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whathewha

@whathewha

they/them is all you’re getting (that and memes and writing and a shit ton of reblogs lol)
uhhhhhhhhhhhhhhhhhhhh
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d3zz-art

Im currently obsessing over Space Pirate Mito, a middling 90's scifi comedy anime where the boring self-insert male protag Aoi inexplicably changes gender at the end of season 1 and her transition is played entirely straight for the rest of the show

It's almost never brought up, they just throw her in a girl's uniform and she goes on dates with her cute supportive alien gf. The rest of the show is them reconciling their relationship and fighting gods for each other. How have I not heard of this til now

This show is living proof that I'll love even the worst show if you put enough Genderfuckery in it

It's def got its misses but it's from 1999, who cares. I don't, I'm too busy looking at Them

It's been like a week and this is the most popular thing I've ever posted, let's go revive the Space Pirate Mito fandom 🚀 ✨️ 🔥

IT'S FREE ON YOUTUBE GO WATCH

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rounderhouse
Anonymous asked:

Do you think mechs ever develop enough of a personality through their decades of service and human-machine interfacing to feel bad for the fresh jockeys High Command keeps shoving into their cockpits as callously as replacing a faulty component?

I don't know if bad would be the right term. That implies a level of awareness of pain, suffering, the horror of mortality -- all things a machine struggles to understand. The mech doesn't know that when its former jockey suffered a massive internal brain hemorrhage, it was thinking about an ex-lover in their final moments before oblivion. It doesn't grasp the terror of death. It views it all the same as swapping out a component that has failed. But by the 15th fresh-faced jockey, you begin to wonder whether there might be something wrong with the way they're producing these odd fleshy components that make them break so often.

It's the moment of tired disappointment when you plop new batteries into something and, after a second, drop the old, spent ones into the trash.

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whathewha

woah

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just when i thought my comics couldn't get dumber... i surprise myself 👭

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hot artists don't gatekeep

I've been resource gathering for YEARS so now I am going to share my dragons hoard

Floorplanner. Design and furnish a house for you to use for having a consistent background in your comic or anything! Free, you need an account, easy to use, and you can save multiple houses.

Comparing Heights. Input the heights of characters to see what the different is between them. Great for keeping consistency. Free.

Magma. Draw online with friends in real time. Great for practice or hanging out. Free, paid plan available, account preferred.

Smithsonian Open Access. Loads of free images. Free.

SketchDaily. Lots of pose references, massive library, is set on a timer so you can practice quick figure drawing. Free.

SculptGL. A sculpting tool which I am yet to master, but you should be able to make whatever 3d object you like with it. free.

Pexels. Free stock images. And the search engine is actually pretty good at pulling up what you want.

Figurosity. Great pose references, diverse body types, lots of "how to draw" videos directly on the site, the models are 3d and you can rotate the angle, but you can't make custom poses or edit body proportions. Free, account option, paid plans available.

Line of Action. More drawing references, this one also has a focus on expressions, hands/feet, animals, landscapes. Free.

Animal Photo. You pose a 3d skull model and select an animal species, and they give you a bunch of photo references for that animal at that angle. Super handy. Free.

Height Weight Chart. You ever see an OC listed as having a certain weight but then they look Wildly different than the number suggests? Well here's a site to avoid that! It shows real people at different weights and heights to give you a better idea of what these abstract numbers all look like. Free to use.

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alagaisia

Hey. Why isn’t the moon landing a national holiday in the US. Isn’t that fucked up? Does anyone else think that’s absurd?

It was a huge milestone of scientific and technological advancement. (Plus, at the time, politically significant). Humanity went to space! We set foot on a celestial body that was not earth for the first time in human history! That’s a big deal! I’ve never thought about it before but now that I have, it’s ridiculous to me that that’s not part of our everyday lives and the public consciousness anymore. Why don’t we have a public holiday and a family barbecue about it. Why have I never seen the original broadcast of the moon landing? It should be all over the news every year!

It’s July 20th. That’s the day of the moon landing. Next year is going to be the 54th anniversary. I’m ordering astronaut shaped cookie cutters on Etsy and I’m going to have a goddamn potluck. You’re all invited.

