This is a long time coming, and Free Comic Book Day has come and gone, and I forgot to get the post up with the accessories I made for Tim’s final look. (Sorry!) Here’s what we ended up with:
a plastic bone (found at a costume shop)
a skeletal hand (found online)
a metal sand dollar (found at Joann’s, painted white)
a scroll case (sewn with leather-look ultrasuede)
a “leather” pouch (sewn with the same stuff as the scroll case)
I used a combination of black cotton cord, hemp cord, and jute twine as the stringing materials. The sand dollar was the only real mystery thing. I couldn’t get a decent enough view of what the round white thing was around his neck. In the end, I decided, what the hell — it’s a sand dollar, why not?
The scroll case is a simple tube with one end “capped.” I finished the raw open edge, and used a zigzag stitch to attach the black cord so it could be worn. The scroll is simply an 8.5×11″ sheet of paper rolled up along the long edge and slipped inside. The paper is all that holds the tube’s shape. If you want one that’s more rigid, you could use interfacing.
The pouch was even simpler, I didn’t finish the top edge and the holes for the drawstring are just slits in the material. It took me longer to put the drawstrings in than it did to sew it. Remember to put something in the bag so it has some weight to it. I put lemon cough drops in that one.
Tim’s an enchanter, but I didn’t have the hollow staff full of “petrol” like Cleese did in the film. (Gasoline and comic books seemed like a bad idea…) I really wanted to convey the idea of fire, so I went on a fruitless hunt for orange cellophane. What I ended up with was a red-striped clear bag (from Michael’s) that I altered with Sharpies®. It worked pretty well, and I’m happy with the results. I’ll do another post on how I got the flame-y look, in case you need fire for something you’re working on.
I’m very happy with how the end result all came together. Our local library had a costume contest on FCBD, and he won first place with his, so that was pretty gratifying.
My daughter loves the game We Love Katamari for the PS2. (We got her the PS3 Katamari Forever game, and she refuses to play it, even though it’s essentially the same game.) Anyway. When asked which of the cousins was her favorite, she responded after a bit of thought, Ace. (I prompted her with some of the female cousins, but she came back with Ace.)
I thought, since I still have a few days before Free Comic Book Day, maybe I could throw together something really quick for her in time for the weekend. Tim is nearly done, just waiting on something to arrive in the mail for an accessory, my Bitch Planet cosplay is done. Sure, why not start something else with only 5 days to complete it? /headdesk
Here was my thought: I needed an A-line tank dress in gold, with a matching long-sleeved shirt underneath. Red-violet tights or leggings. And some sort of headgear as yet to be engineered on a headband.
I ended up with a tunic that had a pointed center (Butterick 6170) and a hooded long-sleeved shirt from Goodwill. I made cones for the sides of the hood with the same material as the tunic, and an antenna for the top. That will give the idea of Ace without going full-on headgear (which I don’t think my kid would tolerate).
When I got the pattern out of the envelope, what I thought was an off-center point due to a couple of gathers turned out to be an actual asymmetrical pattern piece. I ended up drafting my own pattern pieces* based on the pattern pieces it came with, since I was planning on lengthening the point anyway, I just created a whole new front piece that was symmetrical, cutting it on the fold. Considerably more work than I had intended, but I got what I wanted in the end.
I modified the back first, since it was already symmetrical, being a two-part piece with a seam up the center. All I needed to do there was lengthen the point. I pinned the pattern piece to some craft paper (we have a roll of it), I determined how long I wanted to make it, marked that point and used a straightedge to connect that point to the original corner on the other end of the pattern piece.
Since the front of the garment was asymmetrical, not on the fold, and one large pattern piece, I laid it out on more craft paper, and put the back piece over the top so I could mark the point. I wanted to make sure that the two pieces were the same length!
I cut the front on the fold and I used the pattern piece’s mark “center of garment” line to make my new pattern piece. After I marked the line based on the back piece, I was able to use the straightedge to create the new bottom hem.
