Champion Challenge

When Their Excellencies Concordia selected me as their A&S Champion, I set a number of goals for my tenure in that role. I wanted to continue to grow and learn as an artisan. I wanted to inspire and encourage other artisans. And I wanted to build a network with my fellow artisans--people I could talk to, people who shared my interests or inspired me to try something new.

One of the ways I decided to go about accomplishing all that was to visit A&S displays and interact with the artisans showing their work. I set myself a high goal--500 displays and performances. I had special cards made to leave with tokens at these displays.

My first chance to begin working on this goal came at Pennsic XLV. On Sunday of War Week, I visited the Pennsic A&S Display where artisans from across the Knowne Worlde showed their work. There is SO much talent and knowledge in the SCA--it's really an amazing thing to behold. I've always been impressed with the work of our artisans and enjoyed looking at their displays. This time, though, I noticed a distinct difference: I wasn't just an observer. I was able to engage in intelligent, knowledgeable discourse with so many different people about techniques, materials and research.  I set out to appreciate and encourage others; I wound up inspiring myself all over again.

A handful of the displays at Pennsic, showing a variety of skills and crafts.

There were a few artisans with whom I spent a large amount of time "talking shop"--in particular, two different leather workers and one Viking chain weaver. The was also one artisan from the West--a truly lovely lady who had pottery on display--who was so delighted with the small token I left that she gave me a piece of her pottery in return!

I learned a lot from Brendan about
period leather dying techniques!

This Laurel diadem is gilded leather.
It was so amazingly light and thin!

I also attended the Knowne World Choir and Friends concert on Thursday of War Week, and presented the director of each group with a card and token as well. There really is nothing that compares with live music--it flows into you and through you and moves you in ways that a recording simply never can.

In September, I traveled to South Dakota for the coronation of the SCA's first same-gendered monarchs, Yehudah & Hrodir. There I got to experience a "Sweet and Sour Tastery and Temptorium" as well as enjoy a phenomenal display of the artisans of the Kingdom of Northshield.  There were gorgeous gowns, stunning embroidery, intricately knotted hair nets, delicate ceramics, beautiful woven trim, and of course, Posaments, which I was particularly excited to see again since I took Eithni's class at Pennsic. I was hoping for the chance to geek out with her over my first attempts, but alas I never ran into her at the event.

Posaments on display at the Coronation of Yehudah and Hrodir.

In February, I attended King and Queen's A&S and Bardic Championships in the East Kingdom, where I had the opportunity to speak at length with many artisans about their entries.  I learned about kilns and beads and Italian coats and Tudor toothpaste. I saw how vibrant colors could be achieved with period dyes, disabusing my previously held notion that medieval garments were often pale or faded. I tasted food that had been preserved with salt distilled from the sea. I chatted about how historical events led to the differences in modern Christian denominations. I learned that enamel comes out different depending on what fuel you use to heat it. All of the artisans were SO knowledgeable about their topics, and so very willing to share that knowledge! It really touched me, too, how many of them appreciated my small tokens--one artisan immediately plucked the ring from the card and put it on his finger; another emailed me right after the event to tell me how he had enjoyed speaking with me and thanking me for my support. It was very humbling.

And after I visited the artisans, I had the immense pleasure of listening to the final round of the Bardic competition. A challenge was issued to for performers: they were to prepare a performance (based on their resume) on a theme selected by Their Majesties. They had only thirty minutes from the time they learned their them until the time they performed--I can't even imagine that kind of pressure! All four of them were *amazing*.

A middle eastern umbrella that remains
 parallel to the ground,
regardless of the angle of the stick holding it!

In March, I traveled to the Barony of Nottinghill Coill in Atlantia to attend the Kingdom A&S Festival. I set up my own display, and then spent a considerable amount of time being amazed by the talent and knowledge of others. From hand-embroidered Elizabethan garments (WHERE do they find the patience for that?!) to a period umbrella that may make retainers' lives a whole lot easier to delicious baked treats, the displays were inspiring.

