Canterbury Faire

Canterbury Faire was absolutely wonderful. I didn’t really know what to expect, but it turned out to be the most enjoyable event I’ve been to in ages. It was just what I needed. A good boost of “this is what the SCA is really all about”.

I have photos from our trip up on Flickr here, but we forgot to take photos for the most part so the collection is somewhat biased towards hedgehogs and yurts.

So what was cool about Canterbury Faire? On the A&S front, SHOES! I know I have a thing about period shoes, but there were a) lots of period shoes at CF and b) people who like making period shoes. I got to meet two fellow shoe aficionados in William de Wyke and Master Llewelyn ap Daffyd and happily set my brain to “sponge” to absorb as much info about shoe construction as possible. I’ve come to shoe construction from the costuming angle so I hadn’t really grasped the intricacies of how leather behaves and some of the stitching techniques and materials I’d seen in diagrams made not much sense to me.

I now have all kinds of info about how the tanning method affects the stretchiness of leather, what sort of the thread to use, how to make that thread using linen and a ball of gunk, why beeswax is your friend for watertight seams, how the whole boars bristle/fishing line thing works for tunnel stitching, how to awl holes for tunnel stitching, why mirror polished awls are your friend.

I had my new calcei pieces with me, with the intent of stitching them up at CF. I got one done, but the toe area just wouldn’t turn out, despite wetting the leather. William and I spent some time pondering what we could do. Turns out the leather I’d used was chrome tanned, hence the lack of stretchiness when wet. We looked at the stitching. William suggested that the seam might work better with a different stitching method, which I thought sounded interesting so next thing you know the scissors are out and the seam is being cut open. Master Llewelyn walked past at that point and advised that while there is the myth of “Mistress Laurel Seam-Checker” that one did not in fact have to open up other people’s seams and re-sew them in order to be considered as a future candidate. All in good fun. I think the new seam possibly works better. I need to find some more information about how the roman calcei were done up. I’ve always done a criss-cross lacing out of habit rather than any evidence that this was how it was done.

I’m going to the UK in July to visit Dr Krys in York and will also take the opportunity to go up to Vindolanda and look at their shoe finds. The photos are nice, but I really want to get up close and look at how the seams are done.

A number of us “shoe-folk” ended up talking about forming a Guild of Cordwainers and Cobblers to promote period footwear. Until Canterbury Faire I didn’t know the difference between a Cordwainer and a Cobbler. Now I do. Cordwainers made shoes from new leather. Cobblers were only allowed to repair shoes using leather from old shoes (hence the phrasing “cobbling” something together). I'm looking forward to the new Guild.

So on the "to-do" list of shoemaking for me is:
- figuring out how to make lasts (wooden models which allow you to stretch and fit a shoe around), which is something I’ll be enlisting the aid of Mr B for in the future. Once you've got a last, making shoes becomes a whole lot easier and you can swap lasts with other people and make shoes for each other.
- Making my own waxed linen thread using dry spun linen and a ball of gunk (which I'm hoping Miss D managed to smuggle back into Australia). I need to get the recipe to make my own ball of gunk.
- Learning to attached the thread to a bit of fishing line so I can do tunnel stitching.
- Do some non-Roman shoes, like the 16th Century Hollandish ones I did the pattern for but haven't put together yet.

Buttons!

The watchcoat that I started last year is finally finished. It was mostly done for last Festival, but didn't have any front fastening so I was just wearing it with a belt. It was still tremendously warm and useful for throwing over tights and shirt early in the morning.

I've been doing the buttonholes slowly throughout last year. I'd been avoiding making the buttons until I found a source of small wooden discs the size I wanted. Turns out that making covered buttons is not as tricksy as it seems and has provided me with something to do while home with the flu for most of this week. The end result is, I now have a watchcoat complete with buttons and buttonholes.

The buttons are made from wooden discs (about the size of a 10 cent coin) covered in the same fabric as the coat. Because the fabric is wool and rather thick the shank of the buttons is fairly wide, but it doesn't seem to affect how the buttons do up or sit when done up.

