Whatever I Am, Let It Be Enough

The Wizard ✨

Gale at home in Waterdeep searching for artifacts to buy a little more time, not long before the events that lead to meeting Tav

Inspired by Johannes Vermeer’s “The Geographer”

I had done a version of this over two years ago but it desperately needed a redraw lolol

Bonus - close up

Knitting finished as of last night! Still need to weave in a few ends, wash, and block.

Thank you so much for all the nice things everyone has said about this blanket! Unfortunately, I do not have a pattern, so much as I have several patterns and some back-of-the-napkin style math notes that won’t make sense to anyone but me - but I do have a picture of this planning piece (since frogged to reuse the yarn in the blanket itself.)

As a few people in the notes pointed out, the dragon pattern is Tahesha the Dragoness by Ina Wendrock

But it's on a plain reverse stockinette background, and I wanted this as part of a complex cable afghan. It's going to be a wedding gift for two friends in my DnD group, so I knew I wanted it big enough that two people could reasonably share it while watching TV together on a couch, and for a dragon to still be visible when folded and draped over the back of a couch or chair, in case that's how they store it. So I knew I was committing myself to knitting 5 dragons (one in the center and one in each of the four corners), and figuring out myself how to plop the dragon in to a larger cable blanket pattern.

Back in November, I bought the dragon pattern and knit a test version of it so I could see how it worked and measure the dimensions. (You can see from the curled up edges that I did this before I found the part in the pattern notes where Ina Wendrock helpfully informs us that the dragon is knit over 45 initial stitches, to help us add it to our own projects, but ah well.) Then I started trying to figure out the other cables.

I knew I wanted some traditional cables so that it had an heirloom look to it (but with dragons), but I thought that the dragons would look too out of place if everything else looked copy-pasted from a classic fisherman’s sweater. Fortunately, there are a number of knitting designers right now doing cool things with trying to make cables that resemble Celtic knot motifs, so I went to the public library and borrowed a bunch of cable knitting books and started bookmarking what I liked. My favorite patterns were all coming from this book:

Which looks like it's out of print now, but wasn't in December and I was able to ask for and receive it for Christmas. (Designer Melissa Leapman's ravelry store is here in case anyone wants to check it out):

I narrowed my bookmarked cables down to patterns that had 1) an odd number of stitches; 2) a central "crossover" cable in multiple parts of the pattern so that I could "open" it up to create the medallions that the dragons would sit in; and 3) a stitchcount of less than 45, by enough that I'd have room to drop a traditional cable on either side. My favorite two would then be the center cables for the central dragon panel and the left & right dragon panels (when I wasn't doing the dragons), and then I decided on a very simple c4b twist between the panels and a tight 5-rib cable braid on the edges. I loved the first two patterns from the book that I tested and didn't have to try any of my runner-up bookmarks - but if you zoom in on the picture, you can see that for the traditional cables around the Melissa Leapman cable for the center panel, I tried and discarded a honeycomb cable and an Xs and Os variant before deciding on the one that I'm not actually sure of the name of that made it into the final pattern. For the side panels, I had thought it might be nice to incorporate a hearts cable since it was for a wedding blanket. I'm not sure how traditional these heart cables are, but I've seen them unattributed in more than one published pattern from different sources, and they're published in a number of cable pattern guides online. They worked next to the Melissa Leapman cable I wanted for the side panels, so they went in the pattern without me trying anything else.

While practicing the dragon cable, I had noticed that many of the cables started with an increase, so on the back of one of my chart print-outs, I graphed a rough plan for what I had decided to put where in terms of the traditional and Leapman cables that would go around the dragons, and numbered out the stitches if I worked the first cables in each pattern as increases instead of cables to mimic the start of the dragons. Then I added up the total number of stitches and cast on, and it worked surprisingly well! After completing one repeat of the side-panel central cables, I started "opening" up the circles where the dragon would be through improvisation (the left and right panels that were parallel always matched each other because I was doing the same thing in each row - other than that, I wound up doing it slightly differently every time, and that was ok. They look the same enough.)