To make the cones, I just sewed yellow cones and stuffed them with fiberfill. I used a small coffee can to get the base size, thinking that was a size that would give enough of a suggestion of the character without being too obnoxious for her to wear on the hood. When I painted the stripes on the tunic, I painted the cones, too, because I was mixing the paint (yellow and white) and wanted the colors to match, and it’s nearly impossible to match colors if you don’t do it all at once. The antenna is stiff craft felt as a base, covered with golden yellow felt (the more conventional stuff), with a red pompom glued to the top.
The katamari ball is a “bumpy ball” we lucked into at Michael’s for $5. I painted the nubs, and there it was! (Or close enough, anyway.)
The yellows do not match. At all. I needed a more golden yellow for the tunic, but I’m on a tight budget and that was the color option in the price range I was comfortable with. This is good enough for now. If she likes the costume and wants to wear it again, when I have more time I can make another tunic in the right color. If not… she has a cute yellow tunic she can wear with leggings, with a couple of random stripes at the bottom.
I’m calling this a “simplified cosplay” because it’s representative of the character without being 100% accurate (like I tried to do with Tim the Enchanter, or the Bitch Planet prison coveralls), but it’s not “stealth cosplay” either. Plus, remove the hooded tee, and the tunic is wearable on its own, not as a costume piece.
*NOTE: This may be obvious, but even if you think you’ll remember later, label your created pattern pieces immediately after you’ve made them. Like, right after you unpin the original tissue from them. Who the pattern maker was, what the pattern number is, what size it is, what pattern piece number (or letter) it is, all the marks/darts/dots/notations, everything that’s on that tissue should be on your created pattern piece. That will also help you know which side is the right side up. That way you won’t come back to the space where you do your sewing later, with miscellaneous pieces of paper that are clearly pattern pieces… but you can’t quite remember which pattern, or which side is the right side, or..? Just do it. You’ll be glad you did later.
I am a Kelly Sue DeConnick fangirl and I don’t give a damn who knows. I loveCaptain Marvel, Pretty Deadly is weird and awesome, but Bitch Planet is f’ing EPIC. This cosplay is my love letter to Kelly Sue and artist Valentine De Landro.
The best part of the Bitch Planet cosplay is that you can literally start it on Monday and be ready to cosplay for the weekend. It’s that easy.
Start with pajama pants; McCall’s 2476 is perfect (and has sizes that run up to XXL, with 48-50 inch hips). Buy enough fabric to make the bib and straps of your coveralls; I erred on the side of caution and twice as much as I needed — I figured if I messed up with my experimentation on the bib, I’d have plenty left over. Since I was using inexpensive broadcloth, that wasn’t a budget-burden. Make the pants but leave out the elastic; the straps will hold up the pants, you don’t need elastic.
The prison uniform in Bitch Planet shows a center seam up the thigh. The pajama pants don’t, but after I made mine, they were enormously too large. I wanted them to be a little shapeless and oversized, but this was ridiculous. I was able to solve the center seam issue and take them in a quarter inch at the same time, just by stitching straight up the leg.
Making the bib will vary depending on your height and waist, so I can’t give you numbers, only show you what I sketched for mine. It’s a sort of wonky “L” shape, that tapers on the vertical and horizontal sides. The skinny side piece that wraps around the waist is where the straps will attach in the back; it wraps around the waist, but not all the way around. (For mine, they ended up being about where my Latissimus dorsi muscle was in my back, because that’s what was comfortable for the strap placement was for me.) I cut four of the pattern piece, so I could have a very sturdy bib with no exposed raw edges. I could have done that with two pieces, but then it wouldn’t have had the center seam that De Landro’s design has.
After I stitched the bib together along the top edges and turned it right side out, I pressed it, and zigzagged the bottom edge and trimmed it with pinking sheers. Then I folded over the top of the pants twice, essentially forming a casing that would have held elastic, but all I wanted was to enclose the exposed raw edge and shorten the top of the pants. I basted that, then pinned the bib to the inside (so the raw edge was not visible). I double-stitched the bib to the waist of the pants; better safe than sorry.