The button holes were hand done (in button hole stitch of course) using a matching wool thread.

Only remaining thing to do is decide if I want to put a stay tape in at the back or just let it be belted in.

I plan to make another watch coat in the future, but probably not before Festival. I have promised to help my fabulous stunt double make one before Festival so she does not freeze.

We're off to Woodstock: When banners go wrong

After attempting to deal with the dye bleed (spot clean, re-gutta, re-dye) I then got dye bleeds in different places so decided to just live with it.

The Final Frontier for the banner project was steam fixing the dye. I'd bought steam fix dyes on the advice that they produce the nicest colours without loosing the suppleness of the silk. The instructions were to roll the silk up in brown paper, then coil and place in a steamer (standard vegie steamer in my case, which I was assured works fine). The big warning was "Don't let the silk get wet or it will end in tears".

So after a long quest for brown paper (harder than you might think - I eventually found some rolls at a Newsagent for "covering school books"), I was ready. I rolled my silk up in the brown paper (I had skinny rolls so had to use three long strips that overlapped), coiled it up in the steamer and put it on to steam.

At this point it would really have been a good idea to:
a) read the instructions on the bottle of dye a bit more carefully
b) not attempt to do A&S projects while having the flu (impairs judgement no end and my brain had gone slightly squishy after running around town looking for brown paper, but at times like this you never remember that perhaps you should not be doing anything that needs good mental acuity)

So the instructions on the bottle were "after painting onto silk, let dry for 6 hours then steam for 1-3 hours". I mis-read and steamed for 6 hours.

Remember the warning about don't let the silk get wet while steaming? I'd been very careful about making sure the steamer basket didn't touch the water in the base, but 6 hours in a steamer produces a lot of condensation and the rolled up brown paper silk parcel was a tight fit.

So, it got wet and the end result was a banner that would be perfect if we we're off to a Woodstock re-creation society, but not quite the look I was going for.

The reason why the dye must not get wet during the steaming is that steam fix dye, once fixed, is fixed rather permanently. The instructions said to wash in cold water to rinse out excess dye, which I did. I then gave it a soak in "run away" to see if that would possibly remove the dye and leave the gutta. That dye is pretty firmly set. The photo above is after all the soaking.

It did not end in tears, however. Mr B had done a little banner down the narrow end of the banner in the spare silk and that end didn't get as wet so it only had a few little splotches. It looks nice and the colours came out really nicely.
So we'll chalk this one up to experience and go back to the drawing board and start again and get a larger steamer this time and read the instructions properly.

Silk banner project

I've loved the look of the various painted silk banners around Lochac, particularly the heraldic standards. They look very elegant fluttering in the breeze at tournaments. Silk painting is uncharted territory for me, but armed with good advice from those who have done these before, I've given it a go (after much procrastination and "project starting" avoidance)

Phase 1: Designing the standard

This was simple until I realised that the standard was going to be about 0.6m x 2.5m. The phrase "now just trace your design onto the silk" became a bit more of a challenge. Fortunately Mr B has access to printers at work that will print A0 sized paper (bloody huge). He printed the basic template so I could fill in the design, which he ended up doing most of the drawing on as my powers of geometry had failed me. The design is simple in that it only has my device elements as I don't have a badge or any other affiliations. The motto was also a bit tricky and involved a web search for latin translations. I went with "Semper Eruditio", which translates as "Always Learning". I figured it would be apt for the first banner attempt.

Here is the completed design on paper.

Phase 2: Transferring the design to the silk

The silk I've got is 8 mompe twill. Still quite light, but with a bit more of a sheen than the regular stuff. Good thing is you can definitely see through it for transferring designs. Mr B and I discussed how to do this and ended up with taping the paper design to the lounge room floor and then taping the silk over the top, using the tape to tension it out. The other option was stretch the silk out on the frame first then drop it onto the pattern, which due to the style of frame was not going to work unless we hacksawed bits off the frame. The taping on the floor method worked fine. I used a 2B pencil after discovering the patterning pen bled a bit too much.

