Almighty Hat (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
hat_plays_dolls) wrote2023-04-01 06:14 pm
hat_plays_dolls) wrote2023-04-01 06:14 pm
Entry tags:
Custom Doll Clothes: Medieval Shirt for Cryptid's Skelfthyrnir
So, one of my oldest dearest friends (who goes by Cryptid on Den of Angels) went and got herself a 1:4 scale resin ball-jointed doll.
Now, I know the general sense of 'ball-jointed doll' is 'pretty, possibly vaguely-anime-influenced, young woman with a waiflike body and dewy face,' and they're not everyone's cup of tea-- they were never my cup of tea and I did give it a whirl back in the day, but what Cryptid got was a red deer skull head, with full antlers, on a lean-but-ripped vibrant purple male body with deer/goat/satyr legs.
He is Skelfthyrnir, the Lord of the Forest, and I thought he was so darned much fun that even though he wasn't due to arrive until January, I sent Cryptid a chest of tribute for Christmas-- stuff I thought she'd get more use out of than I would, for a doll like that, given that one of the things I've learned about myself as a doll collector is that, although I love historical and fantasy costuming for dolls, I rarely display the historical, fantasy, and historical-fantasy stuff I have.
... Or what I had. I've sold off a lot of stuff. Something about my collection of 1:4 dolls (currently all Tonner or Kish) just keeps saying 'these are modern, contemporary people' to me.
It was a lot easier when my 1:12 dollhouse doll supplier was still around-- she just disappeared, I couldn't even find an obituary-- and I could make whatever I wanted because I could just turn right around and sell it at a miniatures show. When it only takes a few hours to run up a whole outfit, it's a lot easier to turn a profit than it is on something that takes a whole day for one garment, even if being able to use full-scale sewing techniques and miniature sewing hacks makes 1:4 sewing a lot of fun.
So I haven't done a lot of historical or fantastical sewing for dolls in a while, despite watching a lot of historical costumers on YouTube on the regular.
Then Cryptid went and got Skelfthyrnir, and because once you pop you can't stop, she ordered another fantastical BJD, this one a dragon-girl who might not be as comfortable running around naked (or in a loincloth made of kid leather that was in Skelfthyrnir's tribute trunk), and I had this really weird moment where I went:
"... I primarily identify myself as a miniaturist. I named my business not only for my tendency to fall in and out of projects and hobbies, but because I was at the time the only person I knew of who sewed removable clothes for 1:12 scale dolls. And this person, who is near and dear to my heart, who I have known for 19 or 20 years at this point, does not have a single example of my sewing."
This could not be allowed to stand.
So even though I got started on her stuff first, I don't want to jump into what I did for the dragon girl, who won't even be in the US until the end of April, and I don't want to post her stuff until she's here to model it, but Skelf!
Skelf I can talk about.
Skelfthyrnir, the Lord of the Forest, has a shirt.
And yeah, all my nice photo-backdrop pics turned out a little... bleachy. There are in-progress shots that are better, don't worry, they're just also full of whatever weird crap was behind me while I was sending updates to my friend. Also Cryptid took some pics and they're just fabulous, but I'm saving Skelf himself for last.
So, the reason I started with a shirt like this is because:
a) I live in California and Skelf lives in Texas, so all I had to work with were measurements. A basic, simple, early-Medieval shirt would work nicely as a mockup, especially made out of a nice basic white cotton.
b) Should I decide to make anything fancier or more colorful, the shirt can effectively be used as a lining, to prevent clothing dyes from staining the Lord of the Forest.
So I rummaged around the internet, because I knew, somewhere in all my Medieval costuming research I'd done for Sims 2 (and I have done a lot of it!), there were resources on not just how Medieval clothes looked and functioned, but how to make them.
Cynthia Virtue's Tunic Worksheet to the rescue!
Is this designed for shirts, not exactly. It's not not designed for shirts. Generally a shirt wouldn't have gores (I only added two and they're a concession to not wanting to leave slits for ease of leg movement, because stain barrier) and wouldn't necessarily have been as long as Skelf's shirt, but the basic idea is the same.
I only ran into a couple of wrinkles using this method for a doll instead of a human, and they were both sleeve-related-- first, the initial sleeve measurement felt very short, so I double-checked how long Skelfthyrnir's arms were, and second, the first time I made the sleeves I... did not leave enough ease.
