The divination bag is a method of yes/no divination. The bag is two different colors, usually complimentary colors or black and white. You use it by asking a yes/no question and flipping the bag up in the air(make sure you flip it in a way where it rotates a lot) and whatever side it lands on is your answer! Before you actually start using it, make sure you program it just as you would a pendulum. You do this by asking a simple and obvious question like “Are the walls [wall color]?” and whatever color it lands on is your yes color! its similar to flipping a coin, but I prefer it because the bag is personalized to you and has no negative energy from previous owners.
- Two different colored fabrics
- Thread/needles(or a sewing machine)
- Herbs/sigils/crystals/etc of your choice(optional)
Step 1) Cut your fabric into the desired size(it can be as big or as small as you want) Step 2) Straight stitch along three of the sides as shown in blue(do small stitches!)
Step 3) Whip stitch the edge along three of the sides as shown in blue
Step 4) Turn the bag inside out and fill it with beans/rice/beads and the herbs/crystals/sigils you chose(if you wanted to) Step 5) Fold the open end into the bag and whip stitch it as shown in blue(do very tiny stitches!!)
You’re done! Now go charge it in the sun/moonlight for a day and its ready for use! I hope this isn’t too confusing!!
1. the type of fabric you use is important.felts and other thick fabrics will not work well. use fabrics like old t-shirts and other thin materials. it will not drape properly other wise.
2. you are working on such a small scale so the best type of stitch for you to use is whip stitch. its super simple! here is a video on how to do it. it is one of the easier stitches to learn.
3. if you are sewing fabric that has a pretty pattern remeber that you are going to flip the clothes inside out in the end so sew the fabric together good side to good side. that way the pretty pattern shows when you flip it!
Ohhhh, for shoot fic prompts...one of them teaching the other something (not something like fighting, something softer?).
“Damn wash and fold,” grunts Shaw, shaking out her shirt to examine a patch under one of the arms. “There’s a hole in it.”
You know for a fact that one’s her favorite–it’s the first one she always picks out of the drawer after you’ve picked up and put away her clean laundry.
“Here, give it to me.” She hands over the shirt, perfunctorily, and you almost laugh when you see it: a rip in the seam, no more than an inch wide. “Oh, that’s not bad. You can stitch that up in five minutes.”
Shaw looks dark. She snatches back the shirt and looks at the hole again.
“Maybe I can still wear it like this,” she says. “It’s not that big a hole.”
“Don’t be silly. Don’t you know how to fix a seam?”
Shaw gives you a Look. “I’m not much on that girly shit.”
“It’s not girly, it’s a survival skill. Come on, I’ll teach you.”
There’s a sewing kit you swiped from a hotel room a few cities back, tossed into the bottom of your bag. A needle and a few loops of black thread in there–it’ll have to do.
Shaw’s waiting for you on the bed. She’s turned the shirt inside out, the way you told her to, and is running her finger over the unraveled patch.
“Give it here,” you tell her, after threading the needle. “This won’t take long.”
You start stitching a quarter inch from where the hole begins–there isn’t much black thread, but it should last–and narrate to Sameen, who’s resting her head against your shoulder to watch you work.
“It’s super easy. I used to mend our clothes from the time I was little.” The needle dips and surfaces, dips and surfaces–it’s muscle memory from the shirts of yours and your mother’s that you made strong again under your fingers. “You just do little stitches, over and through, and overlap as you go, so it holds well. Want to try?”
Sameen takes the shirt, then the needle, and hesitantly dips it through the layers of cloth. She pulls the thread tight.
“Good. Now pull it back through, and overlap a little.”
The tip of the needle appears–off the line, then off again, and then back through, close enough to right–and you help her align the next stitch. By the third one, she’s got it down.
“Your manual dexterity is, as always, wildly impressive.” You give her ear a playful nibble.
“Watch out,” she says, shrugging you away, “I’m holding something sharp.” But she doesn’t protest as you rest your chin on her shoulder and watch her work. “Anyway, you’re forgetting I was a surgeon.”
“Oh, I didn’t forget.”
You show her how to close it off so the work won’t unravel, and since the black is out, you unwind the dark brown thread to finish the seam. After all these years, you’re nothing if not resourceful.
This part goes a lot faster. Sameen’s got it covered.
“You’re good at whip stitching,” you tell her.
“I’ve had enough practice,” she quips. “Not least on you.”
You help her close off the seam, bite off the extra thread–old bad habit–and feel over your work. It holds tight when you tug it, and the line looks true enough when you flip it right-side out.
“See? You can’t even tell.” You grin at her. “Do I get a reward for rescuing your favorite shirt?”
