“Mx” pronounced like “Mix”

@yrhtek.bsky.social

410 Followers 320 Following

We are on Native land. They/Them. Cat lover. Crafter. Folk and courtly dancer. Navigating ADHD. Disabled. Pursuing a Bachelor’s of Social Work. House witch. Mostly an indoor cat.

A pink cotton canvas pair of bodies (precursor to the corset and stays) lays face up on a dark wood table. Strips of white canvas with cats dyed in different prints line the edge of the pair of bodies, and extend beyond the bottom edge. Handsewn eyelets are placed along the lacing strips for spiral lacing. There are channels lining the mock up in half inch intervals extending out from a center busk that is slightly wedge shaped. These are filled with plastic zip ties cut to length for boning purposes. This is a barely different shape and measurement from the modified pair of bodies, yet fits completely differently!
Inside of the pair of bodies I made last year, shrunk down to my new size (1 channel or a half channel removed from each tab, and none from the front panel). The left side has been ironed and felled, and the only step left is to fold and stitch down the trim. The right side has been ladders stitched to close the extra channels, but not yet ironed and felled. I removed the reeds for the ironing and felling, it was just easier that way. For those who don’t know, felling is a fancy term for using a teeny tiny whip stitch to secure a seam flat against the body of the garment. It’s super useful when taking in garments you might want to take out again later, since it gets the excess fabric out of the way while simultaneously reinforcing the seam! In this case, I also flattened the tubes created by ladder stitching the front of the channel closed by first ironing them flat, then doing a running stitch along the channels. Had they been bigger, I might have tried pad stitching instead. Debating whether the reeds in the channels where folds landed are even necessary, since the folded channels are also effective stiffeners.
A fluffy orange cat sits pretty against the background of a modernist geometric rug. He sports a navy blue pillow collar, and his natural ruff looks a bit bedraggled and damp in spots. His chin is a bit swollen and balding from scratched and infected acne, but his eyes are bright and green and he has just feasted on his usual wet food and new treats packed with omega-3s to support his skin health.
A teal corduroy skirt hem decorated with a wide stripe of pale gold in a four-petal/bird’s eye weave bordered by teal and bronze gimp braid, with somewhat worn plastic pearls in the center of each flower. Next to a loose pearl, a sewing needle has been fixed through a bit of cloth with its white thread tail wrapped around the needle in a figure 8, securing it temporarily. The pearls are being secured before it’s sent to be cleaned.
A beautiful image of a sambusa is at the top of the screenshot from the article. The segment pictured reads: “Albi Kitchen One of the great delights in eating a homemade sambusa is the way each tells a story of the maker and the care they put into the ubiquitous dish. With whisper-thin pastry fried delightfully crisp and an abundance of fillings (we love the creamy lentils), it’s evident that Fardowsa Ali puts that care into every detail of her food and restaurant. Diners are welcomed into the beautiful setting like they are entering her home, with tea in gorgeous glassware and a room that attracts every ray of Minnesota’s winter sunlight (which sometimes can feel in short supply). The desserts are equally beautiful and tempting, while each visit feels like we’d be welcome to linger just like old friends. 1411 Nicollet Av. S., Mpls., albikitchen.com”
An Erica table loom by Louett on a floor stand is draped with two carefully tied and bundles of warp threads in slightly different colors of purple. The reed is pulled forward and out, with the center marked in silver sharpie and the edges of the weaving section marked with waste yarn. Each of the four pegs for lifting the shafts is labeled in black sharpie. Underneath, a fluffy orange cat is licking his chops after dinner, and a small blue rug is folding up from the encroachment of the loom stand.
A small skull doily I started the day a friend died, and didn’t know until the next day, is finally off the hook. Next up: starching and blocking! I think my dearly departed friend would be amused by both the pattern and the timing, were she aware of either. This is my first doily, and I’m not sure yet if I will gift it to her mother (who would also love it) or keep it as a first. The background is a green corduroy couch, and the pattern consists of 8 skulls, framed, around a central daisy. It was from a YouTube tutorial, found here: https://youtu.be/8jjjR9A_AGw?si=xoqAxXdaiURA4GF4 I learned that I like how picots and variations of picots look, but actually working them is super annoying!