I was especially happy to see Lord Ihone's leatherwork display -- in particular, I noted that he had done a leather "scroll", which is an idea I have tossed around for my protege sister for *years* but wasn't sure how to tackle. I didn't get a chance to chat with him, sadly, but I was delighted when he was named as Atlantia's new A&S Champion!

Ihone's leatherwork display.

In April, I attended Night of the Tartan in the Barony of Lochmere in Atlantia. There were several A&S competitions, an open display, and a competition to select the official Baronial Beverage (which drew twelve entries!). One of the competitions had a Celtic knotwork theme, and the other was a "new-to-you" theme. There were scrolls and trim, and a wooden Viking chair and a hat and a poncho. I also had the pleasure of listening to Laydes Fayre and the Lochmere Vocal Music Guild perform several period pieces.

May brought me full-circle back to Wars of the Roses, where I was in charge of running the competition to choose my successor. The challenge was to create an item that would have been owned or used by any of the "major players" throughout the Wars of the Roses. We had five entrants in the competition, exhibiting excellent craftsmanship. I was personally drawn to Lord John Kelton's leather costrel--I am so excited to know there's another leatherworker in the local group!



Lord John's leather costrel -- winner of the Baronial Champion competition.

Lady Astrid's display -- winner of the Populace Choice competition.

Roses also had close to a dozen entries in the Brewing competition. While I wasn't able to indulge in the taste-testing (I had to drive), I was inspired by the entries and have found new motivation to take the plunge into brewing myself -- a project I have long wanted to tackle but keep putting off for various reasons. No more! Perhaps next year, a bottle of my brew will stand beside the other entrants at Roses?

Turning in my sash and medallion at evening court was bittersweet. I am honored and humbled to have represented Their Excellencies for the past year, and I am eternally grateful both for the faith They placed in me and the opportunity They offered me. I am inspired to strive onward in my arts, to continue learning and growing. I will also carry with me all that I have learned over the course of this quest I set for myself--both the increased knowledge I gained about various arts, and a new approach and purpose as I visit displays and interact with other artisans in the future.

Atlantia KASF 2017

In years past, I have displayed at Atlantia's KASF as part of a group--the first time with my household, and the second time with the Barony of Lochmere. This year, I displayed by myself, as the A&S Champion for the Barony of Concordia of the Snows. Because I'm a champion of the East and not Atlantia, I did not participate in the Inter-Baronial Champions' Competition. Rather, I entered the open display. I received some delightful feedback about my work, particularly from the Baron of Nottinghill Coill (who was also astounded when he learned I had traveled from upstate NY to attend the event!).

Documentation text:

Comparing Copper and Silver as Used in Viking Wire Weave

A few years ago at Pennsic, an old friend sat down with me beneath our baronial pavilion and taught me to make Viking Wire Weave chains (sometimes also called Viking Knit or Trichinopoly). I took to it almost immediately, and began entering pieces in A&S competitions and displays shortly thereafter.

In one such competition at the Feast for St. Brigit in the Barony of Lochmere, I entered two necklaces. These were woven of what had become my go-to material: 26-gauge, dead soft, enameled copper wire. I like that it was inexpensive but still easy to work with – less prone to kinks and tangles than cheaper options at my local Michael's. I also like the array of color options available, because I could achieve a period look (most extant examples are woven of silver wire) or a less-period, heraldic chain, as desired.

Copper was a solid and reasonable substitute for silver, with valid reasons for its selection. On a molecular level, copper is very similar to silver and behaves in much the same way when worked. Additionally, as stated above, it was available in a silver-colored enamel. And, of course, it was far less expensive than actual silver wire.

In her judge's feedback that day, Mistress Mary Isabel of Heatherstone suggested I try working in real silver, even if only once, so that I could gain a deeper understanding of how it differs from copper by actually feeling it as I work, rather than just reading about the differences.