The straps are another thing that you’re going to have to measure for yourself. It will depend on how tall you are, how broad your shoulders are, etc. Mine are permanently sewn in place, front and back. The coveralls, as far as I can see in De Landro’s illustrations, have no fasteners like buttons or buckles, but do what you need to to be comfortable. My straps are 1 1/2″ wide with a 1/2″ seam allowance. I started with 38 inches, because I didn’t want to run short. I box-stitched those to the corners of the bib from the back, so I’d have a nice solid attachment. Then I took safety pins and asked my husband to pin the other end of the straps in place on the back “tabs”, snug but not tight — I wanted to see if I could get out of the coveralls without too much trouble, and it was really no problem.
Pockets. What a pain those turned out to be. The back pockets are smaller than they should be, especially since I really didn’t leave enough for the “cuff” at the top. I hemmed the pockets, back and side pockets, all the way around before I sewed them on the coveralls, just so they’d be a little easier to manage. The size of them will be dictated in part by the size of your coveralls and personal preference — just use the comic as your reference. One thing to consider: if you are using thinner material, like broadcloth, these pockets are not going to hold up to keys and wallets like blue jeans will unless you reinforce them, and the material they’re sewn to, with interfacing. I didn’t do that, and I don’t plan on stuffing anything heavy in my prison uniform, although I did reinforce the corners with the V-shaped stitching often seen on pockets.
When I sewed on the side pockets, I tried to get them as close to the seam as possible. Truthfully, those should have been sewn into the seam when the pants were constructed; that would have made a lot more sense. But I didn’t know how big I’d need them to be, so I didn’t do it that way. It still worked out.
The hem of the pants ended up very bunchy. I think I should have cut them off and hemmed them, rather than try to double-roll the cuff (enclosing the raw edges again). But they’re still a little too long, and still ill-fitting, and look just like they do in the comic, so you can’t really even see the hem.
To make the non-compliant “NC” stamps for the uniform, I used a Plaid® stencil blank that I had on hand. It’s a thin sheet of plastic that you can easily cut with a craft knife; Michael’s and Joann’s should carry them. I printed out the logo (found online), 3 1/2″ high, used double-stick tape to stick it to the plastic, and used my knife and a straight edge to make my stencil.
Here’s a tip: Mark where you need to put all the stamps before you start painting. It’s a lot easier than trying to do it later, believe me! I was pinning aluminum to the fabric so I could gingerly climb into the coveralls and mark where my knee was. Don’t do that. Mark first! Use a safety pin to mark where your knee and back-of-the-knee is on one leg, then you can measure the other side. You will need stencils on the bib, the knees, behind the knees, the side pockets, and the side calves — nine in all.
From there, I had white fabric paint and a stiff brush designed for painting on fabric. I used painter’s tape to attach the stencil to the coveralls, put aluminum foil under the fabric and/or between the layers, and carefully painted my stencil out from the edges (never into the edges). The first layer didn’t have a lot of coverage, so I did touch it up. Even being careful in the corners and on the edges, I still have some errors. I’m calling it a feature, not a bug — hell, maybe on Bitch Planet, one of the things they make the women do is paint NC on their own coveralls. (How messed up would that be? Painting “non-compliant” on clothes you had to wear, every day, forever after?)
The paint does dry fairly quickly, but you’re still going to have to wait a while before you can get to all of it, since there’s paint on the front and back and the sides of the coveralls. Clean the back of the stencil of any stray paint before you move it to another area. A little bit of painter’s tape works really well for that, just use it like you’re removing lint off a shirt. Once the paint’s completely dry, follow the directions on the paint bottle. Mine says to let it dry for 24 hours then heat-set it with an iron. I’m debating whether or not I want to try to “age” the paint with a light sanding in a few places — carefully! — and not all the way down to the fabric.
The shirt I got to wear underneath is an oatmeal-colored pocket-tee (with the pocket removed) I got at Goodwill for $2. I’m wearing beat-up black sneakers that don’t really show because the pants are so long, and my cosplay is complete. From beginning to end, in less than a week.