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lmaonade

please help.. currently in hospital and unable to work my job

hi.. i hate to ask, but, i'm stuck in the hospital right now and i've been dealing with a pretty serious infection in my leg. i haven't been able to work, and i'm going to most likely miss about 3 weeks of work total. i live paycheck to paycheck, so this is going to wildly set me back. even more behind than i already am on debt and the likes. right now i'm currently unable to do anything to make ends meet any support is colossally helpful

anything helps, shares especially. im sorry to ask for help again so soon but i am entirely out of options right now

paypal | venmo - @radioaky

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Character Spreadsheets

Hello!

For folks who don't know me, my name is Mint, and when I'm not recommending ttrpgs, I like to design play-kits for different ttrpg games to facilitate easier online play. These player kits are designed to be shared with a playgroup in which everyone has editing access, with either character templates that can be duplicated, or a list of playbooks for games that use those instead. I've finally collected all of my useable play-kits into one folder, which I am sharing below for anyone to use. If you would like to use one of these, open up the file. Then select "File" -> "Make a Copy". I have included a tab on many of these games that is labelled "Lines, Veils & Lures." This is a modified version of Lines & Veils that my table uses that incorporates Lures, which are things that the group wants to see in game.

Most sheets also include a link to where you can get the game they are made for, up in the top row of the sheet. So if you see a play-sheet you like, you can find the game pretty easily from there! I've done sheets for big games like Numenera, and little games like Cryptid TV. I'm always working on more, so there will be more that are added to this folder over time. I'll probably also be editing these sheets themselves as I update sections, add links, and incorporate more Lines, Veils & Lures! You can check out the sheets here!

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The Destruction of Engine Culture:

Ok, so this is going to be another long, and rambling post. So be warned. And as usual, this is a RWS theory post, so there will be talk of scrap.

That said, let's dive into the destruction of engine culture.

So, I think the first thing to ask is what would be 'engine culture' and how would it affect the railways of Britian (and globally) - and the answer is quite simple: it's the same as human culture. Humans have developed cultures for millennia, and they are often quite similar, and this is hypothesized to be because these cultures had similar things to warn about. Warning about the dangers of flooding, of wild animals, of droughts and fires. Many of the oldest stories are tales told to teach practical lessons. Little Red Riding Hood is as much about stranger danger and the threat wild animals pose as it is a story about a crossdressing wolf. Some scientists believe games like tag and catch were developed by our hunter-gatherer ancestors to teach hand-eye coordination and improve stamina. This is of course very early culture: stories, games and songs passed down from one generation to the next - but that's what we're talking about here. Railways are 220 years old at the oldest possible (and there are surviving engines from this era), so it's an early era of culture for them.

Furthermore, engines would inherit much of their railways' culture, depending on where they are. An engine working in Tsarist Russia would grow up with that culture, whereas an engine in Argentina, or France, or Kenya would grow up with the local cultures. This includes language, music, belief systems and otherwise. So that's the basis of engine culture itself: human culture. Engines learn human language, they sing human songs and they might even take on human beliefs.

They do, however, have their own beliefs. Lady, for one, with her gold dust and magic, has been used by fanfic authors as an 'engine deity', while Thomas and Friends alluded to Proteus being a deity of some sort, with a magic lamp. These engine 'deities' exist, it seems, as a focal point for engines. Proteus represents the ability to make wishes - something engines really don't have, while Lady represents freedom. She's able to travel great distances on her own, between continents, without needing to pull trains. Does that not sound like the railway version of attaining freedom?

So the engines have 'deities'. I won't call them gods, because that's very likely not what they are, but they are legends told by older engines to younger ones.

The other kind of legends that would really dominate engine culture would be practical moral tales - in the same vein as Little Red Riding Hood being about stranger danger and the threat of wild animals, stories told between engines would be warnings about the trucks, or bad stretches of line, or dangerous weather. But unlike fairy tales, these stories would come from experience. Engine culture is very new, and it's being developed continuously during the Victorian era. Incidents like the Tay Bridge Disaster, or William Huskisson's death, or the Abbots Ripton rail disaster all are quickly turned into stories told by the older engines to teach the new arrivals (of which there are hundreds by the year) about how to run the railway as safely as possible.