Silk taped over the paper design.

Phase 3: Stretching the silk on the frame

This was the bit I was most nervous about and it turned out to be the most straight forward. The frame is made from Dexian angle (stuff used for shelving), kindly donated by my Dad. The stretching is done with oodles of rubber bands and safety pins. Once the corners were done, the rest were simple.

Silk stretched on frame.

Phase 4: Painting the gutta resist

This was bloody tricky. I don't have either a steady hand or great eye for detail so that probably didn't help. I had bought a tube of gutta and neglected to realise that you're mean to get a metal nib to attached to the end for fine lines. I figured I'd be right as I wanted fairly thick lines. Trying to draw a straight line while leaning out over stretched silk which does a mini trampoline affect under the bottle was an interesting experience. All I can say is that from 10 yards away the lines don't look as wobbly. Just don't look up close. I also got really sore from kneeling over the design. We decided half way through to bring the frame inside as it started to spit with rain and the back veranda isn't that waterproof.

Gutta mostly done (except for the motto).

This shows where I had a bit of a wobble too far with the gutta on one of the stars and needed to do some frantic blotting.

Phase 5: Painting the dye

I'd decided to go with steam set dyes on the advice of Hunydd as they come out nice and bright and don't make the fabric go stiff. I also received sound advice on just dotting the dye on and letting it spread up to the edges. Good advice. This stuff really does spread over a wide area quickly. Most of it went well, except for the middle purple segment where the dye made it past the resist.

Dye painting in progress. Found lying down much easier to keep a steady hand.

Dye completed.

Dye bleed on middle segment. Not sure what to do about this. The blotting with water just seemed to make it worse and I was using the cotton pads on each side method. Any suggestions on fixing this are welcome.

So that's the progress to date. Phase 6 will be getting it off the frame and attaching the silk fringe and the pole casing for the hoist. Then I'll start on one for Mr B.

Blayney's Shade Pavilion

When Blayney came back from his last trip to the USA, he was impressed with the simple and effective "BC" shade tents that are common in over there at SCA events. We'd also been having a few discussions about having some more period looking shade at tournaments and wanted something large enough to accommodate us and a few friends. Thus was born a cunning plan to make a "BC" tent. The BC apparently stands for "Battle Cruiser" and is one of those things that made it into the SCA lexicon in the states ages ago and has stuck.

Dragonwing (USA company) make and sell heaps of these things amongst other pavilions and also are kind enough to have patterns and instructions up on their website.

Originally the plan was to have the pavilion ready for 12th Night so we could enjoy the funky new event format in style. Mr B managed to get it finished in just under 3 weeks, however we had an unexpected hitch when the 12th Night stewards announced that the site was limited in the amount of pegged pavilions that could be erected and they had already reached that limit. So it looks like the new shade pav will stay home.

Still, it looked impressive enough in our backyard so I'm putting up a few home happy snaps of the pavilion here to share. I must admit up front that I had nothing to do with the design or construction of the pav. Blayney did nearly all of the work, with Bleddyn doing some work on the poles.

The pavilion is made from cotton twill. It isn't waterproofed. Ideally we were after a poly/cotton blend, but this was what we could lay our hands on in a relatively short time frame for reasonable cost. Blayney made the poles, ropes and pegs as well. The poles are octagonal timber and slot together (3 pieces for the centre poles, 2 pieces for the side poles). It is about 20' x 15'. We'd wanted to make a 30' one, but couldn't get enough fabric in the colours we wanted. We're also going to make some floor coverings and other bits and pieces to make it comfy.

On the whole, I think it turned out great and I look forward to getting to use it at an event at some point.

Blackwork cuffs: One down, one to go

Sometime earlier this year, possibly around May/June, I decided to have a go at blackwork as a diversional A&S project*

I've never really gone in for embroidery as all that fine attention to detail is usually beyond my attention span. I decided to have a go at blackwork because it looked interesting, particularly the whole reversible concept. A long time ago I'd printed off some blackwork patterns so I had a flick through and found a strawberry motif. Knowing that Miss D was about to become a venerable Duchess and there would be cause from strawberries, I decided to give that one a go. If I turned out not to be completely inept, it would become a pair of blackwork cuffs to go with that Elizabethan frock Miss D keeps swearing she's going to make, any reign now.

