MxRemy

The .stl and .fcstd files are at the link. All the test joints I printed fit together really nicely, but I'm worried the overall design might have issues that I'm too much of an amateur to identify. It'll need a LOT of filament... Good wooden marudai cost hundreds of dollars, whereas 1500g of my preferred filament is only like $45, but I'd still hate to waste that much of it. The printing itself I'm not too concerned about, it's easy stuff. Just a little bridging and no support. Of course, that doesn't necessarily mean the finished/assembled object will be functional. Thanks in advance if you have any tips!

PS: This is also my first use of the spreadsheet function, I usually just rely on named constraints from prior sketches. It's really neat. FreeCAD rules!

The Nashoba Valley Weavers' Guild is hosting a really cool event combining two topics: deflected doubleweave and zero waste textiles! Deflected doubleweave is a technique where you get all these cool organic shapes that only really become apparent once it's off the loom:

I'm not sure what the zero waste part will entail but I'm excited to find out.

There's nothing super special about this print in particular compared to what people usually post here, just a simple Santa figurine requested by a makerspace patron. However, it's made from 100% pure PHA (polyhydroxyalkanoate), a natural polyester byproduct of common soil bacteria. Unlike PLA, it is fully home compostable. It can break down in any biome, in a very reasonable timeframe. Also unlike PLA, you can make it by feeding the bacteria stuff like old fast food fryer oil, and other waste products. The print settings are pretty similar to PLA, but it has some significant differences in material properties, like being less brittle.

There aren't a whole lot of people making 100% PHA filaments, but if you can find it, definitely give it a shot! It's our staple filament at the makerspace I work in. Hopefully this doesn't sound too much like an ad or something, I just really like this stuff and want it to catch on.

Oh also! The flexible version looks and feels really neat if you run it through a vibratory tumbler:

I'm pretty much a total novice to fighting games, but one of my BFs is super into them. We got talking about indie vs big studio games, and I did some digging for really niche ones just out of curiosity. That's how I stumbled onto Battle Craze, and now we're both super hooked on it!!

The art/animation is very quirky but don't let it put you off, it really grows on you, and the voice acting is amazing. The mechanics (according to my much more knowledgeable BF) are very advanced. It's just really fun in general.

The only thing is, the community is soooo small that everyone who isn't a beginner is some kind of super skilled veteran instead, so it can be hard to find a reasonable match. That's why I'm posting, hopefully more people will get into it 😝

I don't know how common this might be, but I do my nalbinding (nålbinding/naalbinding/etc) quite a bit differently than any instructions show. I keep my working loops on a long long knitting needle, and hold that the way an English cottage knitter does. I use a small tapestry needle for my naal, and I mostly work with thinner cotton yarns. Since you can't wet splice those, I Russian join the segments together. The whole thumb-hold thing never really worked well for me; even when it went right, my fabric would be all loose. That's probably just a skill issue that I could overcome with time, but my way works now, so I stick to it lol. Also, it helps me keep track of which loop is which. If I'm doing it correctly, this ought to be Mammen stitch. I hope.

That said, the traditional way clearly works very well for most people! Look at this person's beautiful stitches.

Chances are, there's a chapter near you of some group dedicated to a specific niche textile. Many of these arts are a little neglected these days, so groups dedicated to them are usually really happy to get new members. Plus, they'll usually have something cool like "Guild" or "Society" in the name, which just feels neat to be a part of lol. This group linked here is having a Lace Weekend on 11/2-11/4, with lots of different crafts present. If I make it out there I'll report back, with pics.

At some point, we should probably add a page to the wiki linking to all the official needlecraft Guilds and Societies out there. Or at least all of them that we can find, they can be pretty obscure!

If the only reason people care about NaNoWriMo is for the name and hashtag, somebody already pitched Writevember as a replacement. Honestly sounds better to me anyway.

I've heard other people say the tools/gamification/etc on the NaNoWriMo platform were really helpful though. For those people, how difficult would it be to potentially patch that stuff into the WriteFreely platform? As one of the only long-form Fediverse-native platforms still being actively developed, maybe they'd appreciate the boost in code contributions.

A weird thing about Tunisian crochet is that the flat and in-the-round variants are quite different from each other! Flat uses a singed ended hook, and round uses a double ended hook. Flat builds up stitches on the hook in one direction, and removes them from the hook in the opposite direction. Round builds up stitches in one direction, and removes them in the same direction, but off the other side of the hook. There are patterns you can produce in round that seem impossible to do in the other, and vice versa. Here, I'm trying to guess at one possible flat method to mimic this traditional in-the-round pattern.

So, intuitively it seems doable the standard way, at first. The beginning goes easy enough. You work forward in yarn color A, then tie in yarn color B and do your return pass in that. Now, you go to do the next forward pass, but gasp! The working end of yarn color A is still over on the other side of the work! You left it there when you tied on yarn color B.

