The common assumption regarding Hideki’s sampling-based composition style is that he samples content from other songs, TV shows, film, radio skits, archival sound clips from the internet, and the like. However, this could not be further from correct.
Hideki’s work contains samples taken from sample packs SEGA and other producers provide him with during the music development stage. Most of the time, Hideki is not aware of the very, very origins (if not being the sample pack he lifted from) of these voices (and instruments, if applicable).
This post exists to gather information regarding every sample Naganuma has used in his music, where he pulled the samples from and a link to each sample individually, where you can hear it for yourself in its original form, not Naganuma’s edited version (if any editing has been done).
So far, this post contains all of Naganuma’s samples that I know of from Jet Set Radio, Jet Set Radio Future, Ollie King and Sonic Rush. I do also plan to note down the samples he has used in Air Gear in the future, and maybe even work such as LUV CAN SAV U and Get It 2 Win It if this post still remains popular after the above is all documented.
If there is a broken link anywhere in the post, please, do not hesitate to notify me so I can fix it. I want as many people to be able to witness these finds as possible.
Found a sample and think it’s where Naganuma took the sample from? Just send the sample over and give the sample library and sample name and I’ll add it to the list if it turns out to indeed be correct. Thanks in advance for your contributation!
The common assumption regarding Hideki’s sampling-based composition style is that he samples content from other songs, TV shows, film, radio skits, archival sound clips from the internet, and the like. However, this could not be further from correct.
Hideki’s work contains samples taken from sample packs SEGA and other producers provide him with during the music development stage. Most of the time, Hideki is not aware of the very, very origins (if not being the sample pack he lifted from) of these voices (and instruments, if applicable).
This post exists to gather information regarding every sample Naganuma has used in his music, where he pulled the samples from and a link to each sample individually, where you can hear it for yourself in its original form, not Naganuma’s edited version (if any editing has been done).
So far, this post contains all of Naganuma’s samples that I know of from Jet Set Radio, Jet Set Radio Future, Ollie King and Sonic Rush. I do also plan to note down the samples he has used in Air Gear in the future, and maybe even work such as LUV CAN SAV U and Get It 2 Win It if this post still remains popular after the above is all documented.
If there is a broken link anywhere in the post, please, do not hesitate to notify me so I can fix it. I want as many people to be able to witness these finds as possible.
Found a sample and think it’s where Naganuma took the sample from? Just send the sample over and give the sample library and sample name and I’ll add it to the list if it turns out to indeed be correct. Thanks in advance for your contributation!
some people think writers are so eloquent and good with words, but the reality is that we can sit there with our fingers on the keyboard going, “what’s the word for non-sunlight lighting? Like, fake lighting?” and for ten minutes, all our brain will supply is “unofficial”, and we know that’s not the right word, but it’s the only word we can come up with…until finally it’s like our face got smashed into a brick wall and we remember the word we want is “artificial”.
some people think writers are so eloquent and good with words, but the reality is that we can sit there with our fingers on the keyboard going, “what’s the word for non-sunlight lighting? Like, fake lighting?” and for ten minutes, all our brain will supply is “unofficial”, and we know that’s not the right word, but it’s the only word we can come up with…until finally it’s like our face got smashed into a brick wall and we remember the word we want is “artificial”.
the ADHD writer's guide to actually finishing a draft (no, seriously) 📝
okay, tumblr, writers... we need to TALK about how to actually finish a damn draft when your executive functioning decided to pack its bags and leave for a permanent vacation in the bahamas.
i'm not here to give you that basic "just set a timer!" advice that makes me want to throw my laptop into the sun. we all know those productivity hacks that work for neurotypicals make us want to scream into the void. (been there, screamed that.)
so here's the ACTUAL guide from someone who's written three novels while her brain was actively trying to sabotage her the entire time.
FIRST: accept that linear writing is a capitalist construct designed to torture us.
i'm serious. whoever decided writers should start at chapter 1 and proceed neatly to THE END clearly didn't have dopamine playing hide-and-seek in their prefrontal cortex.
write whatever scene has your brain chemicals SINGING today. that climactic fight scene that's six chapters away? the tender moment between your characters that happens in the middle? WRITE IT NOW while your brain is actually interested. i have finished entire novels by writing them in chunks and stitching them together like the beautiful frankenstein's monster they are.