As it turned out, blackwork is one of the easiest things out there to pick up. Even the reversible thing is simple once you read the explanatory notes and diagrams. The motif I'd chosen isn't complete reversible as I decided to make the strawberries red and the seeds on the strawberries are not connected to the rest of the pattern (the reversible thing relying on an unbroken line).

Though after about 6 months of doing blackwork on and off (while watching tv, at events etc..) I finally have one cuffs worth completed. The completed length is about 53cm and is worked with black and red silk thread on white linen (which was an off-cut from a smock). The pattern was from the Blackwork Embroidery Archives website and was designed by Paula Kate Marmor based on period style (i.e. this is not a period pattern, just periodesque). The pattern is shown below.

Now on the pictures:

Full length of blackwork with measuring tape.


Close up shot of the front side.


And a close up of the reverse side. As you can see, not quite reversible. Still need a bit of practice at getting the ends of the threads nice and neat.


So that's one cuff finished. Now to start on the second one.I'm aiming to have the next one completed by July. Then Miss D gets the fun task of making the frock to go with the cuffs.


*Diversional A&S Projects: The projects you start because you're sick of your current projects. In this case I was sick of doing button holes on my watchcoat and certainly didn't want to face starting to make the covered buttons. Still have one more button hole to go and haven't even started on the covered buttons.

Revised Four Winds A&S Competition

Well I promised to post the revised competition information as soon as I'd figured it out and not even the wrath of the gods (via a Rowany Baronial pavilion pole*) is going to delay this any further, so here it is!

Four Winds A&S Competition - 2007

New entry and scoring criteria, plus more prizes!

The goal of the competition is still to produce a head-to-toe costume, a complete "look" for your choice of style.

Entry requirements

At least 75% of the entry must not have been previously entered in a Four Winds competition. So if you made something this year, but didn't enter it, you can enter it next year. This should give people a bit more time to get pieces together and include items they've made previously.

There is no restriction on the amount of the entry that is your own work, but you must indicate which items have been purchased or otherwise created by someone else. You will not receive as many points, but it will still contribute to your overall score.

Scoring system

- Components of the outfit /50
o Undergarments (chemise, smock, hose, brays etc..) /10
o Outer garments (Gown, tunic, coat, etc..) /10
o Footwear (shoes, boots, sandals etc..) /10
o Headwear (head coverings, hair styles, adornments etc..) /10
o Accessojewelryellery, belts, partlets etc..) /10
- Documentation /10
- Authenticity /10
- Creativity / Presentation /10
- Complexity /10
- Workmanship /10
Total score: /100

Entrants will also be asked to indicate whether they are 'beginners' or 'experienced'. Beginners are those who are making their first attempt at a particular style or technique, whereas experienced entrants are those who already have a good level of skill. You decide what level you're at and the judges will take this into consideration when scoring your entry.

The prizes (that's right, more than one now)

- First prize - for the overall best entry the prize is still an SCA membership or a Rowany Festival ticket. The winner will also receive a bell (the traditional prize for and A&S competition)
- Encouragement prize - To encourage more beginners to have a go, the prize for the best entry from a beginner will be a subscription to the Lochac A&S magazine 'Cockatrice'.

As putting together an entire outfit is a big effort, all entrants will receive a token to keep.

Good luck and I hope to see your entry at the Feast of the Four Winds in 2007

*Rowany Yule Tournament yesterday. A freak gust of wind flapped the Rowany baronial pavilion enough that one of the centre poles came free and landed on my noggin. Stories of huge gaping wounds, gushing blood, wailing & gnashing of teeth, rushing to hospital with severe head trauma are all true**

** For the given values of true as follows:
"huge gaping wounds" = a small cut about 1cm long by 1mm deep
"gushing blood" = slightly oozing
"wailing & gnashing of teeth" - a bit of blubbering from shock and surprise
"rushing to hospital" - a medium paced trip to Canterbury Hospital casualty in our Elantra while trying to balance ice pack and map.
"severe hconcussion - a bit of concussionn, some bruising and lumps, and a small cut. No stitches, just a handful of painkillers and instructions of "take it easy". Unfortunately this happened before the tourney started so I missed the entire thing.