Whoops.
This is my earliest photo of the shirt; the first thing I did was hem the ill-fated skinny sleeves, and the second thing was attach the collar facing. I did this using a trick I spotted in a Morgan Donner video-- she stitched the facing inside the collar opening before cutting the opening in the facing itself, which sounds more complicated than it actually turned out to be. I didn't even cut the slit before I had that teensy seam allowance down.
Hemming the facing was another story. Egad, not fun at all, very fiddly, did not enjoy.
On the other hand, I do feel like my stitches here are amazing? In dollhouse scale, I tended to glue hems and facings, while in previous 1:4 projects, everything's been lined (because staining), but with the facing I had to do the teeniest little felling stitches just to get that thing looking nice from the outside, with but a single thread and I think a size 9 or 10 needle (not one of my good size 12 sewing needles, I hadn't found those when I started this project, but still a good small quilter's sharp).
Not bad for my first time actually doing a proper felling stitch! It's so fast, I'm going to use this on everything where I can turn the hem up twice.
And I think it turned out rather well!
The slit is rather short proportionately-- Skelf's head comes off for dressing him, because his head is an Immortality of Soul Artis, but the tutorial does say that the collar measurement plus the slit measurement has to at least equal the wearer's head measurement, nose and ears included.
The facing from the inside, before being pressed. I am not totally pleased with how curved the bits in the front are, but for my first time sewing something like this, I'm not going to beat myself up over one weird wobble that won't be visible under a tunic.
Back of the shirt!
My pics are all on a standard-bust Tonner Doll Company Tyler Wentworth, because while her shoulders aren't broad enough (Skelf's torso and arms are Resinsoul's Sui), nor are her arms long enough, her bust measurement is pretty close to Skelf's chest measurement.
I set the sleeves in just flat-- I did depart from period (or at least Proper Tailoring) construction here in favor of doll-friendly construction (also these are the first, skinny sleeves) in that I skipped the square gusset and went with something more like Morgan Donner's 'cut off the taper to the cuff and stitch it to the bicep side backwards for a properly tapered sleeve' trick... only I did that on my pattern.
Piecing is period, but in doll clothes, we skip unnecessary bulk. Sometimes that means not piecing when piecing is accurate but doesn't add to the finish of the garment, sometimes that means gluing a hem because Aleene's tacky glue is basically invisible but I can't make hem stitches invisible in 1:12 scale.
Ahem.
Then I stitched on the side gores.
And a shirt wouldn't really have side gores like this-- side slits, sure, but a shirt is under your tunic and can be shorter or ride up a bit without causing any problems.
But this is to double as a protective piece, and Skelf isn't wearing hose (his lower body is a Resinsoul Ming so the Lord of the Forest needs no pants, hose, or shoes), so, longer and fuller it was!
... And Cryptid picked the hem length, so I was following her directions there.
On a proper wool or silk tunic on a human being, the gores would serve a number of purposes:
First, ease of movement-- your shirt rides up more than your longer tunic, so climbing over an obstacle or running after a sheep or riding a horse is easier in a tunic that has some fullness in the skirt area.
Second, early in the Medieval period (and you can see from Cynthia Virtue's page that this design was used for hundreds of years), this was a suitable pattern for peasant and noble alike, so how could a nobleman show how wealthy he was?
By using better fabric-- higher-quality, fancier weaves, brighter dyes-- and more of it than anybody poorer than he was could afford to "waste". This pattern can use two to four gores, the hem can be extended to make a robe, and the gores can be a LOT wider than I've made them here... and you can technically cut more of them, if you're careful about how you lay them out and stitch them together (seam bias to grain, not bias to bias).
The layout of a garment like this for cutting is meant to be deeply economical in its use of fabric. There's very little wasted space, especially on a tunic where you can bind the neck instead of face it, so there's very little scrap fabric left over. I used curved hems on my gores to make my life easier when hemming, but in reality you'd trim those up on the person you were sewing for-- on the fabric, it's all straight cuts you can make right next to each other. There only weird wiggly bits you might get are from cutting out the facing, and the collar could have been bound, or the body of the tunic flat-lined in linen, instead of bothering with a facing. If your hem is short enough and your cuts thrifty enough, you might well have enough fabric left over to make a hood, or a smaller tunic for a child.
