I slightly less half-assedly fixed the warp on the Clover Sakiori loom (Japanese).



I didn't bring a comb for the weft and was using a tapestry needle, but catten remains unlikely to mind imperfect weaving.

Also, further adventures in dyeing wool yarn. I'd like to test on dyeing combed top for cotton, ramie, and silk (mulberry/bombyx, eri, tussah, and maybe a small sample of my treasured stash of muga); and then try some on alpaca or mohair after I've processed some more.



Later in the season, in natural dyes, I might experiment with the traditional hoary old standby of onion skins; rose hips (several of my roses shrubs produce them); and find out if windfall figs from the no-longer-quite-so-baby fig tree do anything interested as dyes. Osage orange, common madder, true and false indigo, hibiscus, and elderberry grow in Louisiana so making a dye plant plot might be entertaining. That or I sacrifice e.g. a bunch of beets lol. For personal use, I don't care about consistency (I prefer chaos ball colors) and I'm not that fussed about reliable fastness. "Throw it in a pot and also an ~appropriate mordant" for personal experiment promises to be very entertaining.

Saying that the creative process of creation/conception for a story/novel MUST START with character/goal/motivation is complete fucking nonsense. You will usually need it in the END PRODUCT (modulo weird edge cases like Olaf Stapledon's Last and First Men), but that doesn't have to be the inception.

cf. composing music, where this would be like saying to a composer: you MUST ALWAYS start FIRST with a melody or you MUST ALWAYS start FIRST with a harmonic progression or you MUST ALWAYS start FIRST with instrumentation etc. No??? You can start in any of a number of places and still wind up with music???

There are times you need to start with $XYZ because of the use case (if writing for a string quartet, that constrains your instrumentation, ranges, techniques).

But when writing music, I can START in ANY of these places (not a complete list) (and have done so at various points):

- instrumentation
- tempo
- time signature
- harmonic progression
- a rhythm
- a vibe
- key/mode/etc
- melody or leitmotif
- structure/form (e.g. theme and variations, ternary form)
- a transformation (e.g. diminution, retrograde)
- articulation(s) to feature
- trolling ("What if I rewrote Swan Lake's theme in 5/4?")
etc

You're not going to be able to tell which one from the RESULTING MUSIC as an end product.

For that matter, watching web/comic creators talk about story ideation is fascinating. A bunch of them start with "I drew this cool character, but who are they? what is their story?", which is absolutely not my process since I don't visualize, but it's a perfectly cromulent process!

A test batch to see how the colors come out. Next I start measuring out and doing this more systematically.

Three-ply handspun wool yarn.

(cross-post with more technical details: prototypediablerie)



Three-ply yarns where each single is a different wool variety since I was going through and spinning up some samples. Next up will be an experiment in dyeing.



Also, the next owner of this spinning wheel is going to have to live with the aftermarket addition of Warhammer 40,000 base magnets to hold the hecking orifice hook because I keep losing them (and having to DIY new ones out of paper clips - this works quite well and is easy but also, I'm running embarrassingly low on paper clips).

A Random Walk through the Goblin Library" by Chris Willrich [Beneath Ceaseless Skies]. Superlative fantasy + math short story. I am excited to FINALLY be able to shout about this now that it's published - I had the privilege of reading this in draft and I love it to pieces. :3