It has taken me two years to work up the courage, make the investment, and take that plunge. I have to admit that I was skeptical before I started. How different could it actually be, anyway? By this point, I had worked with copper in gauges ranging from 20 to 28 and in tempers from dead soft to half hard. I expected this experiment to demonstrate only which temper produced a similar feel, and perhaps to reveal a slight difference in the silver color of the chains.

Boy, was I in for a surprise.

For the purposes of this experiment, I selected 28-gauge, dead soft wire in enameled copper and sterling silver. I used the same mandrel, and wove identical chains of six-loop, double-weave knit. I began with the copper chain.

From the moment I began to weave with the silver, I could feel a difference. Though it was the same gauge as the copper, it felt more substantial in my fingers. More stable, perhaps. It was certainly less prone to kinking as I worked with it. It was somehow smoother, too. It made me think of satin. I was somewhat confounded as I continued to work. How could something be sturdier and softer, at the same time?

Unlike with the enameled copper, I didn't have to worry about friction with the silver as I wove. With the copper, there's a risk that the scraping will damage the enamel finish, causing the color to flake off.

Containing the loose ends of each piece of wire seemed easier with the silver as well. In running my hands along the woven chain, there are noticeably fewer “poky bits” protruding from the silver than from the copper (You are welcome to try that on these pieces, but please slide your fingers lightly and slowly! I wouldn't want you to injure yourself).

For this display, I left the chains incomplete (when finished, they will be necklaces). I drew them through a wooden drawplate for about half of their length, so that I would have examples of the chains both drawn and undrawn.

The finished pieces are all enameled copper, displayed to show the variety of weaves and designs possible with Viking Wire Weave.

I look forward to working more in silver (as finances allow) in the future – it was a true pleasure to work with!

Class Handout: Two Strings At Once (Fingerloop Braid)

Fingerloop braid: Two Strings At Once

Lady Shannon inghaen Bhriain uí Dhuilleaín

shannon.dhuilleain@gmail.com

http://shannonofalltrades.blogspot.com

In learning and teaching Fingerloop Braid techniques, I have been heavily influenced by the notations and directions used in Compleat Anachronist issue #108: Fingerloop Braids.

Each step in a pattern consists of three essential pieces of information: the finger moving, the opposing finger being interacted with, and the nature of that movement and interaction. A few simple shorthand notations are used consistently throughout the patterns.

First, the fingers. The pointer, middle, ring, and pinky fingers are labeled A through D (the thumb is not considered in any pattern I have yet encountered). The hands are labeled L for left, and R for right. Therefore, a simple two letter combination tells you precisely which finger is being discussed.

Fingers can move through one or more other loops before interacting with the other hand; these directions will be written out in full in each pattern.

Loops may be taken “reversed” or “unreversed.” If it is taken “reversed,” it winds up on the new finger upside-down or flipped over, so that the strand that was above is now below.

For loops taken “unreversed,” the orientation is the same on the new finger as on the original.

The pattern we will cover today is “2 Strings Att Once.” A transcription of the directions was recorded by Greg Lindahl and then translated into modern English by Zoe Kuhn Williams.

The Transcription: “To make 2 strings att once. Take 3 boes on one hand and 2 on the other then worke through both boes taking the top of the loer fingers alike.”

The Translation: “To make 2 strings at once. Take 3 bowes on one hand and 2 on the other then work through both bowes taking the top of the lower fingers alike.”

Zoe then provides step-by-step instructions, based on this translation:

Place 1 bowe each on BCR and ABCL.

Move AR through BCR and take CL UNREV.

Walk down L bowes.

Move AL through BCL and take CR UNREV.

Walk down R bowes.

Repeat.

This pattern can be changed slightly to create a single, thicker string instead of two thin strings. Instead of taking CL and CR UNREV, you simply take them REV instead:

Place 1 bowe each on BCR and ABCL.

Move AR through BCR and take CL REV.

Walk down L bowes.

Move AL through BCL and take CR REV.

Walk down R bowes.

Repeat.