The engines also develop games which help them to watch signals, or counter miles, or figure out their location in adverse conditions. These games started as training exercises, but became more fun as young engines made them competitions. They also develop songs of their own, which can tell messages:

"Once an engine when fixed to a train Was alarmed at a few drops of rain, So went "puff" from its funnel Then fled to a tunnel, And would not come out again."

The message: don't stop in a tunnel.

But the thing is, this post is about the destruction of engine culture, and now that I've explained it, I'm going to explore how it was decimated.

And for that, we start with the Second World War, which saw a complete upheaval of the railways of Britain. The war was especially hard on the railways, and engines were often used around the clock with no rest. This meant that a lot of the newer engines never got to hear these stories before being sent out for weeks at a time, as they never spent any time at a single shed. And even if they were parked up at a shed, everyone was so exhausted they didn't have time to tell tales. And at the end of the war, a lot of the oldest engines were withdrawn, completely worn out. The oldest engines were the ones who told many of the tales, and their loss was the start of a decline.

The Railway Series, however, would pick up a lot of the slack from this loss, as many of its earliest stories were in that same moral vein as traditional 'engine culture' stories, focusing on listening to elders, not stopping in tunnels, being patient, gentle with coaches, careful with trucks - it's all there. And I can see that being due to Edward teaching the Reverend many of these stories, in a bid to keep them from vanishing. And he would continue on, joined by other older engines like Skarloey, Rheneas and Toby, as the book series went on. Things like listening to advice and not acting recklessly pop up constantly - especially with Duncan, who Skarloey had to deal with.

It all gets worse when British Railways forms though. And this is where the 'railway rulebook', the attitudes of diesels and the doctrine of BR all come in to play. As the doctrine and official rulebook of British Railways portrays steam engines as inferior, weaker engines, the diesels are indoctrinated into believing it - and thus, they refuse to listen. Take Diesel for example, who believes that diesels can just arrive at a yard and 'improve it'. He is immediately foiled by some jammed breaks - something he may have learnt about from a story or a tale from a steam engine. But he never stopped to listen. And it's the same across the country, across the world in fact. As the successful diesel classes prove themselves to their managers, they are rolled out and steam engines are withdrawn - and with that, so is the culture they were the keepers of.

But this isn't quite the end of this 'engine culture' yet, because one group willing to listen to the steam engines are the 'failures'. Engines like BoCo and Derek would be very willing to listen to the engines that have tales that may just help them. Stories like how to best use sand in a storm, or how to conserve energy over the Settle-Carlisle route. And so even as steam dies, these 'failures' hold their culture, and try their best to preserve it, alongside the preserved engines. The Railway Series does too, such as in 'Stepney the Bluebell Engine', where sanding is explicitly mentioned. Another group that take in this engine culture is the GWR diesel-hydraulics, who grew up with GWR ideology, and thus would have been more willing to listen to their steam ancestors.

But these 'non-standard' engines were also quickly wiped out. And this leaves only a few pockets of engines who remember the old stories: the preserved engines, and the few Gen-1 diesels who did listen. By the end of the working lives of the Class 40s, the Deltics and the 'Peaks', they are the last engines who remember the old stories from the steam era working on British Railways, and when they are scrapped, the next generation grows up relearning everything.

Because the fact is that these stories held a major purpose, and the destruction of that culture means that every mistake every warned against is suddenly being made again, and again, and again. We notice this in the Railway Series, where Diesel, and Class 40, and D199 and even Bear all make very elementary mistakes that would have been warned against in these cultural stories - like taking care around trucks or looking out for the wind. And it only gets worse as this first generation are scrapped. Engines scramble to a standstill on leaves again, engines get trapped in floods, or lost in storms, or run through signals - and it's because the games, the songs, the stories, everything that would have prevented these accidents is lost.

It's not until these diesels reach preservation that they hear the stories remembered by the steam engines, and that's when they realise that... hey, maybe the ancestors were right after all.

The saddest part is that it's not only a global thing, but that it's still very much a problem on modern railways. The loss of 'engine culture' between the 1950s and the 1980s would have a domino effect that would still impact modern railways, as the even newer electric engines and multiple units face the same issues but with no prior knowledge.