SECOND: the 10-minute lie (that actually works???)
tell yourself you're only going to write for 10 minutes. that's it. no pressure. your adhd brain can handle anything for 10 minutes, right? the secret is that once you start, momentum becomes your best friend. sometimes you'll actually stop at 10 minutes (congrats, you still wrote something!) but often you'll look up and realize it's been two hours and you've written 2,000 words. and yes i've seen this a lot, like everywhere, where they tell you "set a timer for 5, and by the time you realize it's 2 hours" i've seen this many times before, and it actually works. at first i thought it didn't but boy, i was wrong.
THIRD: use your hyperfixation powers for good, not evil.
we all know that adhd comes with the superpower of becoming obsessed with random things for unpredictable amounts of time. WEAPONIZE THIS. create artificial urgency around your project. tell people about your deadline. make elaborate aesthetic pinterest boards. create a spotify playlist that you only listen to while writing this specific project. trick your brain into making your WIP the shiny new hyperfixation.
FOURTH: body-doubling saved my writing career and it can save yours too.
find another writer friend (or any friend who needs to do focused work) and sit together - virtually or physically - while you both work. something about having another human witnessing your work process bypasses the executive dysfunction. i swear it's actual magic. discord writing sprints, zoom sessions with cameras off but mics on - whatever works.
FIFTH: embrace the chaos of your natural writing cycle.
some days you'll write 5,000 words in a frenzy at 3am. other days you'll stare at the document for an hour and write "the." BOTH ARE VALID WRITING DAYS. the only consistency we need is returning to the document, not some arbitrary daily word count.
SIXTH: create external accountability that doesn't make you want to die.
deadlines from publishers? great. deadlines you set for yourself? your brain laughs and says "or what?" find the sweet spot - maybe it's a writing buddy you check in with, maybe it's a public progress tracker, maybe it's promising your sister you'll take her to dinner when you finish a chapter.
SEVENTH: the frankendraft approach.
your first draft DOES NOT need to be good, coherent, or even make sense. it just needs to exist. leave yourself notes like [FIGURE OUT HOW SHE GETS FROM THE CASTLE TO THE BEACH LATER] and keep moving. your adhd brain will thank you for not getting stuck in research rabbit holes for six hours.
EIGHTH: find your optimal writing environment through shameless trial and error.
maybe you need complete silence. maybe you need to be in a coffee shop with specific ambient noise. maybe you need to write standing up. maybe you need to dictate your novel while pacing around your apartment. there is no wrong way to get the words out.
i personally write best when i'm slightly uncomfortable (weird, i know) so i often end up writing while sitting on my kitchen floor with my laptop balanced on a chair. whatever works, bestie. a finished messy draft is infinitely more valuable than the perfect novel still trapped in your head. your adhd brain is simultaneously your greatest challenge and your greatest asset as a writer. the connections you make, the unique perspectives, the creativity - all of that comes from the same place as the struggles.
you've got this. now go write something, even if it's just for 10 minutes. i believe in you. ✨ -rin t.
the ADHD writer's guide to actually finishing a draft (no, seriously) 📝
okay, tumblr, writers... we need to TALK about how to actually finish a damn draft when your executive functioning decided to pack its bags and leave for a permanent vacation in the bahamas.
i'm not here to give you that basic "just set a timer!" advice that makes me want to throw my laptop into the sun. we all know those productivity hacks that work for neurotypicals make us want to scream into the void. (been there, screamed that.)
so here's the ACTUAL guide from someone who's written three novels while her brain was actively trying to sabotage her the entire time.
FIRST: accept that linear writing is a capitalist construct designed to torture us.
i'm serious. whoever decided writers should start at chapter 1 and proceed neatly to THE END clearly didn't have dopamine playing hide-and-seek in their prefrontal cortex.
write whatever scene has your brain chemicals SINGING today. that climactic fight scene that's six chapters away? the tender moment between your characters that happens in the middle? WRITE IT NOW while your brain is actually interested. i have finished entire novels by writing them in chunks and stitching them together like the beautiful frankenstein's monster they are.
SECOND: the 10-minute lie (that actually works???)
tell yourself you're only going to write for 10 minutes. that's it. no pressure. your adhd brain can handle anything for 10 minutes, right? the secret is that once you start, momentum becomes your best friend. sometimes you'll actually stop at 10 minutes (congrats, you still wrote something!) but often you'll look up and realize it's been two hours and you've written 2,000 words. and yes i've seen this a lot, like everywhere, where they tell you "set a timer for 5, and by the time you realize it's 2 hours" i've seen this many times before, and it actually works. at first i thought it didn't but boy, i was wrong.