A purple poster style infographic displays my Lingvano 2025 stats. The top image is of a party popper with confetti and streamers spilling out over 2025. Next it reads “I’m in the top 12% of ASL learners on Lingvano!” Underneath, there are four boxes stacked in two rows and two columns. In the top left, it displays an icon of a book with a checkmark on it, and the text says “263 lessons done.” The top right box has an icon of a hand that means “I love you” and the text says “1528 signs learned.” The bottom left box has a fire icon and says, “144 longest streak.” The bottom right box has a clock icon with 15 minutes highlighted and says, “1107 minutes spent.”
A white person holds out a small niddy noddy with a fine white 3-ply wool yarn. No idea what kind of wool. Behind the yarn is a dark stained 1975 Ashford Traditional single drive spinning wheel on a wooden floor in front of a blue rug. Behind the wheel is a loom draped with a sheet.
A fluffy orange tabby sprawls sleeping across a grey and white striped duvet laid over the photographer (me), like he’s hugging me through the blankets. There’s a light source from behind me that lights up the cat well, but doesn’t reach the bookshelf in the background. To the right of and behind the cat, pale morning light seeps in past the curtains.
A green cartoon owl with big, awestruck eyes raises an 8-pointed star above his head, above a floor of clouds, in front of a pale blue gate that he just popped out of. Other stars shine in the ceiling/sky under the words: “duolingo 2025 year in review / I’m a Stellar Student! / I’m in the top 4% of global learners”
From back to front: a Brother serger/overlocker on a bookshelf with a dust cover, a ball winder, a bottle of Feed N Wax, and a bottle of spinning wheel oil. A warping board is leaned against the bookshelf. In front of the bookshelf is the gleaming Ashford spinning wheel named Starling by her previous person. In front of her is hamper full of fiber (wool, flax, and silk), topped off with swifts, fiber winders, a yarn measuring tool, 2 balls of hand-spun wool, a pair of hand carders, a box of knit/crochet counters, two long picks for creating a second pattern shed while weaving, a silicone mat for ironing fusible things without getting my ironing board gross, a blocking board, a darning egg on a stick, a place to rest my weavers cross while dressing my loom if my hand hurts, and a bag of embroidery thread. I never in my life expected this and I’m stunned and thrilled to give it all a home with me. Now I just have to sort out my space. 😅
The two skeins hang wetly from silver hooks on a drying rack placed inside a bathtub. The one on the left is longer and thinner, in a dark blue-green that leans blue. The one on the right is shorter and thicker, in mostly greens with some blues popping through, in a lovely variation. That one was dyed in the wool, giving it distinct color strands in its ply.
A plastic bag of 7 kids books, clean and ready to be repaired before release into a nearby little free library
Best example of the soft Velcro, which went more quickly than the hard Velcro. The edges are whip stitched down, and ends are tucked into the glue. It helped that this was near one of my unpressed seams joining two lengths of vinyl to make the belt long enough for Skelly, so there was space between the layers.
A gosurori page from the internet archive, zoomed in on details of a pattern, with blue drawn on lines connecting symbols like in the pattern OP is looking at to little equations, presumably for determining the actual size to make that section of the pattern.
Image search results of just the upper right corner of the pattern with the confusing markings. AI Overview: The image appears to be a diagram illustrating different types of pocket closures or designs, likely for a sewing pattern or design specification. -The diagram shows two variations of a back pocket design. -The left pocket features a circular symbol, which may indicate a snap closure or a simple button. -The right pocket, labeled with the number 2, shows a square symbol, possibly representing a patch pocket or a specific type of flap and button closure. -These symbols are typically used in technical drawings or sewing patterns to denote specific construction details or materials.
Front of the capelet, draped over a small floral print dress. Both front panels are visible, with the ruffle of the pineapple stitches falling over the model’s elbows. The fasteners sit perfectly at their neck, with the collar and triangles just falling short of their chin. The model’s smile is visible, and they’ve popped a knee forward for a sassy pose.
A paper from a fortune cookie that says: “Your income will increase.” Begs the questions: when, and by how much?