The pictures in this post are not mine.

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What is the 'Engine Rulebook' and where did it come from?:

So, this really early era of railways was a bit insane, and I am not quite well-versed enough to make a case-study out of everything - but like with my Big 4 scrap post, this is more about trends than singular examples - though some do appear.

The 'Engine Rulebook' is basically the set of rules that every engine ever is taught when built. It's a series of important rules, customs and doctrine used by managers to keep engines in line. Yes, I will use a little business-management theory in here, because early management styles have a major effect. And every railway has its own rulebook that may have differences. But there are a few key things in the 'Engine Rulebook' that I see being universal:

1: The company comes first. This is basically the company ensuring loyalty by indoctrinating the engine to see its railway company as the most important aspect of their life. In the Railway Series, Donald and Douglas have very strong ties back to Scotland and the Caledonian railway - which is why they enjoy blue so much. It's the Caledonian Railway colour! And then there's Duck - who literally continues to wear his GWR colours even after joining the NWR. He's deeply connected to the GWR because of this loyalty taught to him.

2: Railway rules. This includes signalling, signage, speed limits, whistles and their uses, headcodes, flags and every other piece of railway rules. They are read the rulebook, and learn everything in it. It's vital! Percy is an industrial engine who is never taught this rulebook - because industries don't have many engines and often pilfer bits from a bigger company's - and thus Percy doesn't know much about the rules of being on a railway when he arrives on Sodor.

3: Etiquette (based on duty). Now, I don't mean bowing or curtseying or the proper fork for fish - I mean the ins and outs of the duty the engine will be expected to complete. Passenger engines learn how to handle coaches and speak politely to passengers, freight engines learn how to handle trucks and look after different cargos, shunting engines learn a new set of rules for the yards - this sort of thing. Gordon struggles with trucks because he was never taught how to handle them.

4: The managers are always right. Touched on this in a reblog of this @mean-scarlet-deceiver ramble, but its basically that the engines are taught that their managers are right in all contexts (unless breaking one of the above rules) and need to be respected and have all directions followed. The manager says to shunt - you go and shunt. They say to go get scrapped - and a good engine listens without hesitation. Doesn't work out in real life all the time - see Oliver, or the Big Engines' strike - but it definitely keeps most engines in line.

So we have these four core rules - but where did they come from? Well...

Regency Era Railways:

Straight off the bat - this is the era where every railway is figuring itself out. The L&MR was where everything was forged in fire - before it, the only railways that existed were isolated plateways in mines and the Stockton & Darlington Railway. None of these were anywhere near as complex as the L&MR, which is really the first railway 'system' in the way we might understand today. It's also where the first sentient engines begin to make a proper appearance and have an effect on people. Before, they were hidden in mines, if they existed at all - but now the public can see them!

Like, imagine this rocks up to collect you in an era when the most advanced method of transport is literally a horse. And it has a face. Remember, in this period people though that if they went over a certain speed or through a tunnel they would explode - so now the thing that might just kill them has a face?!

Managers would very quickly begin implementing ways to soothe their passengers. One way of doing that would be to dehumanise the engines - I can see many early engines being given basically no education because they are both seen as being 'working class' and because they are machines. When Rocket first ran, there were no public schools.

In this era, engines didn't know much, and they were isolated on their little systems. Yard managers are one of the few people with authority that these engines meet on a regular basis, and they use this to their advantage and cultivate this idea that the engines are entirely subservient to them. This is where that manager loyalty begins to become apparent - just not quite in its modern form.

The only education an engine would get is how to be loyal. Why should they learn signals, or passenger etiquette, or how to read? That is a driver or a guard's job. And so this really early era is characterised by dehumanisation and a lot of public-relations officers doing their best to downgrade the sentience of the engines. It's a lot of "yes they have a face, no they don't have intelligence, don't worry". This does extend into the Victorian era, as seen in Very Old Engines, as Skarloey arrives on Sodor with some principles taught at the workshop, only to be met with "you don't have rights, do your job." Which he naturally rebels at and then gets covered in a tarp for his troubles.