You know you're an SCA costumer when...

...you look at paintings and all you see is the fantastic detail of the seams of that doublet and completely fail to notice the severed head.

I had a folder of paintings from Rogier van der Weyden with me at our A&S gathering last night. One of our members had her 5 year old daughter with her, who was a bit bored so we passed her some folders to "look at the pretty pictures", failing to think about the fact that most of them were allegorical. Fortunately she has the attention span of a goldfish so any slight distress at the graphic violence displayed in the pictures was replaced by the next shiny thing on her radar.

So the evenings serious discussions about various types of gown construction were punctuated by the following:

"'scuse me"
"Yes Amber"
"Why is that man's head cut off"
"Because he was a bad man sweetie, how about you look at some other pictures"

--
"'scuse me"
"Yes Amber"
"What are they doing to that man?"
"They're taking Jesus off the cross sweetie"
"Is he dead?"
"Yes he's dead dear."
"Why has he got holes in him"
"Because they nailed him to the cross"
"That's not very nice"
"No it isn't very nice"
"That would hurt"
"It probably did"
"I like that ladies dress"
"Yes its very pretty."

Feast of the Four Winds A&S Competition

I ran my usual Feast of the Four Winds A&S Competitions on the weekend. The competition is for a complete outfit from head to toe, of which 80% must be your own work and 80% new since the last Feast of the Four Winds. The prize is a choice of an SCA membership or Rowany Festival ticket.

I also ensure that I submit an entry myself, to show that I can put my money where my mouth is so to speak.

Last year I had 8 entries, this year I only had 4. On the plus side, although there were less entries, they were far more "complete" than some of the entries from the previous year. Many thanks to Duchess D and Lady Maeve who volunteered to be judges.

The entries were:
Zanobia Adimari - 10th century Norse costume
Eadie Porterose - 16th Century working class hollandish
Eadie Porterose - 1st century Roman
Bleddyn ap Guyver - 1st century Roman military costume

Zanobia's entry was the winner with a beautifully complete outift, well executed in construction and good documentation. Eadie's outfits were both quite complete, but her documentation and execution were not as well done. Bleddyn didn't have any documentation, but is still good to see some guys giving costuming a go.

The main thing that impressed me was that every entry had shoes! Check them out:

Zanobia's Felt Boots

Eadie's Hollandish shoes

Eadie's Roman Shoes
Bleddyn's Calligae

I am so impressed. Despite having a thing for period shoes, they really do make an outfit and I am amazed that people who are quite competent costumers don't try their hand at shoes. As I'm sure these entrants discovered, making shoes is not really that difficult.

I'm thinking about what to do for next year to encourage more people to enter. I was disappointed that a number of people who I thought were going to enter, didn't. I think they may have been confused about the competition as the reasons for not entering were "I couldn't document all of it". Documentation certainly got you bonus points, but it wasn't essential.

Though some options I'm playing with for next year are:

• Lower the percentage of own work (bonus points for if more than 80% is your own work) and maybe drop the "new since last year" or change to "not previously submitted for this competition".
• Consider "grades" of competition. Keep beginner level basic to encourage entrants. Have an intermediate/advanced level that requires min. 80% own work with documentation. That way those who are new to costuming or a particular style can still enter and get feedback and those who are more experienced will be challenged appropriately.

I'll have a chat to the group and see what I can do to get more entries next year.

November Crown Tournament Results

As usual, I kept track of the list for Crown (mainly so that finals cannot sneak up unexpected). Sadly, Team B (as we have been dubbed) was not successful, but it was still a fantastic event and a list to be proud to have been a part of. So, on to the list and the results. I'm still missing the names of some of the consorts (if anyone knows, please let me know).