So when you use a lot of fabric in a garment like this, it's a billboard advertising your prosperity.
The next step in construction was, starting at the wrist, I seamed up one side and down the other.
This is not technically how you're supposed to do it-- you're supposed to set in the sleeves afterward, that's Proper Technique, but this is a million times easier for doll work. And instead of my usual buttonhole stitch, I backstitched this whole thing-- so when I did need to clip my too-skinny sleeves out, the side seam didn't instantly unravel like it would've with a running stitch, and was easy to press open instead of having to press it to one side.
Press your seams as you go!
It really does make a world of difference.
(Please ignore my ragged sweatshirt sleeve, I've had that sweatshirt for twenty years and I'll wear it to pieces eventually. It's just for around-the-house and we've had some cold-for-us weather this past winter. I am not Morgan Donner or Bernadette Banner; I do not sew aesthetically.)
Now, I will grant you, my seam allowances frayed a little... but I realized towards the end of this project that I needed to wash my sleeve board cover, and the foam under it, and anything I'd pressed on there, so this picture was taken after some moderately-vigorous hand-washing and another pressing.
The sleeves are far too long on Tyler, but on Skelf, I could still have added another centimeter or two.
Yes, hemming a curve left wobbles, but it also meant everything was the same length when I started hemming.
The finished product, including widened sleeves! (You can see the old short sleeves on the table behind my hand.)
I really should've used a darker background for these, but--
Front...
... And back.
And now that this shirt has been sent off to Texas, tried on, and photographed, I got to see what tweaks needed to be made (slightly longer sleeves), hear what was a hassle (taking Skelf's hands off for dressing is a necessary evil best fixed by making dressing-hands, which is not on my end; taking his head off is easier but still less fun), and what worked really well (everything else, to my absolute delight).
That means I could now a) send a copy of this pattern, with an extended sleeve option, to my friend so she can experiment with making historical and/or fantasy clothing, and b) use it myself to make proper tunics.
Which was the next thing I did.
But now it's time to see some actually good pictures-- mine are very workmanlike, but Cryptid bought a backdrop, and has a decent yard.
This is not a shot of the shirt, exactly. I mean, he's in it, but this? This is Skelfthyrnir. He's spectacular. Cryptid has done all the painting herself, using the high-quality acrylic paints meant for gaming miniatures; apparently they're the best acrylic paints for plastics.
In this shot, as in the last one, you can see how Skelf's chest sorta glows through around the shirt placket, which... is just how white cotton do.
You can also just see the dropped shoulder typical of the armscye on this style of tunic-- the head of the sleeve is a straight line, not a curve, and the armscye on the body of the tunic is just a slit, so the seam sits off-the-shoulder rather than right on it.
Skelfthyrnir has one eye.
I know why and Cryptid knows why but I would give so many cookies to anyone else who can figure out why.
... Especially since the pair of us only know why he has one eye on a meta level.
In the great outdoors! Or at least an early-spring backyard in Texas. His cloak is a chunk of green stretch velve with great scale that I got... uh, years and years ago when the Richmond JoAnn Fabrics... either closed or moved, I want to say 'moved' but I can't remember where to. Anyway it had sat in my stash for too long, and I put together that tribute box, and purple and green look so nice together.
The penannular brooch is by Losthelm on Etsy, and would be tiny on a human but on Skelfthyrnir, it's very dramatic.
I did send that velvet knowing that its true soft color did not photograph well. Well, his lordship seems to like it, anyway!
I do feel like the fur adds something to the shirt by itself. The plain white is serviceable, but just serviceable. But it does protect the resin and the paint job, and that is pretty much what it's for, in the long run.
For our final shot of Skelfthyrnir, Lord of the Forest, Cryptid takes us back outside for a shot that I am informed was supposed to look thoughtful, but ended up looking like an itchy nose.
Also, aren't his hands just gorgeous? I don't really do resin dolls myself, but I gotta admit, a lot of aspects of ResinSoul's sculpting really knock it out of the park.
Not the same way Immortality of Soul's sculpting does, because, you know. Deer skull. But Cryptid is delighted with him and I've been having a lot of fun sewing for him, and really, no matter what they're made of or how you do it, the point of having toys is playing with them, and I'm glad that a good chat client, camera phones, and the good old USPS mean that Cryptid and I can play together despite being states apart.