Things I would change: I would take the bolt of fabric to the window at the store, because in sunlight it starts to look a little pinkish. I should have gone with a darker red. The pants are HUGE; I should have gone down a size. The stencil is a little big; 3″ would have been better than 3 1/2″, I think. But even with those things, I am enormously pleased with the way this turned out. I feel it looks very much like De Landro’s design, and I’m really happy with it.
Free Comic Book Day is less than two weeks away, and my cosplay is not complete. My original idea is one that (I thought) sounded very cool and different, and I bought the pattern and (not inexpensive) fabric for it. Once I got Tim the Enchanter more or less done except for the accessories, I panicked. Was my concept clear? Did it make sense? Was I going to be able to pull it all together, and pull it off? So I procrastinated…
Then I looked at the calendar and panicked again, and went to my stash to find enough fabric to do a muslin of the pattern, because the material was too expensive to screw up with, if I messed up. I found some, and set out to make my mock-up. Things went really well until I got to lining the bodice — something I’d never done before. The directions made no sense, and after ripping out seams four times, roping Marc into reading the instructions and looking at the diagram (he said they were bad, too), and trying to find YouTube videos that would give me some insight, I gave up and did it my way. After a few really frustrating days, I came to the conclusion that I didn’t have time or enough skill to make my original idea come to life, plus my concept was still not solid enough (and I need to work on that).
Talking to a friend, he suggested that I do Zoot from Castle Anthrax — then Marc and I would be cosplaying from the same movie, even, and the lines of Zoot’s dress are simple. So, off we went to the fabric store… only to determine that the fabric I would have to buy to make it look right (even on sale, or with a coupon) was still more than I was willing to spend after I already spent a pile on the stuff for the original idea. We even went to the thrift store, looking for less expensive fabric there (no dice).
So! Plan C was the simplest one yet, and even it has had complications. I’m making the prison coveralls from Bitch Planet, but I couldn’t find a convenient coverall pattern that looked like what I wanted, so I am using pajama pants (or you could use scrubs) and drafting the bib and straps that will go with it. I’m using budget-friendly red broadcloth (on the theory that they’re not likely to spend good money on quality fabric for prisoner’s uniforms, anyway) and will get the tan/beige/grey shirt to wear under it at the thrift store. Painting “NC” (Non-Compliant, the “crime” that got them sent to the facility in the first place, for those of you not reading this comic) will be the only other thing I need to do.
So what complications have I run into? Well for starters, the pajama pattern that I thought I was going to use turned out to be a size for child/teen (I really hate those letter size codes). The pattern was actually one I bought in a bundle at Goodwill, and it would be great, if I was a skinny little teenager like my daughter… but I’m not. So I checked my pattern file on the off chance that I had a pants pattern that might work, and I actually had a pajama pattern that I’d forgotten about, that had pants. I have them cut out, and I think I have it worked out how I want to do the bib, so today is a sewing day. Hopefully I’ll have finished pictures next time.
Anyway, here’s my advice:
* Know your limitations. Know when to back away from an idea, and go to Plan B. Know when to go to Plan C, for that matter.
* Try not to procrastinate too much, but if you areprocrastinating, consider why. In my case, I was avoiding the task because I didn’t think my skill level was up to the challenge, and my concept was too nebulous. Maybe it was a self-fulfilling prophecy, but I was unable to complete the muslin as directed and nearly burned the thing in the yard in frustration.
* Know when your budget cannot handle the burden of that awesome cosplay, when compromising on the fabric means compromising the whole look (and know when you can compromise, substituting the less expensive stuff and saving your budget, without sacrificing your look). If you’re not sure, the people at the fabric store can help with this.
* Know when to step back. If it’s not fun anymore, if you’re tearing out your hair (or burning things in the yard), then it might be time to step away from the machine and take a break. I haven’t scrapped my original idea, I still love it, I just need to flesh it out better, and get a better handle on what the hell they’re trying to get me to do with that bodice lining… And I still love Plan B, and will be on the lookout for inexpensive fabric to make that, too. It’s not like cosplay opportunities expire, right?