Of course, the Regency Era ends very soon into railway history, and just in time for a major game-changer.

The Victorian Era:

1838 is the year the first GWR train runs, and this railway in the South-west of England will have a huge impact on all railways that come after. First, the entire board of directors are very elitist and influential in parliament. This is a railway that needs to live up to its owners.

It is the GWR, not the L&MR, that writes the first book on engine learning. It's also the GWR, and not any other railway in the UK, that first develops a proper corporate culture for its engines that they actually like. The GWR does this by actually treating the engines like they have sentience.

Engines like Iron Duke are introduced to the 'Great Western Way' - this being the rulebook that Brunel and Gooch develop to best serve their wealthy owners. These engines are taught to read, understand the rules of the railway, passenger etiquette - which by now can be taught because there's less fumbling around blindly - and perhaps most importantly: they are taught a very proud mindset. The railway is the most important aspect of their lives, and they are to serve it to the best of their ability. All four of the rules appear in their first form here, except that the etiquette is not entirely based on duty, and instead all engines are taught all jobs - which horrified much of the rest of the railway companies.

But while this is going on on the GWR, the rest of the country's railways were trying to survive a crisis. Railway Mania swept Britain, and hundreds of engines and built (and destroyed) by the week. One thousand bills for new railways were submitted to parliament during this period, and while not all were built - it certainly had an impact. The LNWR was formed during this period, chunks of the Midland Railway, NER, GNR, GCR, Caledonian and basically every other major railway were all constructed in this time frame - but that didn't mean a drastic improvement in how the engines were treated in this area. Many North-western railways were influenced by the thinking from the L&MR, leading to entire fleets of early engines having zero clue how to act or even speak in some cases. When the bubble collapsed, many engines were scrapped - and this is where the other extremely important pillar stone of railway doctrine was introduced: engines are expendable, and should not want to hinder a company. The fourth rule is set into stone here, and goes unchanged and practically unchallenged all the way into the modern era.

This here, the end of steam in Britain, is able to happen because of principles introduced during Railway Mania. British Railways uses this rulebook and the laws that most likely surround it by this point to justify their actions, and also because thanks to this rulebook very few engines have the vague notion or idea to protest. Why would they, it goes against the rules!

The eradication of steam is almost directly caused by the era of Railway Mania and the principles managers introduced in the era to protect their profit margins. Without that doctrine, engines would have had a lot more rights and a lot more ability to protest being scrapped.

In other words, the 1840's was when scrapping began to appear properly, as well as the explosions, derailments and every other crash from the previous generation. Engines became unfeeling in this era - in the north at least. The GWR escaped this by being... well, not an economic bubble.

However, as the British Isles emerges from Railway Mania, two very strong railways vie for influence: the LNWR and the GWR. The LNWR has that traditional L&MR mindset - and it leads to a huge problem. The engines begin to learn how to speak from their crews, and moreover they question why their GWR counterparts are treated so much better. The LNWR also suffers from a number of easily preventable accidents caused by the engine having zero clue what to do.

Some railways land between the two, and it was the GNR that ended up formulating the four rules in their next evolution: engines were only taught their jobs. This was the GNR compromise with their board members. The board wanted a GWR approach, however the actual managers on the ground rebelled, worrying this would lead to the engines working together to demand fairer treatment. The Communist Manifesto was in major circulation at the time, and none of these companies wanted their engines getting any ideas. Instead, they implemented something of a class system, with express engines at the top and shunters at the bottom.

In the TVS, Emily is extremely abrasive towards Thomas (Seasons 8-12), and it may just have to do with the way she was raised, seeing shunters as the lowest form of engine. Gordon certainly did!

These three very distinct practices all melded and fused together on the Midland Railway - which of course ran right in between them all. The Midland Railway wrote the third proper rulebook in 1859, roughly twenty years after the GWR wrote its.

The Midland Railway's rulebook took the LNWR idea that engines needed to be taught to accept death, the GNR idea of a class system and the GWR importance of company loyalty and railway-rule-knowledge and fused them together, being able to create the rulebook that most British railways would use by 1890. The major exception to this was of course the Great Western, which slowly evolved its rulebook to use the LNWR ideas of engines being subservient to their managers while retaining the classless form of etiquette the engines were taught. The GNR would also hold out on some ideas from the GWR until it was amalgamated into the LNER, due to rising fears of Communism by the board.