The whole capelet is laid out on a cream sheet, folded to emphasize the in progress front panel (front and center, the closures (the button and loop directly above the in progress section), and the completed front panel (extended to the left. I can’t wait to block this and make everything lay nicely. The folds also display the pineapple section along the bottom and the cell-like structure in the middle section.
A bowl in the shape of a skull rimmed in flowers on an ornate stand rests on a dark wood coffee table. In it rests a ball of variegated green wool yarn wound onto an old Harry Potter wand. The yarn trails towards the viewer, bisecting the face of the skull and ending in a barely visible white person’s hand surrounded by a crocheted project. In the background are other Halloween decorations, a couple small project bags, and a stone facade fireplace. Another person’s denim clad legs can be seen off to the left.
An in progress crocheted fan shaped garment in a variegated green wool is laid out on a grey and white striped duvet. There are three different textured patterns worked into it. From the outer edge in: there is a decreasing pineapple shape creating a rippling effect, then a series of nine blocks of square cells with the outer two blocks decreasing to form a right triangle, and finally row of triangles. Each section is divided from the other with a few rows of single and double crochets, with little decorative ridges.
The back of a white person’s head, with their super fine blonde, sun-streaked hair in a French twist that’s starting to settle into a curve as the twist releases under gravity. With no pins to hold the shape, there’s a bit of a top knot uncurling at the top of the twist and ends are starting to poke out in delicate sprays around the knot - it looks a bit like a baby’s head poking out from a back sling.
A white curvy person has the beginnings of a green shawl draped loosely around their shoulders, while still on their crochet hook, held in the same hand they’re holding up in a thumb’s up position. The shawl is currently three rows single crochet, one row double crochet, and three to four rows of “pineapple” loops, depending on if the routes are before or after the crochet hook’s current position.
A coil of variegated green wool crocheted into a 3-4 inch band of single- and double-crochets, and pineapple loops.
A curvy white person stands “tall” (they are only 5’2”) and proud in a white v-neck smock with ruffles at the wrists and neck, a Spanish farthingale (Queen Elizabeth’s favorite hoop skirt) in cream, and a green pair of bodies (precursor to stays and corsets) with boned tabs (partially hidden under the farthingale) and an oak busk (invisible, as it is inside the front panel of the pair of bodies), smiling at the camera. Their very straight, fine blond hair frizzes and curls away from their face into a bun behind their head. The background is green grass and trees, a beautiful summer afternoon with golden light dappling the scene. And several bags scattered around on the ground.
A dark yellow, almost golden, textured flat cap in the style of Renaissance Festivals across the US (can’t speak to elsewhere) lays belly up, revealing a black tape bound inner rim, adorned with 5 fairly evenly spaced black loops. The loops were stitched with black linen thread, and worked with a buttonhole stitch all the way around the loop for added strength. The texture features alternating parallel lines of tiny boxes and hatch marks, appearing at an angle in the image.
Time lapse video of a white person patching a pair of jeans with a piece of denim stitched on with a running stitch up and down the length of the patch. The thread is an indigo dyed sashiko thread (very evenly spun cotton with a very high twist for durability). I used a tailors ham to regularly iron the patch in place and keep it neat because pins were just stabbing me.
A time lapse video of using a reproduction speedweve loom to darn a hole in a twill plaid blanket. The blanket is Pendleton wool, and the repair yarn is a blend of alpaca and silk.
A chat screen with an incoming message stating: “Sorry I didn’t mean to bother you…..have you ever been a suga baby ?…… just asking respectfully” and a blank showing no response has been sent.
A large fluffy orange cat is semi-sprawled on a blue silk pillowcase with his back to the wall, facing his human, a small white person with hair pinned into a bun with curly wisps, nose pierced twice on their right side, wearing a grey shirt and smiling a closed mouth smile at the camera, right eyebrow cocked. The lighting is low and reddish. There’s a power strip on the wall above their heads.
The neck gusset speedweve repair from the outside, showing a neat square of a thicker white linen thread woven as a patch directly onto the finer white linen fabric of the smock. The tail end was woven in on the diagonal, clearly seen crossing from one corner to the other.