Like what I do and want to help me feed my cats, but don't need anything I have for sale on eBay? You can always support me on Patreon or throw some change in my tip jar.
Now, I know the general sense of 'ball-jointed doll' is 'pretty, possibly vaguely-anime-influenced, young woman with a waiflike body and dewy face,' and they're not everyone's cup of tea-- they were never my cup of tea and I did give it a whirl back in the day, but what Cryptid got was a red deer skull head, with full antlers, on a lean-but-ripped vibrant purple male body with deer/goat/satyr legs.
He is Skelfthyrnir, the Lord of the Forest, and I thought he was so darned much fun that even though he wasn't due to arrive until January, I sent Cryptid a chest of tribute for Christmas-- stuff I thought she'd get more use out of than I would, for a doll like that, given that one of the things I've learned about myself as a doll collector is that, although I love historical and fantasy costuming for dolls, I rarely display the historical, fantasy, and historical-fantasy stuff I have.
... Or what I had. I've sold off a lot of stuff. Something about my collection of 1:4 dolls (currently all Tonner or Kish) just keeps saying 'these are modern, contemporary people' to me.
It was a lot easier when my 1:12 dollhouse doll supplier was still around-- she just disappeared, I couldn't even find an obituary-- and I could make whatever I wanted because I could just turn right around and sell it at a miniatures show. When it only takes a few hours to run up a whole outfit, it's a lot easier to turn a profit than it is on something that takes a whole day for one garment, even if being able to use full-scale sewing techniques and miniature sewing hacks makes 1:4 sewing a lot of fun.
So I haven't done a lot of historical or fantastical sewing for dolls in a while, despite watching a lot of historical costumers on YouTube on the regular.
Then Cryptid went and got Skelfthyrnir, and because once you pop you can't stop, she ordered another fantastical BJD, this one a dragon-girl who might not be as comfortable running around naked (or in a loincloth made of kid leather that was in Skelfthyrnir's tribute trunk), and I had this really weird moment where I went:
"... I primarily identify myself as a miniaturist. I named my business not only for my tendency to fall in and out of projects and hobbies, but because I was at the time the only person I knew of who sewed removable clothes for 1:12 scale dolls. And this person, who is near and dear to my heart, who I have known for 19 or 20 years at this point, does not have a single example of my sewing."
This could not be allowed to stand.
So even though I got started on her stuff first, I don't want to jump into what I did for the dragon girl, who won't even be in the US until the end of April, and I don't want to post her stuff until she's here to model it, but Skelf!
Skelf I can talk about.
Skelfthyrnir, the Lord of the Forest, has a shirt.
And yeah, all my nice photo-backdrop pics turned out a little... bleachy. There are in-progress shots that are better, don't worry, they're just also full of whatever weird crap was behind me while I was sending updates to my friend. Also Cryptid took some pics and they're just fabulous, but I'm saving Skelf himself for last.
So, the reason I started with a shirt like this is because:
a) I live in California and Skelf lives in Texas, so all I had to work with were measurements. A basic, simple, early-Medieval shirt would work nicely as a mockup, especially made out of a nice basic white cotton.
b) Should I decide to make anything fancier or more colorful, the shirt can effectively be used as a lining, to prevent clothing dyes from staining the Lord of the Forest.
So I rummaged around the internet, because I knew, somewhere in all my Medieval costuming research I'd done for Sims 2 (and I have done a lot of it!), there were resources on not just how Medieval clothes looked and functioned, but how to make them.
Cynthia Virtue's Tunic Worksheet to the rescue!
Is this designed for shirts, not exactly. It's not not designed for shirts. Generally a shirt wouldn't have gores (I only added two and they're a concession to not wanting to leave slits for ease of leg movement, because stain barrier) and wouldn't necessarily have been as long as Skelf's shirt, but the basic idea is the same.
I only ran into a couple of wrinkles using this method for a doll instead of a human, and they were both sleeve-related-- first, the initial sleeve measurement felt very short, so I double-checked how long Skelfthyrnir's arms were, and second, the first time I made the sleeves I... did not leave enough ease.
Whoops.