Sameen scoffs as she turns your face in her hands.
“I did most of the work anyway,” she says, but her kisses definitely say thank you, and that’s good enough.
[image description: 1- a red and white polka dot marble maze, a white
with pink-themed dessert-print marble maze, and a paper maze pattern. Both mazes, while having different patterns, bear chain stitching maze outlines and one blanket-stitched edge. 2 - the red-polka dot marble maze shown front face
up, displaying the red chain stitching, beside the dessert-print marble maze shown back face up,
displaying the pale pink minky fleece backing, unmarked by the stitching.]
Handsewn Marble Maze Tutorial
A paper pattern the size of your maze.
(Most tutorials don’t give sizes! I’ve been using rectangles 18.5 x
11.5 cm wide, which works for me and my hands; you might like it bigger
or smaller. This includes a .5 cm seam allowance; if you need a 1 cm seam allowance, add .5 cm all the way around.)
Three pieces of fabric the size of your maze (cut using said pattern).
I’ve been using one piece patterned flannelette for the front, one piece
minky fleece (but it could also be flannelette) for the back and one
piece whatever scrap fabric I’ve got, as you won’t see this, for the
middle. (Fabric with minimal fray, like ribbing or T-shirt fabric or
knit, is easiest to handle. Quilting cottons are a pain.)
A ruler and pencil.
A tracing wheel or sewing chalk or one of those fade-away pens/pencils.
Sewing thread and needle (I use plain white for the inside as nobody sees it, matching or contrasting colour for the outside).
your maze on your paper. I’ve been leaving columns and gaps of 3.5 cm
(not including the seam allowance at the edge) for the marble to pass
Take your front fabric and your scrap fabric piece and pin them together so the front side (the pretty side) of the front fabric faces out.
or trace (I use a tracer wheel over the paper pattern; others might
find copying the lines with a ruler via a pencil, chalk or pen easier to
use) your marble design on the front side (the pretty side) of the front fabric. Using a ruler with your tracer wheel helps keep lines straight.
along the maze lines. I’ve been using a chain stitch because I can, but
a back stitch will also work. Don’t use a running stitch, because you
don’t want gaps in the stitching; you need a full line of stitching. I’d double-thread this, because the stitching is meant to be slightly decorative.
Take your finished maze design (the front and the scrap fabric sewn together) and the back fabric and place them front sides facing in.
(You should have the wrong side of the fleece and the scrap fabric,
marked by the less-neat lines of stitching, facing towards you.) Pin together.
around three edges (two long, one short if a rectangle) of your maze,
sewing through the three layers of fabric. Because the materials I’ve
been using don’t fray badly, I’ve been using a back stitch (I back
stitch everything) with small stitches and leaving the edges raw. If
you’re concerned about fraying, back stitch, and then go over the edges
with a blanket or mattress stitch.
Turn your maze right-way out. You’ll have the maze at the top and a pocket at the back. Slide a marble between the front and middle layers
and push it down to the bottom of your maze (testing your maze at the
same time). Tuck the raw edges (the two maze edges together, the back
edge separately) inside the pocket and blanket/mattress stitch or whip
stitch it shut.
Your maze will look like the mazes in the second image: stitching in the front, neat and smooth expanse of minky fleece (great for stroking) in the back!
Worsted wool, 28.5 x 62.5 in., with 13 hand-sewn, double applique cotton stars configured in unusual arrangement of one central star surrounded by a ring of six stars, which are lined on the right and left sides by two rows of three stars. The fly is constructed of 13 hand-sewn linen stripes. The hoist appears to be denim, with two whip-stitched eyelets, possibly added later. The flag is stitched to a sheet of muslin, most likely to keep it in tact. An early flag, dating from either the Mexican War or Civil War-era based upon the “blood-stripe.” via Cowan’s
So it occured to me that a lot of people don’t know how to do a whip stitch, which is probably my most used hand stitch. It can be used to attach trims, do hems, and sew down edges. I actually use it for all of my hems, because I don’t like seeing a big machine stitching line. But it’s really simple to do!
So here’s your hem, or your two layers in general. If you were actually doing a hem you should serge or double fold the edge, but since it was just a tutorial I didn’t.
Plant your knot under your first layer, and that layer only. This’ll ensure that it’s buried (Do this for basically all hand stitches). Take another stitch through the same place for security.
Now at a 45 degree angle to your hem, take the smallest bite possible out of your second layer, probably only one or two threads, before continuing on into your first layer again.
This is about what it should look like once you’ve taken multiple stitches. Your stitches don’t have to be super tiny, but they shouldn’t be large enough for anything to get caught in them either.