THIRD: use your hyperfixation powers for good, not evil.
we all know that adhd comes with the superpower of becoming obsessed with random things for unpredictable amounts of time. WEAPONIZE THIS. create artificial urgency around your project. tell people about your deadline. make elaborate aesthetic pinterest boards. create a spotify playlist that you only listen to while writing this specific project. trick your brain into making your WIP the shiny new hyperfixation.
FOURTH: body-doubling saved my writing career and it can save yours too.
find another writer friend (or any friend who needs to do focused work) and sit together - virtually or physically - while you both work. something about having another human witnessing your work process bypasses the executive dysfunction. i swear it's actual magic. discord writing sprints, zoom sessions with cameras off but mics on - whatever works.
FIFTH: embrace the chaos of your natural writing cycle.
some days you'll write 5,000 words in a frenzy at 3am. other days you'll stare at the document for an hour and write "the." BOTH ARE VALID WRITING DAYS. the only consistency we need is returning to the document, not some arbitrary daily word count.
SIXTH: create external accountability that doesn't make you want to die.
deadlines from publishers? great. deadlines you set for yourself? your brain laughs and says "or what?" find the sweet spot - maybe it's a writing buddy you check in with, maybe it's a public progress tracker, maybe it's promising your sister you'll take her to dinner when you finish a chapter.
SEVENTH: the frankendraft approach.
your first draft DOES NOT need to be good, coherent, or even make sense. it just needs to exist. leave yourself notes like [FIGURE OUT HOW SHE GETS FROM THE CASTLE TO THE BEACH LATER] and keep moving. your adhd brain will thank you for not getting stuck in research rabbit holes for six hours.
EIGHTH: find your optimal writing environment through shameless trial and error.
maybe you need complete silence. maybe you need to be in a coffee shop with specific ambient noise. maybe you need to write standing up. maybe you need to dictate your novel while pacing around your apartment. there is no wrong way to get the words out.
i personally write best when i'm slightly uncomfortable (weird, i know) so i often end up writing while sitting on my kitchen floor with my laptop balanced on a chair. whatever works, bestie. a finished messy draft is infinitely more valuable than the perfect novel still trapped in your head. your adhd brain is simultaneously your greatest challenge and your greatest asset as a writer. the connections you make, the unique perspectives, the creativity - all of that comes from the same place as the struggles.
you've got this. now go write something, even if it's just for 10 minutes. i believe in you. ✨ -rin t.
Edit: Now available in Google Doc format if you don't have a Tumblr account 🥰
Hello, my name is Tofu and I'm a professional pixel artist. I have been supporting myself with freelance pixel art since 2020, when I was let go from my job during the pandemic.
My progress, from 2017 to 2024. IMO the only thing that really matters is time and effort, not some kind of natural talent for art.
This guide will not be comprehensive, as nobody should be expected to read allat. Instead I will lean heavily on my own experience, and share what worked for me, so take everything with a grain of salt. This is a guide, not a tutorial. Cheers!
Edit: Now available in Google Doc format if you don't have a Tumblr account 🥰
Hello, my name is Tofu and I'm a professional pixel artist. I have been supporting myself with freelance pixel art since 2020, when I was let go from my job during the pandemic.
My progress, from 2017 to 2024. IMO the only thing that really matters is time and effort, not some kind of natural talent for art.
This guide will not be comprehensive, as nobody should be expected to read allat. Instead I will lean heavily on my own experience, and share what worked for me, so take everything with a grain of salt. This is a guide, not a tutorial. Cheers!
I find the concept of the bay leaf very helpful when I'm redrafting.
The bay leaf is something you have in your work - a scene, or a description, or a character that you're attached to - but eventually you realise you have to take it out. You think, 'I really love this scene, and I don't want to remove it, but I don't need it any more. It's not working.' That's fine. It served its purpose - it helped you get to this point, and now you can let it go. It's the bay leaf.
We have unlimited power. Over the side seam pockets.
There’s two steps: drafting the pattern and sewing the pattern. The pattern drafting is really quite easy:
I’m having trouble getting google drive to give me my pictures, so I traced over the foundation lines.