One attempt I've seen done is to carry the unused yarn along the back of the work, but it's messy and makes for a loose fabric. I went another method:

How this goes is, you use the double ended hook you'd usually use for in-the-round. You pick up and remove stitches with the two ends as you would in the round, until you get to the other side. This is where it gets weird. Now, you do that exact same thing over again, except you do everything in reverse! The side of the hook you were using to remove stitches, now you're using it to pick them up. And the side you were using to pick up stitches will remove them. It doesn't feel great or intuitive, it's basically like switching from left handed to right handed or vice versa.

It works, but as you can see there's one more problem. The vertical ribs in TSS always tilt slightly to one side, but now the tilt direction changes each row! There is a way to fix that using twisted TSS stitches on alternate rows, but to make it more complicated, I also wanted to have a solid color border at the left and right. This is roughly how I thought it could go, combining this new method with the float method mentioned earlier for the sides:

So, incorporating all this, I tried it again. Here's the comparison, with LOTS of mistakes. It was eally hard to get the hang of lol. Check it out:

All in all, I think it came out really well! The finished kōji had this incredible, indescribable taste/smell. Maybe kind of, flowers and mangos and peaches? I used it to make a ton of miso.

I used Modernist Pantry kōji kin and organic basmati white rice, and a makeshift immersion circulator/floating water bath incubator thingy. The rice was steamed in unbleached muslin cloth until just a little undercooked, then the same cloth was used to line a metal tray. The rice was spread into hills and valleys, covered with more muslin, then tented with some aluminum foil over the whole thing. The foil was mostly to keep condensation from dripping off the roof of the incubator onto the muslin cloth.

I put it in the incubator with the circulator st to 90 F.I stirred it at 12 hours and again at 24. It got appropriately matted, and for the most part it wasn't too wet. However, there were a few spots where I think it was getting on towards sporulation already, as you can see here:

Could have been some extra humidity collecting in those darker spots? The tinfoil tent kept the incubator condensation from dripping on it, but I guess nothing prevented the tinfoil condensation from dripping lol... Anyway, the entire process seemed to go way faster than all the guides lead me to believe. I broke it all up as best I could and put it back in set at 84 F with the lid open for lower humidity. By 24 hours it was maintaining about 97 F on its own.

One of my boyfriends is heathen, so I dual-color 3d printed him a set of Futhorc/Anglo-Saxon runes. Hopefully they're correct, very much not an expert lol... The Wikipedia page made me a little unsure on which symbols should or should not be included. These are made from PHA (polyhydroxyalkanoates), a new-ish thermoplastic that's naturally produced by a variety of bacteria, and breaks down harmlessly in any biome. Then, they were polished in a vibratory tumbler and anointed in black walnut oil infused with white pine, bog Labrador tea, yaupon, and sweetfern. I posted the files elsewhere if anybody wants to print their own!

Or rather salt rising muffins, but still. For those unfamiliar, it's an obscure Appalachian bread. Rather than being risen by the CO2 produced from yeast or baking soda, it's risen by the hydrogen produced by Clostridium perfringens bacteria. This gives it a different texture and a funky/cheesy taste. Still fermented, so I hope it counts for the rules! Crumb shot:

Mine isn't great compared to anything you'd get from Rising Creek Bakery, who literally wrote the book on salt rising bread. As you can see, mine came out pretty dense, but that's definitely not because of the kind of bread it is. I think it's more because of the 100% whole wheat, and my own lack of skill. It took me like 6 tries to even get the starter right lol. But I thought, maybe people have never heard of this and would be interested. I used wheat berries from Castle Valley Mill, which is only a couple hours away from me, and ground them in a hand-crank mill.

Usually tablet weaving is done with square tablets that have 4 holes, but 6 hole tablet weaving is known from various times and places throughout history. It opens up tons of possibilities for new color patterns and strength. The late great Peter Collingwood's book The Techniques of Tablet Weaving goes into some detail about it, but the patterns are quite daunting! As you can see in the pic, though these are 6 hole tablets, I'm only using 4 of them for now. Working my way up lol. Not even a particularly fancy pattern on this practice piece:

I couldn't find any hexagonal tablets for sale that matched what I wanted, so I 3d printed these ones. The design has changed since:

The pips around the outer holes helps you keep track of which thread you're on. The idea with the center hole is that you can put a star shaped rod through it that holds everything still as needed. I thought I'd be able to use the rod to make turning easier, isolate out individual tablets easier, etc. However, (obvious in retrospect) the threads just get wrapped around it and make it hard to remove after turning. Whoops!

I've since been told that you can use a central hole to give each plied warp of the finished work a core thread/wire for super strong fabric! So that's pretty cool.

Has anyone else experimented with non-square tablets?