Many smaller railways, such as the Furness Railway or the Highland Railway in Scotland, would use the GWR style, due to the smaller size of the workforce, and thus the potential necessity for engines to complete duties they were trained for.

Duck fits into his role at Tidmouth with such ease because he knows the theory behind every express train, every freight train, every style of shunting and branchline service. He doesn't need them, but the GWR engines were taught this just in case. Duck is excellent at his job, but he won't take any flak from the other engines because his GWR ideology makes him see them all as equal. This is of course part of the Great Western Way as explained in this post.

In direct contrast, Gordon has zero clue how to pull a freight train, and stalls on the hill because he physically doesn't know what to do.

And this brings me quite neatly to Sir Topham Hatt I. See, this is a GWR man who runs a railway that is very heavily influenced by the Midland Railway rulebook ideology. Edward knows how to do multiple tasks because the Furness Railway used GWR practice (maybe that's why he likes Edward?) while none of the other engines do. Sir Topham Hatt's management style using GWR practice is so confusing to them. Why is James - who is mixed-traffic at best - pulling the express? Why is Gordon pulling freight? Why are the big engines shunting?!

And then we have Henry. Sir Topham and Henry have such a rocky relationship, and it in many ways comes from the fact that Henry had none of the formal education that I just discussed. He's a privately-built engine from stolen plans sold cheap. He doesn't actually know the etiquette of a passenger train - no wonder he stops when he doesn't like the weather! He doesn't physically know better, and so he's acting on his first instincts. This clashes so badly with the GWR style which places etiquette almost above everything else. Hatt reacts so badly and outright insanely to this because to him, Henry is actively and deliberately breaking every rule in the book because of his paint? And Henry doesn't have a clue. Look at how horrified he is!

And don't get me wrong, this is extremely unethical and very stupid, but it has a precedence in miscommunication, differing ideologies and Henry's foolishness.

This was another massive ramble with a lot of insanity, but I do enjoy writing these. Helps organise my mind! As usual, none of the above pictures belong to me, and feel free to chuck in a comment with your opinion!

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So we all know that Awdry originally had James as a GSWR Class 403 since it fit the description of an inside-cylinder mogul, but later changed James to be an English design. This post stems off the thought of "What If Awdry kept James Scottish?"

This whole thing was also brought on by @mean-scarlet-deceiver's Tales of the G&SW excerpts.

Beware, my writing of a Scottish accent is terrible, try not to cringe.

What If Scottish James

Written By: SparkArrester

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vinceaddams

Any tips on learning to make buttonholes? I've been putting it off for.... *checks notes* like three years.... but better late than never and all that. I don't have any fancy machines so I gotta do it by hand but that seems right up your alley.

Thanks!

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It IS up my alley, yes, I do most of my buttonholes by hand!

I'm actually part way through filming an 18th century buttonhole tutorial, but I expect it'll be a few more weeks before I finish that and put it on the youtubes, so in the meantime here's the very very short version. (The long version is looking like it'll probably be about 40 minutes maybe, judging by how much script I've written compared to my last video?)

Mark your line, a bit longer than your button is wide. I usually use a graphite mechanical pencil on light fabrics, and a light coloured pencil crayon on dark ones. (I have fabric pencils too, but they're much softer and leave a thicker line.) You may want to baste the layers together around all the marked buttonholes if you're working on something big and the layers are shifty and slippery. I'm not basting here because this is just a pants placket.

Do a little running stitch (or perhaps a running backstitch) in fine thread around the line at the width you want the finished buttonhole to be. This holds the layers of fabric together and acts as a nice little guide for when you do the buttonhole stitches.

Cut along the marked line using a buttonhole cutter, or a woodworking chisel. Glossy magazines are the best surface to put underneath your work as you push down, and you can give it a little tap with a rubber mallet if it's not going through all the way.

I'm aware that there are some people who cut their buttonholes open using seam rippers, and if any of them are reading this please know that that is abhorrent behaviour and I need you to stop it immediately. Stop it.