Hi there! I’m Marc, Wendy’s husband and co-conspirator here at Sew Your Cosplay! She thought it would be helpful if we had information on how to photograph cosplay. I mean, you went to all that work, why not get some nice pictures? Whether you’re photographing your own or someone else’s cosplay, this article will help you get the most out of your pictures.
Here are the elements I’m going to cover:
Angle and Perspective
As you can see equipment is the last thing on the list, because it’s the least important, and I don’t want anybody to think for a second they can’t make cool photographs without an expensive camera. The great photographer Henri Cartier-Bresson, pioneer of “decisive moment” photography, once said, “The best photographer in the world is not as good as the worst camera.” As usual when it came to photography, he was right. If you know what you’re doing and are mindful, you will get better pictures out of your iPhone than someone who doesn’t know what they’re doing and isn’t mindful will get out of a multi-thousand-dollar DSLR with all the latest whizbangs. So don’t be afraid, grab your camera and let’s make some photographs!
After staring at the mostly-finished coif for a couple of days trying to figure out how to attach the horns, I decided to try to use a large button inserted into the smaller hole. I knotted it on a long length of hemp cord — about a yard, because I didn’t know what else I was going to do with it, and wanted to be sure I had plenty — and pushed it into place, where it seemed to hold fairly well.
I marked the placement of the top of the horn with a pin, so I knew where to attach it. Using the tapestry needle threaded wi the hemp cord, I tried to get the needle through cloth layers and Peltex (four total layers of fabric, plus the stabilizer) and simply could not push the needle through it. I had to use an awl to make a hole just to get the needle through, and then had to pin the fabric layers together because the outer fabric and the lining didn’t want to match up when I did.
Satisfied with the placement, I knotted the cords, but didn’t cut them (just in case). If you use a pin or even a pencil in the center/base of your knot as you pull it tight, you’ll get a nice, tight knot that hasn’t wandered from where you wanted it. Even with that trick, I wasn’t able to get the horns as snug to the sides as I wanted them to be, as they needed to be to look right.
NOTE: Don’t do what I did! Do the finish work on the coif before you attach the horns! It was a pain in the butt to work around the horns — don’t do that!
I used perle cotton (for embroidery) for the whipstitching detail on the seams. I had some waxed cotton that would have looked fantastic, but when I tried to pull it through a scrap of the ultrasuede, the fabric tore a little, and I didn’t think I could get it through that and the broadcloth lining without seriously straining the material. The heavy tapestry needle and the thick embroidery cotton were bad enough, and pretty hard on my fingers — this is a good time for a thimble, if you have one.
I made the ties with broadcloth, not wanting to “waste” the expensive ultrasuede on something that wasn’t really going to show. Those are finished, no fraying; I stitched them, turned and pressed them, and tucked in the ends and stitched them down, too. When I sewed them onto the ends of the coif, I double-stitched them. I sewed down the width of the tie, moved the fabric over about an eighth of an inch (with the needle up) and then sewed the same line in reverse. I’m pretty confident the ties are secure. I tried to brighten the photo to show the detail, but it’s black on black, so it’s still hard to see.
As I was doing on the finish work (that I should have done before I started on the horns), I thought about how I was going to get them snug to the side of the head. Sewing them wasn’t an option; thread would tear right through the foam, and getting a needle through the Peltex and the foam would require a really wicked curved needle, assuming I could get it to work at all. The foam at the bottom of the horn, the flat(ish) part, is actually pretty thick. What I came up with that seemed to work is ridiculously simple: diaper pins. They can be tricky to find, but I have bought them at fabric stores, and every costumer should have at least a dozen of them at all times. Srsly — they are incredibly useful. Every bellydancer I know swears by them. (DO NOT USE SAFETY PINS! Safety pins can pop open and will gouge you, or whoever you made the costume for, in the head and make you very sorry.)