I had planned to either leave it un-bordered or add the full mitered border that Ina Wendrock (who designed the dragon pattern) has on her store depending on how it worked up, but after I'd knit enough to see what it looked like, I decided that the mitered border was overkill, but it did need something, so when I finally got to the end I did an I-chord bind-off and then went back and picked up stitches along the cast-on to do an I-chord bind-off there too. If I had it to do over again, I might have done a folded hem on each side instead, but we'll see how the I-chord blocks.

So, that's how you make the dragon blanket. Either get the patterns I mentioned and try to duplicate, or just buy the dragon and add your favorite cables for the rest!

[Sorry I'm not more help, but I cannot stress enough - I did not write any of this down as I went.]

It’s blocked! The dragons came out so nicely after blocking, and you can see the hearts better.

My original ‘celestial’ Gale cosplay, designed for this year’s Cosplay Met Gala at Katsucon (theme ‘Starlight and Sorcery’).

I wanted to go for a classic wizard feel - swooshy robes, draping sleeves! - and so the actual structures are fairly simple, with the detail coming out via textures and embellishment. I designed it around circles and curves to invoke celestial bodies as well as the Netherese orb, with the straight lines of the constellations providing contrast. As with all my cosplays, I wanted it to feel like clothes, not a costume - each piece able to stand on its own as a full garment; while together they are a story, each layer progressively lighter-weight as distance from the body echoes a journey towards the heavens.

First is the shirt - rich, heavy, almost constricting, bearing the weight of the embroidered orb across the chest. The forearms are bound with silver threads like strands of the Weave, the same thread that I used for the outer constellations.

Next the robe, a loose-woven blend of dark blues and purples, glimmering with metallic threads for a night sky effect. The hem is adorned with silver-trimmed circles representing the ‘endless worlds’ Gale desires to visit. The hood, sleeves, and skirt are lined with a brilliant two-toned fabric that recalls the shifting colours of an aurora.

Shirt and robe are confined by a narrow yet solid belt bearing the symbol of Mystra, meant to represent, quite literally, her ‘boundaries’. Matching pauldrons of leather and aluminium are embossed with constellations (I just really wanted to do more metal embossing, mkay?).

Over it all drapes a sheer, free-flowing mantle in the colours of the Outer Planes, glittering with hundreds of star-like beads and displaying numerous constellations. On the back is a tableau of actual Faerûnic constellations, including Mystra’s Star Circle, while the front features invented constellations meaningful to Gale’s character, such as magic missile, the Crown of Karsus, and a tressym.

After almost a decade on this site, I found another Tumblr user in the wild. I stopped to tie my shoe with rainbow laces this morning outside the silversmith at Colonial Williamsburg, and I heard it.

“I like your shoelaces.”

Oh. Oh no.

I responded the only way I could. “Thanks.” And then I reluctantly added, “I stole them from the president…and if that makes sense to you, I’m very sorry.”

The poor man, in full Colonial dress, stared at me for a long moment. And then burst into laughter. And said, “I haven’t thought about that in YEARS and this has never happened to me before.”

Yeah. Me neither. Not until today.

Then about a week into their journey like

Legolas: *in Elvish, for approximately the 20th time* ugh fucking hobbits, so annoying

Frodo: *also in Elvish, deadpan* yeah we’re the worst

Legolas:

Legolas: ugh fucking hobbits

Merry: Frodo what’d he say

Frodo: I’m not sure he speaks a weird dialect but I think he’s insulting us. I should tell him I can understand Elvish

Merry: I mean you could do that but consider

Merry: you can only tell him ONCE

Legolas: umm well your accent is horrible

Aragorn: *hollering from a distance* HIS ACCENT IS BETTER THAN YOURS LEGOLAS YOU SILVAN HICK

Legolas: y’alld’ve’ff’ve

Frodo: Good morrow to thee, frend. I hope we twain shalle bee moste excellente companions.