Go get a buttonhole cutter for 10 bucks and your life will be better for it. Or go to the nearest hardware store and get a little woodworking chisel. This includes machine buttonholes, use the buttonhole cutter on them too. If you continue to cut open buttonholes with a seam ripper after reading this you are personally responsible for at least 3 of the grey hairs on my head.

Do a whipstitch around the cut edges, to help prevent fraying while you work and to keep all those threads out of the way. (For my everyday shirts I usually do a machine buttonhole instead of this step, and then just hand stitch over it, because it's a bit faster and a lot sturdier on the thin fabrics.)

I like to mark out my button locations at this point, because I can mark them through the holes without the buttonhole stitches getting in the way.

For the actual buttonhole stitches it's really nice if you have silk buttonhole twist, but I usually use those little balls of DMC cotton pearl/perle because it's cheap and a good weight. NOT stranded embroidery floss, no separate strands! It's got to be one smooth twisted thing!

Here's a comparison pic between silk buttonhole twist (left) and cotton pearl (right). Both can make nice looking buttonholes, but the silk is a bit nicer to work with and the knots line up more smoothly.

I've actually only used the silk for one garment ever, but am going to try to do it more often on my nicer things. I find the cotton holds up well enough to daily wear though, despite being not ideal. The buttonholes are never the first part of my garments to wear out.

I cut a piece of about one arm's length more or less, depending on the size of buttonhole. For any hole longer than about 4cm I use 2 threads, one to do each side, because the end gets very frayed and scruffy by the time you've put it through the fabric that many times.

I wax about 2cm of the tip (Not the entire thread. I wax the outlining/overcasting thread but not the buttonhole thread itself.) to make it stick in the fabric better when I start off the thread. I don't tend to tie it, I just do a couple of stabstitches or backstitches and it holds well. (I'm generally very thorough with tying off my threads when it comes to hand sewing, but a buttonhole is basically a long row of knots, so it's pretty sturdy.)

Put the needle through underneath, with the tip coming up right along that little outline you sewed earlier. And I personally like to take the ends that are already in my hand and wrap them around the tip of the needle like so, but a lot of people loop the other end up around the other way, so here's a link to a buttonhole video with that method. Try both and see which one you prefer, the resulting knot is the same either way.

Sometimes I can pull the thread from the end near the needle and have the stitch look nice, but often I grab it closer to the base and give it a little wiggle to nestle it into place. This is more necessary with the cotton than it is with the silk.

The knot should be on top of the cut edge of the fabric, not in front of it.

You can put your stitches further apart than I do if you want, they'll still work if they've got little gaps in between them.

Keep going up that edge and when you get to the end you can either flip immediately to the other side and start back down again, or you can do a bar tack. (You can also fan out the stitches around the end if you want, but I don't like to anymore because I think the rectangular ends look nicer.)

Here's a bar tack vs. no bar tack sample. They just make it look more sharp, and they reinforce the ends.

For a bar tack do a few long stitches across the entire end.

And then do buttonhole stitches on top of those long stitches. I also like to snag a tiny bit of the fabric underneath.

Then stick the needle down into the fabric right where you ended that last stitch on the corner of the bar tack, so you don't pull that corner out of shape, and then just go back to making buttonhole stitches down the other side.

Then do the second bar tack once you get back to the end.

To finish off my thread I make it sticky with a bit more beeswax, waxing it as close to the fabric as I can get, and then bring it through to the back and pull it underneath the stitches down one side and trim it off.

In my experience it stays put perfectly well this way without tying it off.

Voila! An beautiful buttonholes!

If you want keyhole ones you can clip or punch a little rounded bit at one end of the cut and fan your stitches out around that and only do the bar tack at one end, like I did on my 1830's dressing gown.

(I won't do that style in my video though, because they're not 18th century.)

Do samples before doing them on a garment! Do as many practice ones as you need to, it takes a while for them to get good! Mine did not look this nice 10 years ago.

Your first one will probably look pretty bad, but your hundredth will be much better!

Edit: Video finished!

And here's the blog post, which is mostly a slightly longer version of this post.

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