The Side of Chivalry (King’s Side):
Duke Sir Aedward Steadfast fighting for Duchess Yolande Kesteven
Jarl Sir Alfar of Attica fighting for Countess Gudrun Bodvarsdottir
Sir Agro Agwesi fighting for Mistress Glynhvar of Riverhaven
Sir Hugh the Little fighting for Baroness Therasa Cummins
Sir Asbjorn Pedersen Marsvin fighting for Mistress Mariena Jensdottir
Viscount Styvyn Longshanks fighting for Lady Elissande de Montrose
Viscount Reynardine de Clfiford fighting for Mistress Glynhvar of Riverhaven
Baron Master Thaddeus Blayney fighting for THL Artemisia da Quieto d’Arzenta
Baron Master Drake Morgan fighting for Baroness Blodeuwedd y Gath

The Side of Honour (Queen’s Side):
Baron Master Bran Torc dubh MacBrude fighting for Baroness Mistress Eleanor of Caithness
Master Steffan Glaube fighting for Branwen (?)
Master Piers of Malmesbury fighting for Katherine (?)
Baron Somerled of Redcliff fighting for Baroness Celia the Fair
Conan MacAindreis fighting for Isíbéal inghean Chorcráin
Eoghann MacAindreis fighting for Angelina Enriques de Torres
Miles de Colwell fighting for Lady Maeve ni Iasachta
Joab Cohen fighting for Lady Jehanne de Finistere
Wulfgar JarnsÞa fighting for Baroness Ascelin d'Ypres

Victor and Crown Prince & Princess of Lochac:
Jarl Sir Alfar of Attica and his consort Countess Gudrun Bodvarsdottir
Wreath of Chivalry:
Sir Hugh the Little and his consort Baroness Therasa Cummins
Wreath of Valour:
Viscount Reynardine de Clifford and his consort Mistress Glynhvar of Riverhaven

Final Standing: Victories
Jarl Sir Alfar of Attica 7
Sir Asbjorn Pedersen Marsvin 6
Sir Hugh the Little 5
Baron Master Thaddeus Blayney 3
Viscount Reynardine de Clfiford 3
Viscount Styvyn Longshanks 3
Sir Agro Agwesi 2
Baron Master Bran Torc dubh MacBrude 2
Duke Sir Aedward Steadfast 1
Baron Master Drake Morgan 1
Wulfgar Jarnsioa 1
Eoghann MacAindreis 1
Conan MacAindreis 0
Miles de Colwell 0
Master Piers of Malmesbury 0
Baron Somerled of Redcliff 0
Master Steffan Glaube 0
Joab Cohen 0

Full Tourney Draw and Results

First Round:
Styvyn def Wulfgar
Aedward der Steffan
Drake def Piers
Eoghann def Agro
Asbjorn def Conan
Hugh def Miles
Blayney def Somerled
Alfar def Bran
Reynardine def Joab

Second Round:
Styvyn def Aedward
Wulfgar def Drake
Agro def Steffan
Asbjorn def Piers
Hugh def Eoghann
Blayney def Conan
Alfar def Miles
Reynardine def Somerled
Bran def Joab
Eliminated: Steffan, Piers, Conan, Miles, Somerled, Joab

Third Round:
Blayney def Styvyn
Alfar def Aedward
Reynardine def Drake
Agro def Wulfgar
Asbjorn def Eoghann
Bran def Hugh
Eliminated: Aedward, Drake, Wulfgar, Eoghann

Fourth Round:
Alfar def Agro
Asbjorn def Reynardine
Hugh def Blayney
Styvyn def Bran
Eliminated: Bran, Agro

Fifth Round:
Asbjorn def Styvyn
Hugh def Reynardine
Alfar def Blayney
Eliminated: Styvyn, Reynardine, Blayney

Sixth Round:
Hugh def Alfar
Bye – Asbjorn

Seventh Round:
Asbjorn def Hugh
Bye – Alfar
Eliminated: Hugh

Final
Alfar def Asbjorn
Alfar def Asbjorn