Because they’re so lightweight, the pins hold them tight to the fabric; because the Peltex is so sturdy, it doesn’t flex much or give the foam horns much opportunity to move and tear. The pins are high enough up on the coif, practically in the seams, that they aren’t uncomfortable (so sayeth my model, who could tell something was there, but not what). Would I want him to wear this out in a hurricane, or heavy rains? No, but I think it will hold up to reasonable wear, and I’m really happy with how it looks.
All that’s left now are the accessories, and then I can get started on my own cosplay. (W00T!)
With the robes done except for some additional distressing (more trips through the washer, shredding the sleeves, etc.), all that’s left is the cloak, the cowl, and the accessories.
This is a quick post, because, honestly the cloak really did go quickly. The worst part was cutting it out, because even on my new cutting table (huzzah for the back-saving height!), the pattern piece just didn’t fit on it, and six yards of fabric is simply unwieldy.
I used McCall’s 4139, an altered view B. I shortened it and added the red lining, so sort of a hybrid of B and C — lined, but with the hood, not the collar and capelets. Each layer was sewn separately then stitched right sides together and turned right side out. I ironed the sides and topstitched them to keep the lining from rolling to the outside. The hood was sewn in, and then I zigzagged the seam allowance down after trimming it a little. (The back of the collar ended up a little wonky, not sure exactly what happened, but Tim wears his hood down, so it won’t show, and I can fix it later if I need to.)
I did not hem the bottom. In the pictures, it does look fairly even at the bottom of his cloak, but I was afraid that a neat hem with everything else being shredded just wouldn’t make visual sense, especially up close and in-person. I already topstitched the front edges; more than that and it might look weird.
The way I decided where to rip the back of the cloak was determined by all those screenshots I took of Tim. I tried to get the same look with my husband’s cloak, and the hardest part there was pinching away that first bit of fabric and making sure that it was only the black, and not both layers. After that it was just a matter of choosing the location, making a small vertical snip, and tearing. I did this with him wearing the cloak, so I could get the placement as close to “screen accurate” as I could manage. In the scene where they’re at the Cave of Caerbannog, hiding behind the rocks, you can see the lining of Tim’s cloak through a large hole on his left shoulder. I tried to rip a hole on the left side of Marc’s cloak that will have roughly the same placement.
As with the robes, the cloak is going to need some more “weathering.” The shredded areas look too neat, so I’ll either need to pick at them or hope the washing machine does the trick. I’m getting kind of excited, because it’s really coming together, and even though key pieces are still not done, it’s really starting to look like Tim the Enchanter.
Over the weekend, I’ll be working on the cowl piece. I have to make the pattern from scratch for that, and it’s going to involve pantyhose and duct tape. Stay tuned!
I’m using a really modified version of McCall’s 4320 robe to make the robes of Tim the Enchanter. Last week, I left you hanging with a sore back and no fabric for sleeves because I underestimated what I needed. (That’s one of the problems when you modify existing patterns: they tell you how much fabric you need, and the most efficient layout with the least waste — as soon as you monkey with that, your yardage is now really just an educated guess. Or is it for me, anyway.) I purchased the fabric I needed, and got the sleeves cut out.
The top, front layer of the robes are shorter and a bit rounded at the bottom. I folded the front piece in half and freehanded an arc to get that look. It didn’t have to be perfect, I just started from the mark I already had measured on the side.
That piece was also modified by putting it on a fold instead of making it with two pieces, which altered the neck quite a bit. I cut straight across from the shoulder with the idea that I could cut more off easier than adding more. Then I used the red piece I cut off the back (in P2) as a template to cut a larger piece off of the black back piece, and the black front. With the back, it was a perfect match, because the pieces were identical; the red layers were all back pieces.
The front wasn’t the same shape, so I couldn’t use the same template. I pin fit the black layer to him as I had the red layers, to ensure fit and comfort. I marked the new trim line with tailor’s chalk, unpinned him, and cut a slightly deeper neckline. (Since I’ve mentioned comfort a couple of times, yes I consider that to be an important part of any costume. You’ve got to be able to move, eat, drink, carry a wallet, visit the restroom, and not get heatstroke. By all means, look amazing, but remember the practical stuff, too.)