This is my earliest photo of the shirt; the first thing I did was hem the ill-fated skinny sleeves, and the second thing was attach the collar facing. I did this using a trick I spotted in a Morgan Donner video-- she stitched the facing inside the collar opening before cutting the opening in the facing itself, which sounds more complicated than it actually turned out to be. I didn't even cut the slit before I had that teensy seam allowance down.
Hemming the facing was another story. Egad, not fun at all, very fiddly, did not enjoy.
On the other hand, I do feel like my stitches here are amazing? In dollhouse scale, I tended to glue hems and facings, while in previous 1:4 projects, everything's been lined (because staining), but with the facing I had to do the teeniest little felling stitches just to get that thing looking nice from the outside, with but a single thread and I think a size 9 or 10 needle (not one of my good size 12 sewing needles, I hadn't found those when I started this project, but still a good small quilter's sharp).
Not bad for my first time actually doing a proper felling stitch! It's so fast, I'm going to use this on everything where I can turn the hem up twice.
And I think it turned out rather well!
The slit is rather short proportionately-- Skelf's head comes off for dressing him, because his head is an Immortality of Soul Artis, but the tutorial does say that the collar measurement plus the slit measurement has to at least equal the wearer's head measurement, nose and ears included.
The facing from the inside, before being pressed. I am not totally pleased with how curved the bits in the front are, but for my first time sewing something like this, I'm not going to beat myself up over one weird wobble that won't be visible under a tunic.
Back of the shirt!
My pics are all on a standard-bust Tonner Doll Company Tyler Wentworth, because while her shoulders aren't broad enough (Skelf's torso and arms are Resinsoul's Sui), nor are her arms long enough, her bust measurement is pretty close to Skelf's chest measurement.
I set the sleeves in just flat-- I did depart from period (or at least Proper Tailoring) construction here in favor of doll-friendly construction (also these are the first, skinny sleeves) in that I skipped the square gusset and went with something more like Morgan Donner's 'cut off the taper to the cuff and stitch it to the bicep side backwards for a properly tapered sleeve' trick... only I did that on my pattern.
Piecing is period, but in doll clothes, we skip unnecessary bulk. Sometimes that means not piecing when piecing is accurate but doesn't add to the finish of the garment, sometimes that means gluing a hem because Aleene's tacky glue is basically invisible but I can't make hem stitches invisible in 1:12 scale.
Ahem.
Then I stitched on the side gores.
And a shirt wouldn't really have side gores like this-- side slits, sure, but a shirt is under your tunic and can be shorter or ride up a bit without causing any problems.
But this is to double as a protective piece, and Skelf isn't wearing hose (his lower body is a Resinsoul Ming so the Lord of the Forest needs no pants, hose, or shoes), so, longer and fuller it was!
... And Cryptid picked the hem length, so I was following her directions there.
On a proper wool or silk tunic on a human being, the gores would serve a number of purposes:
First, ease of movement-- your shirt rides up more than your longer tunic, so climbing over an obstacle or running after a sheep or riding a horse is easier in a tunic that has some fullness in the skirt area.
Second, early in the Medieval period (and you can see from Cynthia Virtue's page that this design was used for hundreds of years), this was a suitable pattern for peasant and noble alike, so how could a nobleman show how wealthy he was?
By using better fabric-- higher-quality, fancier weaves, brighter dyes-- and more of it than anybody poorer than he was could afford to "waste". This pattern can use two to four gores, the hem can be extended to make a robe, and the gores can be a LOT wider than I've made them here... and you can technically cut more of them, if you're careful about how you lay them out and stitch them together (seam bias to grain, not bias to bias).
The layout of a garment like this for cutting is meant to be deeply economical in its use of fabric. There's very little wasted space, especially on a tunic where you can bind the neck instead of face it, so there's very little scrap fabric left over. I used curved hems on my gores to make my life easier when hemming, but in reality you'd trim those up on the person you were sewing for-- on the fabric, it's all straight cuts you can make right next to each other. There only weird wiggly bits you might get are from cutting out the facing, and the collar could have been bound, or the body of the tunic flat-lined in linen, instead of bothering with a facing. If your hem is short enough and your cuts thrifty enough, you might well have enough fabric left over to make a hood, or a smaller tunic for a child.
So when you use a lot of fabric in a garment like this, it's a billboard advertising your prosperity.
The next step in construction was, starting at the wrist, I seamed up one side and down the other.