Legolas: Wots that mate? ‘Ere, you avin’ a giggle? Fookin’ ‘obbits, I sware.

english would probably have changed less since Chaucer’s time, if a lot of our cultural leaders from the thirteenth century were still alive and running things.

they’ve had like. seven generations since the sun happened, max. frodo’s books are old to him, but outside any very old poetry copied down exactly, the dialect represented in them isn’t likely to be older than the Second Age, wherein Aragorn’s foster-father Elrond started out as a very young adult and grew into himself, and Legolas’ father was born.

so like, three to six thousand years old, maybe, which is probably a drop in the bucket of Elvish history judging by all the ethnic differentiation that had time to develop before Ungoliant came along, even if we can’t really tell because there weren’t years to count, before the Trees were destroyed.

plus a lot of Bilbo’s materials were probably directly from Elrond, whose library dates largely from the Third Age, probably, because he didn’t establish Imladris until after the Last Alliance. and Elrond isn’t the type to intentionally help Bilbo learn the wrong dialect and sound sillier than can be helped, even if everyone was humoring him more than a little.

so depending on how much of a role Thranduil took in his upbringing (and Oropher in his), Legolas may have some weird stilted old-fashioned speaking tics in his Sindarin that reflect a more purely Doriathrin dialect rather than the Doriathrin-influenced Western Sindarin that became the most widely spoken Sindarin long before he was born, or he might have a School Voice from having been taught how to Speak Proper and then lapse into really obscure colloquial Avari dialect when he’s being casual. or both!

considering legolas’ moderately complicated political position, i expect he can code-switch.

…it’s also fairly likely considering the linguistic politics involved that Legolas is reasonably articulate in Sindarin, though with some level of accent, but knows approximately zero Quenya outside of loanwords into Sindarin, and even those he mostly didn’t learn as a kid.

which would be extra hilarious when he and gimli fetch up in Valinor in his little homemade skiff, if the first elves he meets have never been to Middle Earth and they’re just standing there on the beach reduced to miming about what is the short beard person, and who are you, and why.

Pippin, confused: Is he not speaking Elvish?

Frodo, sarcastically: I dunno, are you speaking Hobbit?

Boromir, who has been lowkey pissed-off at the Hobbits’ weird dialect this whole time: That’s what it sounds like to me.

Merry, who actually knows some shit about Hobbit background: We are actually speaking multiple variants of the Shire dialect of Westron, you ignorant fuck.

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After almost a year and a half of on-and-off work, I am delighted to say that camp Gale is DONE!

The tunic took the longest for obvious reasons, featuring nearly 200 hours of hand embroidery and detail stitching on the cuffs, collar, and hem. I'm so proud of how I managed to match the embroidery at the seams so there is no interruption in the pattern at any point.

The belt is actually my favourite piece of this cosplay. I delved into metal embossing for the first time to make the aluminium tiles, and I adore how the tarnish effect turned out. I used leather paint on the base belt for the proper mottled effect, and did more tiny hand stitching on the borders.

For the trousers, I chose to depart from my usual 'stickler for canon accuracy' mindset when I found the purple fabric - primarily because the pattern within the gold outlines matches the shapes of the tunic embroidery, while still preserving the 'veined leaf' feel of the in-game trousers. Doing the detail stitching between fabrics was by far my least favourite part of this cosplay process - another 23 hours of hand sewing with cording - but I pushed through!

The shoes I thrifted and then modified almost to unrecognisability - I leather painted both the suede and soles, added the binding and stitching around the top, and then embossed a whole lot of tiny aluminium shapes to glue on for the proper adornments.

I'm so glad I took my time with this cosplay, it's been such a passion project; an expression of love for a character who's come to mean so much to me. I'm very excited to wear this outfit for the first time at Katsucon in a few weeks, and I'm hoping to get some really excellent photos in the near future. Thank you to everyone who's commented and cheered me on during this lengthy but rewarding endeavour!