The first thing to make is the pocket template.
Draw a 10″ vertical line on your drafting paper.
Measure 1″ down from the top of the line, and draw a notch. This is notch #1.
Measure 6″ from the top of the paper, and mark it “x”
Measure 1″ down from X (7″ from top) and make a little mark to come back to later.
Measure 3″ down from that mark (4″ from x, 10″ from top) and you should be at the end of your line.
You have now drawn your vertical foundation line.
Draw a 3.5″ long horizontal line at the very top of the vertical line
Draw a 5″ long horizontal line that comes off the point you marked X.
Draw a 5″ long horizontal line that comes off the very bottom of the vertical line.
You should now have all the photoshopped in lines in my image, your foundation lines, on your paper.
You
sort of eyeball in the curved lines. Starting at the mark you made to
come back to later (7″ from the top of the line), draw in your pocket
bottom. It’s just a little swoop that eventually touches the bottom
foundation line. You also need to draw in the curve at the top of the
pocket, to connect it to the middle horizontal line.
The good
news is that if your foundation lines are right, you can go pretty nuts
with eyeballing in the curves and still be in the right place. If the
drafting was tough and you’re more a go with the flow kind of patterner,
just look at my pattern and guess how you’ll want yours.
Make sure that you can see your notches at 1″ and 6″ from the top. You’ll need them.
Now you have your pocket template, and you need to turn it into three pattern pieces.
The first pattern piece is for the pocket front, and it’s very easy. Take your template, trace it onto a new piece of paper, and add 1/2″ of seam allowance on all sides. Make sure you transfer your notches.
(Sorry for that +/- thing there. I’m having trouble with google drive and I’m way too lazy to try to troubleshoot it when I could just take sloppy screenshots)
For the pocket back, trace your template onto a new piece of paper. Measure a vertical line in 1″ from your vertical foundation line. Erase the part to the left of that line, leaving you with a sort of slimmed down version of your front pocket piece. Add seam allowance all the way around.
Now you’re going to do the same thing you did with the pocket front, but keeping the smaller part. This is the pocket back.
So, trace your pocket template again, draw a line in 1″ from the vertical line, and then erase everything that’s to the right of the line. Then, add seam allowance along all the sides except the notched one. I drew over it in green hilighter so that you can tell which one. This is the skirt side seam extension.
Pattern drafting is done.
So, what’s with the funky flap? Effectively, what we have right now is a pocket front that’s made of one piece of fabric, and the same shape for the back that’s made of two different pieces of fabric. You’re going to add the skirt side seam extension to your skirt, and then sew the pocket back to this. This is going to hide your pocket opening.
This is going to make your pocket much less visible. This is important, because you will likely be making your pocket out of a different fabric than your finished skirt. If you made your skirt out of something expensive, especially custom-printed, it’d be a massive waste of money to use that fabric inside the pocket, where no one can see it. If you’re using a looser-woven fabric, like I did for this skirt, you need to make your pocket in something much tighter, smoother, and less likely to form holes. Quilt cotton is great for this sort of thing because it’s tightly woven and smooth.
Take the pattern for the back of your skirt, and tape the pattern for the side seam extension at the top of the side seam.
If you’re like me, and don’t use a pattern for your skirt, pin the extension on the side seam and then trim the side seam down everywhere else (just cut around the extension piece). For 99% of lolita skirts where you don’t use a pattern, losing 1″ on each side seam isn’t going to affect the overall poof.
Side note, I did this on a pleated skirt and pleated the fabric first. In a normal situation, you would do this with the fabric flat, and gather the waistband after the pockets are assembled.
Cut your pockets out of your pocket material. Yes, I was a terrible person and did one on the lengthwise grain and one on the crosswise grain. It’ll be fine.
Make sure that your notches are visible on both pocket pieces.
Now, line the top of your pocket front up with the top of your skirt, and sew your pocket along the horizontal seam. (if your pocket has a RS or WS, sew the pocket to the skirt front with right sides together). If you’re feeling like getting a gold star, press, grade, and understitch the seam.
Line the top of your pocket back up with the top of your skirt extension, and sew the pocket back to the skirt seam extension. Gold star for pressing, grading the seam allowance, and understitching the seam.
So, with two gold stars in hand, put the front and backs of the skirts together, right sides together, with the pockets sticking out.