When you want to knot off your thread, and I think I tried and failed to illustrate how to do this through pictures, you make a loop in your thread and wrap your needly through it three times, effectively triple knotting it.
Then you want to bury your tail, taking a stitch back towards your stitching starting from where your knot is. This just ensures that your knot won’t come undone easily.
This was the other side of my fabric when I was done. Effectively invisible when done correctly!! You can only kinda see where I took stitches.
I took some bigger bites in the fabric just to illustrate what that would look like, as well. Still better than obvious machine stitches, in my opinion!! If you want to take the time to do it, definitely worth it.
Do you have a NoTP in your fandom? Are they a popular OTP?*
My fandom is OUAT and the main OTP in canon is CaptainSwan. They are my NoTP. Initially, though I thought they made better antagonists than lovers, I ignored them. But then the creators of OUAT would not stop promoting them every whip-stitch, that I couldn’t stand them. I could delve into the abusive tendencies and the devolution of Emma Swan’s character, but there are more articulate meta writers out there who have already done so. Bottom line - just can’t stand CaptainSwan.
So the last part of the tutorial is finally here! (Almost a year after I begun it!)
Your first time here? You don’t know what we are talking about? Well, take a look at the Part 1, Part 2, Part 3 and Part 4 of this tutorial. The rest of us, let’s continue:
Step 14 is correct the final pattern and cut the fabric
First you have to draw the changes from the fitting on the pattern. Take a look at my mockup stays and the corrected pattern (and the best table cloth ever!): I needed a bigger armhole and changed the front to a curve, since this (with an eyelet and linen tape or ribbon) will attach the shoulder strap.
Now you have to cut the definitive stuff: 2 layers of base fabric (again!), 1 layer of the outer fabric and 1 layer of lining (linen or cotton for this, the photo is my lining).
For visible tunnels the running stitch will be set BEFORE sewing the tunnels. For not visible tunnels you’ll fix the pieces with the running stitch AFTER you sew the tunnels.
I decided I wanted visible tunnels and I sew all of them by hand (am I crazy? May be yes, what can I say). You can do it with a machine if you’re not ready for this. I used a back stitch with a tread of the same colour of the fabric (a contrast colour is prettier, but any mistake or imperfection will be clearer).
This step is probably the slowest and longest. This is how mine ended up looking (my stitches are not that perfect, but don’t judge me XD):
After doing this you’ll have 2 sets of the stays: one set of the main and base fabric and one set of the lining. Now is the time for putting in the boning. It will look like this:
Step 17 is joining both sets and finishing
Now is the time to join lining and main fabric (or lining, base and main fabric), first with a running stitch and to finish it we’ll close with a tape (if you wanna be historically accurate it may be a silk ribbon or something liek that) or with a bias tape that you can buy or cut from the same main fabric (which will be easier to set).
First I set it with pins and after that I put a running stitch all around (here are photos from outside and inside):
Then you can cut the bottom tabs open and set the the tape. But i didn’t take a photo of that. Because of course. BUT you can see THIS VIDEO of how to bind, it’s just like binding a quilt and this woman explains it very easily. Just be careful with the corners.VERY CAREFUL. What I do if it’s too difficult is set the tape with a running stitch, then set it with machine (or by hand) and then fold it back and close with an invisible stitch (which is what I did here).
Step 16 is make the eyelets
There are basically two options here: make eyelets by hand or set metal eyelets. I set metal eyelets because I suck at making eyelets and buttonholes by hand, so I decided to avoid the ugly results. Now let’s be careful about the way you’ll mark the eyelets since they are not supposed to be perfectly symmetrical. Do it like this:
And this is how the shoulder strap eyelet looks like (I love to tie a little ribbon there, even if no one will see it!):
Now that it is finished I think I should have used a contrasting binding, maybe baby pink. The ribbon I used today is mint, but I like to use a pink one (sorry I do not know where did I put it XD). And it is finished. One of these days I’ll show how it looks like on, but if you make your own stays, please show us how does it look like!
I decided to whip stitch my African flower hexies together. The result is a very clean, very flat and pretty join. They’re stitched in ‘hexie flower’ groups to make the process more manageable (and more portable.) I can’t wait for the entire blanket to come together so I can curl up under it.
Unfortunately, Asami was the end of my Legend of Korra dolls, but now we’re moving onto The Last Airbender dolls! We’re starting this off with Katara! I’ve done a hair-down version of her, but you are welcome to do whatever hairstyle you would like.
So my Clem cross stitch got on Prime Time today which was rad, and one of the girls mentioned she wanted to do offensive cross stitch (something I’m fond of myself) so because I’m horribly blocked on drawing I decided to whip one up.