From this point, sewing the robe followed the instructions given, more or less. I sewed the shoulders, but instead of a 5/8″ seam, I did 1/2″ to allow for the bulk of the red robes underneath. The sleeves were particularly simple to sew in: a shoulder seam, and the underarm and side were one long seam. The best thing was no hemming. Since Tim’s robes are a tattered mess, the rattier the better. (Woo hoo!)
My model tried it on for me so I could check the fit. I trimmed the corners of the back piece to round them slightly. Satisfied with the fit and comfort, I declared the robes “done” except for the finishing touches.
I cut snips in the edges of the hem and tore vertical strips in all three layers (black, and both red layers). Even though these edges are raw, they’re still not very ragged. I ran it through the washer and dryer, and was rather surprised to see that the edges were still not all that shredded. So the current plan is to throw the robes in the washer every time I do a load from now until FCBD. If that doesn’t do the trick, maybe I’ll drag it behind the car. (Mostly kidding…)
I still have to make the hooded cloak, the horned cowl, and all Tim’s nifty accessories. I think I know how I want to make the cowl, but I’m not sure what I want to make it with –comfort again: don’t want to use pleather, that would get really hot in a hurry. Lots to do yet! Next time, the cloak!
Seven yards is a lot of fabric, y’all. I had to set up chairs into the other room in an attempt to keep it off the floor while I pinned and cut the pieces for the red layers.
Anyway, I got the fabric all washed and folded lengthwise and I pinned the selvedges together in an attempt to keep everything from wandering. I measured 63″ from the end of the fabric, and that’s were I lined up the fold line on the pattern. That lengthened the robe quite a bit, but that wasn’t the only thing I altered. From the waist, I took a straightedge and tailor’s chalk, and marked a line to the edge of the fabric, adding several inches of width to the bottom of the robe as well. Tim’s robes are very full, by using two layers, and adding that width to the base of the robe, I think I can get the same effect.
After I got all four pieces cut out, I called my model in to pin fit the pieces to him. The first thing I realized was that the neck hole was far too small. Unsurprising, since I was using two back pieces, with no hole to speak of at all. I marked where it looked like it would be most comfortable with white pencil and took the pins out so he could get out without stabbing himself. Using my markings, I sketched a curve (real pattern designers have tools for that) and then used my ruler to measure 5/8″ from that and marked a cutting line. After I trimmed the pieces, I did another pin fit just to be certain. Then I started sewing.
All four layers were sewn together at the shoulder, and I stitched down the neck. I did a seam 1/4″ in from the edge to hold the two layers together in the armscye and down to the waist of the front and back, then I stitched the waist, reinforcing the top and bottom with several backstitches. Once I had everything sewn up, I had my husband try it on again to check for fit and comfort, made him walk around so I could see it move, and I think I’m going to need to add… something… between the layers of broadcloth. The fabric is clinging together too much. I may sew something to the inner layer at the waist, to try and mitigate that. Don’t know what yet. At that point I was falling-down tired and went to bed.
When the alarm went off at quarter after 5, I was already thinking about how to attack the black layer. The way it’s shaped is really nothing like the way the red layers are shaped, but I still need the sleeves to fit properly. The way I cut out the back on the fold should still work fine, I just have to adjust the curve of where it meets the shortened front. I didn’t want to use the two back pieces again, though. One, because of the neck issue, and two, because I wanted to make sure the sleeve fit properly.