Remember your bottom notch at the 6″ mark? Stick a pin there. You’re now going to sew from that pin all the way to the bottom of the skirt.
This might feel wrong at first, because it feels like you’re sewing the bottom inch or so of your pocket all the way closed. This a normal feeling, and you’re experiencing it because I just told you to sew part of your pocket all the way shut. The opening for your hand has to be shorter that the total length of the pocket, or else you won’t be able to put stuff in it without it falling out.
This will be roughly where the thicker pink line is.
Once you’ve sewn your side seam (leaving the pocket open, obviously), then you’re going to want to sew the pocket bag together. This is the purple line in my photo up there.
You might notice that my pocket sewing is a lot shorter than the pocket fabric. I sewed my pocket back piece on incorrectly and had to shorten the pocket or else it’d make a hole. Pockets are cool like that. If they’re a little off, no one but you will ever know.
I then did some extra reinforcing (did an extra seam around the outside of my stitching, and did a bit of extra machine tacking at the bottom of the pocket opening to make sure there weren’t rips developing in the future with wear.
So, then you can flip the skirt right side out and appreciate how nice your pocket is. There’s just one more thing:
When you put the waistband in, you’re going to need to take the top of the pocket bag (that little 3.5″ bit at the very top) and sew that into your waistband. As you sew your waistband, this will actually be pretty obvious that it needs to be done, because the waistband intersects with the pocket top. If this was a normal skirt, I’d say to do it now.
However, since this is lolita, you’re probably going to need to gather or pleat your skirt, and THEN sew the pocket top down. It’s just one more step: pull your gathers, get them to look pretty, and then run a line of basting to hold the pocket nice and neat along the top line. You don’t want to get the top of the pocket caught up in pleats or gathers, or you’ll have weird wrinkles in your pockets that hold lots of crumbs and feel gritty. Obviously this is the picture that I can’t get google docs to let me see, so if that’s confusing, bug me about it tomorrow and I’ll get that good picture up.
Here, you can see my pins holding the pocket top flat, and you might be able to see my line of basting that holds it in place. Once that basting is there, you can attach your waistband just like normal, and then you’ll have a pocket big enough to hold your smartphone and also some gum.
One last note: if you put really heavy things in your new pocket, make sure your petticoat can support the weight. There’s nothing that says that you can’t build a lolita skirt with pockets, but the laws of physics sometimes say what you can and can’t put in them without wrecking your poof.
Anyway, there we go, the MOST requested lolita tutorial I’ve ever gotten. My brain’s feeling a bit fuzzy and I’m sure I said something weird or that doesn’t make sense, but my askbox is open and I read every comment someone puts on a reblog, so feel free to tell me to clarify.
We have unlimited power. Over the side seam pockets.
There’s two steps: drafting the pattern and sewing the pattern. The pattern drafting is really quite easy:
I’m having trouble getting google drive to give me my pictures, so I traced over the foundation lines.
The first thing to make is the pocket template.
Draw a 10″ vertical line on your drafting paper.
Measure 1″ down from the top of the line, and draw a notch. This is notch #1.
Measure 6″ from the top of the paper, and mark it “x”
Measure 1″ down from X (7″ from top) and make a little mark to come back to later.
Measure 3″ down from that mark (4″ from x, 10″ from top) and you should be at the end of your line.
You have now drawn your vertical foundation line.
Draw a 3.5″ long horizontal line at the very top of the vertical line
Draw a 5″ long horizontal line that comes off the point you marked X.
Draw a 5″ long horizontal line that comes off the very bottom of the vertical line.
You should now have all the photoshopped in lines in my image, your foundation lines, on your paper.
You
sort of eyeball in the curved lines. Starting at the mark you made to
come back to later (7″ from the top of the line), draw in your pocket
bottom. It’s just a little swoop that eventually touches the bottom
foundation line. You also need to draw in the curve at the top of the
pocket, to connect it to the middle horizontal line.
The good
news is that if your foundation lines are right, you can go pretty nuts
with eyeballing in the curves and still be in the right place. If the
drafting was tough and you’re more a go with the flow kind of patterner,
just look at my pattern and guess how you’ll want yours.
Make sure that you can see your notches at 1″ and 6″ from the top. You’ll need them.
Now you have your pocket template, and you need to turn it into three pattern pieces.
