on yellow/red shot cotton. Rampant mice are from Thora's heraldry, the central tree is a heraldic representation of Blue Cedar, the household name...

Five blocks into printing the largest and most elaborate trim for Thora. I didn't realise how long this process would take, but am quite pleased with how the pattern is gradually taking on the appearance of historical silk samite, yet suitably altered to reflect the preferences of my dear pal. Still yet to do the yellow overlay on the purple, and add the red dots to the yellow circles... (note: we decided to use green dots instead of red, see image below)
Completed elaborate trim fabric for Thora's new garb. "
Si moriturus es, morere plenus tortae", or in the common tongue "if you are going to die, die full of pie" which is the household motto for Blue Cedar House, which dates to
the Turkey Day dinner four years ago, with five adults, two children, and three dessert pies. The finished fabric uses six blocks, four colors, on red/yellow shot cotton.
I carved all the blocks, the largest one, circular with large and small dots, is 8" in diameter. This is my first time using Speedball textile ink, oil-based but water cleanup, and it has been really nice to work with. Washing the blocks and tools is really simple, and the odor is not objectionable; the ink has a much longer open working time than textile paint. The drawback is that the ink needs to cure for up to a week, as it gradually dries, oxidises and becomes permanent which means finding a spot to keep the fabric while it is curing, the plus is that it does not need to be heat set.
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The red border printing for Thora's gown - two blocks, printed in purple and blue on red/blue shot cotton. Band is about 2 1/2" wide. I printed the central purple motifs and then realised I needed something different than what I had for interstitial blocks, so quickly carved a chunk of dollar store eraser into the "gothic arch" motif and carried on printing, like you do...
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An even harder to photograph color, the green border trim pieces are shot green/red cotton, not oddly grey, printed in green, yellow, and black.
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The last trim panels for Thora. These will be three blocks in all black, on shot blue/black silk. That small quatrefoil block in the foreground is one of the most useful in my collection, only about an inch square, it comes in handy for both simple borders and as an interstitial block in larger patterns...
The rich effect of black on blue/black really delights me, as well as being able to give this fabric (originally her wedding dress) a second life. The central motif in this iteration is based on
a medieval Armenian six pointed star/wheel of eternity
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October SMART goals (x=extra)
| # | THINGS MADE | THINGS FIXED | THINGS GONE |
| 1 | Laurel tablet weaving | Ironrite chair | old tourney seat |
| 2 | Marya cuff | plant hooks | bag to Goodwill |
| 3 | grape syrup | grapes picked | bag to Goodwill |
| 4 | charter # 12
| back door latch
| shelves to Goodwill
|
| 5 | Ellie apron dress | squirrel proofing | yard waste bin |
| 6 | another Marya cuff | x | - |
| 7 | Isabel trim | x | - |
| 8 | Thora fabric trim | x | - |
| 9 | Thora red border trim
| x | x |
| 10 | Thora green border trim | x | x |
| 11 | Thora blue cuff trim | x | x |
| 12 | x | x | x |
| 13 | x | x | x |
| 14 | x | x | x |
| 15 | x | x | x |
* rather than push the inked blocks into the fabric by hand, which quickly leads to sore hands, I set the blocks in place and smack them with my 8oz rubber mallet. Tool Girl for the win! I've been doing my block printing on the standing workbench in the workroom as it is quite sturdy and stable. A double layer of craft felt underneath the fabric to be printed adds just enough give to allow the blocks to print cleanly. I will say, though, that standing for that long on hard concrete makes me rather sore, so a padded mat in front of the bench would be a good addition.