A white person’s hand presents a two-tone high whorl drop spindle wound with a clockwise twist of merino wool in greens, the end of which is a fluffy bit wound round the hook of the spindle. The background is of a grey and white striped duvet, and the rest of the combed top roving I was spinning. This was probably 2-3 hours of spinning, and I have no idea how many ounces or feet.
A blue wool single of various gauges is wound around the shaft of a beautiful two tone wooden high whorl drop spindle by Revolution Fibres (imprinted on the shaft, partially covered by the yarn). In the background is a blue rug on a bright hardwood floor, matching the lighter tone of wood in the spindle. Not seen is the hook at the top of the spindle. It spins beautifully and has some heft to it (not too light or heavy). This was spun from combed top roving I pre drafted, and used a combination of park and draft and continuous drafting, getting a feel for each. I prefer continuous, but I’m still working on keeping up with the spindle!
Back back repair: a white person’s hand with long unpainted nails pinches the top edge of a grey and black back pack displaying a line of stitches in black polyester thread along the join of the left shoulder strap to the main body of the bag. It’s a simple whip stitch from the inner corner of the strap to a seam on the main body of the bag where the handle was secured (about 2/3 across the strap) and back past the corner of the strap. This is the second time I’ve stitched up this corner, which is a stress point because of how I tend to lift my bag, which I tend to carry a lot of heavy things in. The first time was in thick, green, hand waxed linen thread that lasted somewhere between 6 months and a year. I used a curved upholstery needle and a hemostat as needed. The stitches are relatively small, and may not be very noticeable at a quick glance.
A partially cut up sheet of copy paper rests on a granite countertop with the above list hand written in a curvy mess of cursive and print, as happens when the writer has their dominant hand in a brace.
A fluffy orange cat sits pretty, staring blankly up at something off screen. His eyes are dilated, glassy, and wet underneath. His mouth is slightly open with post-oral surgery swelling. Kind of like a person post wisdom tooth removal. He is sporting a navy blue tracker and night light on his collar like some kitties wear bow ties. The background is a blue rug on wooden floors, with a bag of cat toys next to a cat bed, and anti-fatigue mats decorated with cartoon cats.
A smiling curvy white person is facing the camera in a white smock/chemise with pleated cuffs and collar, an undyed muslin Spanish Farthingale/hoop skirt, and a green pair of bodies/stays/corset. Their hair is pinned in a bun on top of their head. In the background are grass and trees and a lovely summer day.
Herringbone twill with slightly weird shape from having to advance partway through the pattern.
A close-up of a pair of bodies (precursor to stays and corsets) in green cotton twill with white bias tape binding off the edges. One tab is in progress, with the center piece and four previous tabs blurring off behind the current one. The bias tape is wedged into the corner where the tab splits from its neighbor with white linen thread and a needle trailing away from the tight bend.
A deep tub of water, surrounded by floating and pillar candles, and a “Deadly nightshade” bottle of blue string lights reflects blue light and warm yellow candlelight.
The Lock Screen of a T-mobile iPhone at 20% battery on Tuesday July 29 at 8:16, per the screen. The background image is a bed of gathered native mosses and flowers only in focus in the middle of the picture, over which white letters declare YOU ARE ON NATIVE LAND. Background courtesy of Urban Native Era.
A picture of a weaving sampler on a four shaft table loom in purple warp, blue selvage, and green weft and pattern work. The sampler sections visible are a large twill chevron (perhaps 2-3 inches), a 2/2 twill in 2 different green wefts (another 2-3 inches), and vertical zigzags (no more than an inch and a half) broken up by an inch of plain weave in the purple ground thread.
An orange and yellow flaming cartoon owl screams in a phoenix pose and spreads his wings on the right side of the image, eyes glowing. On the left the image reads “I’m on a 75 day learning streak! duolingo” The words are in white on an orange background, except for the last word, which is in a lighter orange.
1876 William Taylor hand cranked sewing machine
Front view: A green pair of bodies (precursor to stays and corsets) with trim across the top but not the bottom, and trailing trim and a red silk ribbon, worn over a blue pac-man t-shirt. The tabs bend apart and out accentuating the waist, while the front remains stiff as a board (or an oak busk 😜). The reeds poke out a little bit along the bottom edges.