The first pattern piece is for the pocket front, and it’s very easy. Take your template, trace it onto a new piece of paper, and add 1/2″ of seam allowance on all sides. Make sure you transfer your notches.
(Sorry for that +/- thing there. I’m having trouble with google drive and I’m way too lazy to try to troubleshoot it when I could just take sloppy screenshots)
For the pocket back, trace your template onto a new piece of paper. Measure a vertical line in 1″ from your vertical foundation line. Erase the part to the left of that line, leaving you with a sort of slimmed down version of your front pocket piece. Add seam allowance all the way around.
Now you’re going to do the same thing you did with the pocket front, but keeping the smaller part. This is the pocket back.
So, trace your pocket template again, draw a line in 1″ from the vertical line, and then erase everything that’s to the right of the line. Then, add seam allowance along all the sides except the notched one. I drew over it in green hilighter so that you can tell which one. This is the skirt side seam extension.
Pattern drafting is done.
So, what’s with the funky flap? Effectively, what we have right now is a pocket front that’s made of one piece of fabric, and the same shape for the back that’s made of two different pieces of fabric. You’re going to add the skirt side seam extension to your skirt, and then sew the pocket back to this. This is going to hide your pocket opening.
This is going to make your pocket much less visible. This is important, because you will likely be making your pocket out of a different fabric than your finished skirt. If you made your skirt out of something expensive, especially custom-printed, it’d be a massive waste of money to use that fabric inside the pocket, where no one can see it. If you’re using a looser-woven fabric, like I did for this skirt, you need to make your pocket in something much tighter, smoother, and less likely to form holes. Quilt cotton is great for this sort of thing because it’s tightly woven and smooth.
Take the pattern for the back of your skirt, and tape the pattern for the side seam extension at the top of the side seam.
If you’re like me, and don’t use a pattern for your skirt, pin the extension on the side seam and then trim the side seam down everywhere else (just cut around the extension piece). For 99% of lolita skirts where you don’t use a pattern, losing 1″ on each side seam isn’t going to affect the overall poof.
Side note, I did this on a pleated skirt and pleated the fabric first. In a normal situation, you would do this with the fabric flat, and gather the waistband after the pockets are assembled.
Cut your pockets out of your pocket material. Yes, I was a terrible person and did one on the lengthwise grain and one on the crosswise grain. It’ll be fine.
Make sure that your notches are visible on both pocket pieces.
Now, line the top of your pocket front up with the top of your skirt, and sew your pocket along the horizontal seam. (if your pocket has a RS or WS, sew the pocket to the skirt front with right sides together). If you’re feeling like getting a gold star, press, grade, and understitch the seam.
Line the top of your pocket back up with the top of your skirt extension, and sew the pocket back to the skirt seam extension. Gold star for pressing, grading the seam allowance, and understitching the seam.
So, with two gold stars in hand, put the front and backs of the skirts together, right sides together, with the pockets sticking out.
Remember your bottom notch at the 6″ mark? Stick a pin there. You’re now going to sew from that pin all the way to the bottom of the skirt.
This might feel wrong at first, because it feels like you’re sewing the bottom inch or so of your pocket all the way closed. This a normal feeling, and you’re experiencing it because I just told you to sew part of your pocket all the way shut. The opening for your hand has to be shorter that the total length of the pocket, or else you won’t be able to put stuff in it without it falling out.
This will be roughly where the thicker pink line is.
Once you’ve sewn your side seam (leaving the pocket open, obviously), then you’re going to want to sew the pocket bag together. This is the purple line in my photo up there.
You might notice that my pocket sewing is a lot shorter than the pocket fabric. I sewed my pocket back piece on incorrectly and had to shorten the pocket or else it’d make a hole. Pockets are cool like that. If they’re a little off, no one but you will ever know.
I then did some extra reinforcing (did an extra seam around the outside of my stitching, and did a bit of extra machine tacking at the bottom of the pocket opening to make sure there weren’t rips developing in the future with wear.
So, then you can flip the skirt right side out and appreciate how nice your pocket is. There’s just one more thing:
When you put the waistband in, you’re going to need to take the top of the pocket bag (that little 3.5″ bit at the very top) and sew that into your waistband. As you sew your waistband, this will actually be pretty obvious that it needs to be done, because the waistband intersects with the pocket top. If this was a normal skirt, I’d say to do it now.