To figure out how long to make the front and where to join them at the sides, I used one of my screenshots and math. I know John Cleese is 77 inches tall, and in this photo he’s 5 inches tall, which is an aspect ratio of 1:15.4. So by measuring from the bottom of the black layer to his shoulder — 3.5 inches — and multiplying by 14.5, I get 53.9, which I will round up to 54 inches. Where the pieces join at the sides are 2 inches from the ground in the photo, times 15.4, for 30.8 inches (rounded to 31). BUT! The estimable Mr. Cleese is 4 inches taller than my husband, so to get the right ratio and length, I need to subtract 3 (allowing for the shoulder seam) inches from those numbers, getting 51 and 28, respectively. Yes, I should only be subtracting 5/8″ for the seam allowance, but that would mean measuring 50 3/8″ for that front piece and I prefer whole numbers. (The only Fraction I like is Matt — ba-dum-tsch! Little comic book humor, sorry.)
The black layer back piece was basically the same as the red, so I cut it out I did the other, with one change: instead of widening it from the waist, I marked it at 28″ (where the front and back side seams meet and part away to form an inverted V at the side) and marked from there. As my scissors sliced into the fabric I had misgivings about that, and I’m still not sure I’m happy with the cut. I guess I’ll find out when I sew it all together.
I laid out the front piece on the fold at an angle and off-grain. This cut off a few inches from the chest, which may bite me later — if I have to, I have small pieces I can splice in under the neck to widen that area. (It will be hidden by all of Tim’s accessories, but I really don’t want to have to do that.) I wanted the front to be all once piece and have some width across the bottom, but I was a little stymied how to do the neck. In the end, I just cut straight across from the shoulder, deciding I could cut fabric offa lot easier than I could put it back. I’ll alter the neck after I pin fit it; that worked well before.
Once I got that cut out, I discovered one of the pitfalls of altering a pattern without a clear idea of how much fabric you were going to need: not having enough; I ran out of fabric for the sleeves. After my husband had suggested that I get more (just in case) when we bought it. So another trip to the fabric store was in order, but I had a 50% off coupon and went ahead and bought what I needed for the cloak at the same time. So now the fabric is washed, sleeves cut out, and I’m bloody tired. The dining room table is a terrible height for a cutting surface. I wanted to get the black layer finished today, but I can barely move as it is. Next time I’ll have more to show you!
I decided to sew my husband a Tim the Enchanter costume from Monty Python and the Holy Grail, but quickly discovered that there really are no good images online of the costume. Plus, it’s mostly black, so a lot of detail is gone; you just can’t see how it’s constructed.
I tried taking notes and making sketches from watching the scene (over and over) but even pausing it wasn’t helpful because it’s just too dark to see the details. What I finally ended up doing was putting the disk in my computer and trying to take screenshots (nope, it’s protected, didn’t work), so I used a camera. In all, it took me about 45 minutes of watching about 6 minutes of the movie in slow motion and frame-by-frame to try and find the images I wanted. The photos aren’t good, but they didn’t need to be. All I needed was to be able to adjust them in Photoshop to see detail in the black that I wasn’t able to see otherwise.
If you look in the photo above, you can see a triangular point at his left shoulder. I have a couple of photos showing that, and I’m confident that it’s the front yoke of the hooded cloak. It wasn’t until I blew up the brightness that I could see that. I can also see pretty clearly how the front and back of the black layer connect. I also got several pictures showing the back of the cloak and how shredded it is, revealing the red lining. Tim’s robes? They’re a mess. The good news is, I won’t have a lot of finished hems to worry about.
I’m using McCall’s 4320 as my jumping-off point for the robes. Instead of cutting two front pieces so the robe opens in the front, I’ll cut two back pieces and modify it at the neck for comfort. The sleeves are thin, they are only a single layer, so they will be made only in black. The red will consist of two layers, front and back (2x) of inexpensive broadcloth I got with a 50% coupon — 7 yards of it. (My husband’s tall, not quite John Cleese tall, who’s 6’5″, but tall.) The black layer will be the front and back plus the sleeves, out of more broadcloth. Once that’s constructed, I still have to make the cloak, and I haven’t decided what I want to use for that yet, but it will be more of the black, with the red lining. Oh, and the ram’s horn headdress! (Yeah, so not buying that plush thing I’ve seen online.) And the accessories! In time for Free Comic Book Day! [insert scream here]
Next time I’ll have work-in-progress photos. Pardon me, I need to get busy…