A square image with a pale green background. On the right side is an animated green owl proudly pointing to “20” next to an icon of the Spanish flag. Above the flag is the date, June 19, 2025. Below the flag reads, “My Duolingo Spanish Score is 20!” On the bottom left is “Duolingo” in all lowercase and a green that matches the owl.
A grumpy looking orange tabby long haired cat side-eyes the camera from a grey backpack designed for carrying pets. The front mesh door is hanging open, with the cover rolled up and secured, and he fills the bag almost completely. Just below the mesh door is a partially obscured cream panel which reads “SIR GILES III” in black sharpie. The bag is on a hardwood floor near a blue patterned rug, next to a bed with a grey and white duvet, and also next to a door hung with a deep blue curtain.
The inside crotch and thighs of a pair of jeans, featuring the attachment of a fourth patch to the inner thigh, done with a simple sashiko-like running stitch with high twist cotton thread dyed indigo. All but one patch are neatly edged with a blanket stitch in fine black cotton thread. The edged denim is fraying. The background is a couch with a red golden retriever sleeping and a glimpse of a carpeted living room.
A green pair of bodies (precursor to stays and corsets) is leaned against a wooden table as a roll of white bias tape is pinned in place with firm hands and a yellow and white polka dotted tie on pincushion full of slender pins.
A green, unbound pair of bodies (precursor to stays and corsets). All hand sewn. Boned with reeds. All natural fibers, primarily linen. Background is a white and grey horizontally striped duvet cover.
A pair of bodies (precursor to stays and corsets) with raw, unfinished edges, highlighting the closure edges of the bodies, green cotton twill facing out with neat backstitched boning channels, white linen lining facing in. One channel in from the closure edges is a column of 7 eyelets each, sewn with a button stitch in green silk buttonhole twist. The left side has the bottom two eyelets a half inch apart, and the remaining eyelets 1 inch apart, and the right side has the top two eyelets a half inch part, and the remaining eyelets 1 inch apart, set up for spiral lacing. The resources I used to draft this garment suggest spiral lacing is the most period appropriate closure method for a pair of bodies. The eyelets are only along the top two thirds to three fourths of the garment, ending at the waistline.
A flame icon in the center of a circle with orange rays coming out from it. Below the icon in white reads “100 Days Streak!” There’s a white border around the orange rays that curves like a wave across the bottom. Below the wave is a speech bubble shaped like a hand in five shades of orange to red, “Lingvano” in orange and red print, and the phrase “I am learning sign language” all in red except the word “sign,” which is in orange.
A fluffy orange cat sits on top of a work in progress pair of bodies (precursor to stays and corsets) on top of my knee
A table loom under tension, view from above of the working area. The left and right borders are blue warp threads, and purple warp threads fill the center. Purple weft in plain weave established the neat selvedges, and green weft has been woven in a basket weave pattern. A notebook with white paper is below the weaving to help see the gaps in the threads better.
A tan on cream linen herringbone cloth in a fan shape with neat lines spaced 3/4 inches apart in dark green linen thread. Occasional knots break the neat pattern like dark little stars. It’s not quite complete, with a figure 8 of thread between the last stitch and a slender silver needle pinned beside the remainder of the penciled guide line. There are 2 1/2 lines left before all the boning channels are complete. Per the labeled channels, there will be 66 channels once completed, not including the two channels marked “E” for “eyelets.” The background is a dull green corduroy couch.
A dark red golden retriever lays belly up on a grey carpet, balancing an orange ball in her two forepaws out of her mouth, and letting it fall out of her paws to catch in her mouth. She repeats this several times, flashing her teeth and swinging her face excitedly, before the ball lands to her left and she rolls over it playfully.
A fluffy orange cat loafs majestically atop a couch tipped onto its face against the wall, revealing what would be its naked underside to the room. Its naked butt is covered by a thick black cotton duck cloth, with clothespins folding over the top edge, which is carefully draped along the now upper edge of the couch’s undercarriage. The couch’s feet are resting on the top, two near the cat and the close edge and two by the far edge of the couch.