However, since this is lolita, you’re probably going to need to gather or pleat your skirt, and THEN sew the pocket top down. It’s just one more step: pull your gathers, get them to look pretty, and then run a line of basting to hold the pocket nice and neat along the top line. You don’t want to get the top of the pocket caught up in pleats or gathers, or you’ll have weird wrinkles in your pockets that hold lots of crumbs and feel gritty. Obviously this is the picture that I can’t get google docs to let me see, so if that’s confusing, bug me about it tomorrow and I’ll get that good picture up.
Here, you can see my pins holding the pocket top flat, and you might be able to see my line of basting that holds it in place. Once that basting is there, you can attach your waistband just like normal, and then you’ll have a pocket big enough to hold your smartphone and also some gum.
One last note: if you put really heavy things in your new pocket, make sure your petticoat can support the weight. There’s nothing that says that you can’t build a lolita skirt with pockets, but the laws of physics sometimes say what you can and can’t put in them without wrecking your poof.
Anyway, there we go, the MOST requested lolita tutorial I’ve ever gotten. My brain’s feeling a bit fuzzy and I’m sure I said something weird or that doesn’t make sense, but my askbox is open and I read every comment someone puts on a reblog, so feel free to tell me to clarify.
Hi! Just found your blog today, *love* it! Could i ask for advice? I found a pixel art i'd love to cross-stitch (the op is cool with it), but absolutely idk how to make a pattern out of it. The grid, the symbols.. I can't do this by eyes alone, every color looks the same to me hsdgfhg. I'd appreciate any tips!
Pixel art is one of the easiest things to turn into a pattern because it’s basically already gridded out for you! Each pixel is a X on your cloth. I’d start by putting an actual grid over the art, making sure each pixel gets its own square.
Then it would be figuring out the colors. I’m not sure how to help if you say the colors are blending together? Usually I’d just pick out each color and give each a symbol or a number and basically reverse color by number the pattern. Could you share the art so I could see it and perhaps see what you’re working with?
Does anyone else reading have any tips for this asker? Please reply and let us know!
Something that i've done (might not work for you) is to put the pixel art into piskel (pixel art editor, other things will probably work but thats the one i know)
I then look at the palette, which shows me all of the colors currently in use. This will show you how many thread colors you'll need, though not which colors specifically (we'll get to that part)
If there are too many and you want to consolidate some colors (ie there are two very similar colors that you don't mind being the same in your final version) you can use the "paint all pixels of the same color" tool to do that. In this example I've selected the green color and replaced all the blue with it.
Do that until you're happy with the colors. You can also change the palette completely if you like this way. Now comes the color matching.
Threadcolors is the best source i've found, though unfortunately it can only search based on RGB values instead of hex codes, which is what piskel uses. So you'll have to go through hoops a little bit.
I usually screenshot from Piskel and put that into Paint 3D, which lets me look at the RGB values, but you can also use an online converter like rapidtables. Either way, get those RGBs and put them into threadcolors to find the closest thread match.
It'll give you a couple different options, as well as little color swatches to compare them by. Usually the first one is the best match, but use your judgement and personal preferences. Keep a list of the ones you decide on so you don't forget.
Once you have this list, I like to double check that I've still got a cohesive color palette. Make either a new layer, new frame, or a new file and copy your original art there. Use the same replacement tool as earlier to put your new colors in, using the hex codes they provide you in the far right column there.
(original on the top, two final version options below)
In my example here, the green is only a tiny bit paler, but the blue is pretty significantly darker here. In the second option, it appears pretty desaturated. I can't definitively say which is better, since they're colors I picked mostly at random and aren't in a full pattern, but again, it's up to your own personal preferences.
It's not terribly noticeable, but the white is slightly different as well. This is because I opted for WHITE rather than B5200, because that was a thread color I already have. B5200 is technically the best match to pure white, but I've never noticed a significant difference even in person. Again, personal preference.
Once you're happy with your color picks, you can assemble your materials and start stitching! If you like, you can turn the grid on in the settings to make it clearer where everything is.
hope this was helpful, feel free to ask more questions if i was unclear!
this is the post that started me off making my own clothes, i never actually used a pattern from this site bc i learned how to make my own too quickly but this is where the jump from wishing to doing happened
now im making money doing sewing commissions so lmfao i guess tumblr did do something for me after 10 fucking years