This is not technically how you're supposed to do it-- you're supposed to set in the sleeves afterward, that's Proper Technique, but this is a million times easier for doll work. And instead of my usual buttonhole stitch, I backstitched this whole thing-- so when I did need to clip my too-skinny sleeves out, the side seam didn't instantly unravel like it would've with a running stitch, and was easy to press open instead of having to press it to one side.
Press your seams as you go!
It really does make a world of difference.
(Please ignore my ragged sweatshirt sleeve, I've had that sweatshirt for twenty years and I'll wear it to pieces eventually. It's just for around-the-house and we've had some cold-for-us weather this past winter. I am not Morgan Donner or Bernadette Banner; I do not sew aesthetically.)
Now, I will grant you, my seam allowances frayed a little... but I realized towards the end of this project that I needed to wash my sleeve board cover, and the foam under it, and anything I'd pressed on there, so this picture was taken after some moderately-vigorous hand-washing and another pressing.
The sleeves are far too long on Tyler, but on Skelf, I could still have added another centimeter or two.
Yes, hemming a curve left wobbles, but it also meant everything was the same length when I started hemming.
The finished product, including widened sleeves! (You can see the old short sleeves on the table behind my hand.)
I really should've used a darker background for these, but--
Front...
... And back.
And now that this shirt has been sent off to Texas, tried on, and photographed, I got to see what tweaks needed to be made (slightly longer sleeves), hear what was a hassle (taking Skelf's hands off for dressing is a necessary evil best fixed by making dressing-hands, which is not on my end; taking his head off is easier but still less fun), and what worked really well (everything else, to my absolute delight).
That means I could now a) send a copy of this pattern, with an extended sleeve option, to my friend so she can experiment with making historical and/or fantasy clothing, and b) use it myself to make proper tunics.
Which was the next thing I did.
But now it's time to see some actually good pictures-- mine are very workmanlike, but Cryptid bought a backdrop, and has a decent yard.
This is not a shot of the shirt, exactly. I mean, he's in it, but this? This is Skelfthyrnir. He's spectacular. Cryptid has done all the painting herself, using the high-quality acrylic paints meant for gaming miniatures; apparently they're the best acrylic paints for plastics.
In this shot, as in the last one, you can see how Skelf's chest sorta glows through around the shirt placket, which... is just how white cotton do.
You can also just see the dropped shoulder typical of the armscye on this style of tunic-- the head of the sleeve is a straight line, not a curve, and the armscye on the body of the tunic is just a slit, so the seam sits off-the-shoulder rather than right on it.
Skelfthyrnir has one eye.
I know why and Cryptid knows why but I would give so many cookies to anyone else who can figure out why.
... Especially since the pair of us only know why he has one eye on a meta level.
In the great outdoors! Or at least an early-spring backyard in Texas. His cloak is a chunk of green stretch velve with great scale that I got... uh, years and years ago when the Richmond JoAnn Fabrics... either closed or moved, I want to say 'moved' but I can't remember where to. Anyway it had sat in my stash for too long, and I put together that tribute box, and purple and green look so nice together.
The penannular brooch is by Losthelm on Etsy, and would be tiny on a human but on Skelfthyrnir, it's very dramatic.
I did send that velvet knowing that its true soft color did not photograph well. Well, his lordship seems to like it, anyway!
I do feel like the fur adds something to the shirt by itself. The plain white is serviceable, but just serviceable. But it does protect the resin and the paint job, and that is pretty much what it's for, in the long run.
For our final shot of Skelfthyrnir, Lord of the Forest, Cryptid takes us back outside for a shot that I am informed was supposed to look thoughtful, but ended up looking like an itchy nose.
Also, aren't his hands just gorgeous? I don't really do resin dolls myself, but I gotta admit, a lot of aspects of ResinSoul's sculpting really knock it out of the park.
Not the same way Immortality of Soul's sculpting does, because, you know. Deer skull. But Cryptid is delighted with him and I've been having a lot of fun sewing for him, and really, no matter what they're made of or how you do it, the point of having toys is playing with them, and I'm glad that a good chat client, camera phones, and the good old USPS mean that Cryptid and I can play together despite being states apart.
Like what I do and want to help me feed my cats, but don't need anything I have for sale on eBay? You can always support me on Patreon or throw some change in my tip jar.