So the voices that spoke up on my post about the market stall and how much info should be included on each item more or less all spoke for "all the gory details", even if just speaking for themselves. But it might be a nice thing also for the real-life market customers to be able to check back on the ol' interwebz what they bought and what the story behind really is.

This means I'll set up the market stall page with a small picture of each item and a short description and price, and give a link to "the story behind" or some similar phrase, where all the details are listed about the item.

And to get this done in decent time, I will run a series called "All the Gory Details" on this blog from now for the next few days, each day tackling a new item from the market stall - because blog time is already a little chunk of time reserved for writing each day, and not trying to get it all done at once feels very relaxing. The new series will start on Monday, if nothing untoward happens... and I hope that you will enjoy to hear the background stories of the items on my market stall table.

I've half finished one of the most dreaded chores in my freelancer's business life: Bookkeeping. And I don't even know why I dread it that much (though by far not as much as the dentist!). It's not so bad once I sit down to do it, and since I have a very very simple system, it's not even complicated.

Oh, what system? Well... pile all un-booked things, including unbooked bank statements in a spot on the desk. When booking, go through pile paper by paper, booking each item into freeware software (easy-to-use programme, but in German only, and I don't want to be without that little helper again). Then put all items into a folder. Keeping track is very easy then: If it's in the folder, it's been booked. If not, then not.

So while keeping up with books only takes a few minutes for a whole month, out of some unknown reason, I have the tendency to wait until bad conscience cannot be ignored any longer. And while I'm not sure that my general style of working would benefit from a change, I am very sure that just booking things once a month, regularly, would be quite sensible. Now I only need a way to remind myself to book things regularly... preferably in a nice, fun way.

While working on the real wood-and-cloth market stall, thinking about the selection and presentation of goods and working simultaneously on the "market stall" website, I'm pondering how to sort and how to present the goods on the website - and what and how much information to provide with each piece.

I carry a few replicas - like the spindle sticks, the netting needles, naturally dyed silk threads, and so on. However, I don't have "perfect" replicas for sale in the sense of the original material is used for the replicas (the correct metal, the correct wood) and that they are made using only medieval tools and methods (and that would be really pricey). In addition, I carry some goods that are part or complete conjecture - I have pincushions to keep pins and needles safe, I have parchment tablets for weaving. And finally, there are some things that are first seen later than the middle ages, like the "Nähsteine", where I'm actually not sure whether they were not used before the 17th or 18th century or whether usage was just so normal/unspectacular that they are not shown on the few pictures that we have from medieval sewing work.

When people come to me on the market to buy real-life, they can just ask and I can explain and discuss things with them. In the internet - not so easy. It is of course possible to mail or phone, but takes significantly more effort to do so.
So the big question is: Do I need to write the story behind each of the objects on the market stall webpage? Or would nobody care? Do you, as buyer of things as LH equipment want to know exactly what, where, when, why? (Personally, I would.) Comments and input, anyone?

My usual style of working slightly resembles a multi-front war: Tackling several items from the list at the same time, which means that I work a bit here and then switch to another thing on the list, and maybe later to a third one. This is partially due to necessary waiting between steps on single projects, partially because sometimes I think it's faster to answer an e-mail and do the corresponding bit of work on a project at once rather than mark the mail and get back to it later on, and partially because I like some variation.

This has, as everything in life, its upsides and downsides. An upside is that I get to work on the project that currently tickles my fancy rather than stick to "Plan A", and that I am very flexible - if some grand idea occurs for one thing, I'm used to switching and will continue with the grand idea and the things it brings with it. The downside is that of course time and energy is lost in translation from one project to the next - and even if the loss is small, it will be there.

In the past months, I have often wondered whether it would be worth trying to finish one thing with absolute priority first and then go down on the list - and frankly, I'm not sure I am willing to try this. Once a deadline approaches for one of the projects, I know I'm perfectly capable of putting that project up front, and everything else does take a back seat, but I don't know if that style of work would suit me and the rather big variety of topics and projects I have in planning, under way or in postprocessing at any given point in time. So for the moment - until I get an inspiration what to change and how, or any grand hints by you, dear readers - I will probably just go on like I'm used to, working on more projects more or less parallel. Which also means that I will have my usual seemingly slow progress with things.

Speaking of progress: There actually is some for several things - planning for the new market stall has done a quite big leap, and this project is now ready for the scissors, needle and thread phase. I have done enough progress on my new (very thin silk thread) hairnet to actually see the proper mesh and for better demonstration - the very first rows are somewhat unspectacular for the viewer. So my weekend was rather productive, and this feels very good.

I have received a call for papers (on the usual labyrinthine ways these things take) for next year's Early Textiles Study Group conference that will be held in the UK. The theme will be colour and the organisers are aiming for an even contribution of technical and sartorial papers.

So since the organiser in her original mail asked to pass this on to interested parties, for all the dyers and colour people out there, you can find the full CfP as a .pdf behind this link.

Now, slowly, I remember the things that I was planning to tackle before the Forum took over completely - smaller things as well as medium to big things (like the website relaunch, finishing an instructional video for netting and finding out how much fabric is needed for the new small market stall).

Yesterday, though, was mostly spent with the experiment dataset. I'm still looking at and photographing each spinner's individual output and playing around with the weights spun to see if there are general tendencies. And there are, and yet not. While for example spinner A made a totally predictable yarn only influenced by the fibres - with one fibre smoother, thinner yarn than the other - other participants have two sorts of yarn, quite thin and very thick, and they have no obvious connection to either spindle or fibre. It does need a seriously wacky spinning instrument to throw them out of their usual yarn type and thickness range, though, and sometimes not even the wackiest of spindles will do that. So this is a very intriguing start, and I hope I will find some more connections or possible connections.

During the Forum week, we of course chatted about all kinds of things (though most of them fibre-related), and of course there were requests to share this or that link or site.

So here's the Brain Test, my part - let's see if I can remember what I was supposed to.

First of all, of course, there's Phiala's String Page (where I made my first braiding steps many years ago) and where the now-famed and coveted pdf about tablet weave structures may be found. The accompanying talk lit quite a few lightbulbs in tablet weavers' heads!

There's a video on Youtube I talked about - no, wait, there's more. First there are the two wonderful and calming videos showing short-draw and long-draw spinning by Ruth MacGregor that I linked already here. (At the Forum, I had the joy of getting taught long-draw by Ruth herself. I can now spin thick and fluffy yarn, hooray and huzzah! And Ruth in person is even more calm and friendly than her videos suggest.) Then there's the incredibly speedy weaving on an inkle loom, to be found here.

Then there was mention of the Tsarina of Tsocks. If anyone can tempt me to add knitting to my stash of textile techniques, it is her with her incredibly beautiful socks! There's also a blog where she writes about tsocks (who would have guessed?)

Another thing I frequently mentioned to several persons (mainly day-guests and visitors, though) is Therèse de Dillmont's book. If you have not yet found out about it, go visit the webpage where the whole book (in the English version) is available for free!


Oh, and I am also supposed to put up pictures of the event (and the spinning) on the Textilforum website, send around the list of adresses of the participants and analyse and evaluate the data from the experiment. Which will all happen, and soon.