You can also combine the two patterns to create a string with buttonhole-like openings along its length. To do this, begin with the REV pattern for twenty repetitions or so, then switch to the UNREV for an equal number of repetitions. Continue to alternate until you've reached your desired length. The actual number of repetitions in each set will vary depending on how large or small you want the holes, and how much solid string space you want between them.

Resources

Kuhn Williams, Z., & Swales, L. (2000, July). Fingerloop Braid. Compleat Anachronist, (108).

Kuhn Williams, Z., & Swales, L. (n.d.). Fingerloop Braids. Retrieved September 14, 2016, from http://www.fingerloop.org/

Persona Pentathlon: Can I Pull It Off?

Each year at Atlantia's Kingdom Arts and Sciences Festival, there is a Persona Pentathalon. Artisans create five items that would have all been owned/used by the same person. Three of these five items must fall into different categories. It's a daunting task, requiring artisans to work in multiple mediums.

The next KASF is in March 2017. For the first time in my SCA career, I feel that I may have a skill set that varies enough to consider competing. What to enter, though?

I'm thinking Viking.

The wire-weave chains fall into category six.

The Norwegian-style leather coin purse could be category six or two.

Lampwork beads--which I'll be learning at Pennsic--are category three.

I'm gonna guess tallow candles would be category four--I'll have to double-check that.

Wood-carved spoons--another Pennsic plan--are another entry for category six.

Calligraphy and illumination are category one.

...and a heraldic banner is category seven.

Or I can do something British, which will let me do bookbinding and a blackjack but will leave out the wire-weave chain and the coin purse.

Or maybe not...the Trewhiddle Scourge was, after all, found in England. But that's probably religious. I could do a religious book with calligraphy and illumination and the church obviously would have used candles, too. Hmmmmmmmm....

Leather Award Medallions: Order of the Opal (Atlantia)

My original plan for the A&S 50 Challenge, back when I first learned of it, was to do a set of leather award medallions for the Kingdom of Atlantia. Eventually, I decided to do fifty Viking wire weave chains instead, but now I've decided to tackle the medallions as well.

Her Majesty Thora will be attending Nacht in der Stadt in Lochmere at the end of April, and I decided this would be a great opportunity to present the first set of medallions. I decided to start with the Order of the Opal.

I ordered the leather circles pre-cut from Tandy. They are two and a half inches in diameter. This was simply a matter of convenience--I could have cut circles from the sides of leather I already have, but that would be tedious at best (and likely would have resulted in medallions that were less than perfectly round).

I have a diamond-shaped leather stamp, so the tooling on these medallions turned out to be really easy in that regard. However, keeping the pattern neat and even took some trial and error. For my earliest attempts, I used graph paper to try and space out the diamonds. This resulted in a very busy medallion, more blue than white.

After five or six of these, I changed tactics. I tooled the center diamond, and then used a ruler to mark parallel lines across the circle, lined up with the edges of that central mark. I then lined the stamp up within these lines, spacing it its own width from the last diamond tooled. This was much easier to keep aligned, and resulted in fewer diamonds on the medallion overall.

After the medallions were tooled, I painted them with acrylic paint. The blue only took one coat, but the white took as many as five or six coats to completely and evenly cover the surface.

Once the painting was complete, I allowed the medallions to dry for twenty four hours. Then I dropped them one-by-one into melted beeswax and allowed them to soak for about a minute. I extracted them from the wax and immediately wiped away the excess before placing the medallion on a sheet of parchment paper to cool and harden.

I was pleased to see that after the wax was applied, the texture of the surface of the leather stood out through the paint. This was an unexpected but pleasant surprise.

After the waxed medallions cooled enough to handle them, I drilled the holes for the ring in the top of each one. I used my Dremel tool and a 3/32 bit to drill the holes.

All-in-all, I produced thirteen medallions. Twelve will be presented to Her Majesty at the end of the month. The thirteenth was an "oops"--it must not have been completely dry before I dropped it in the wax!

The rings are made from twenty-gauge, silver-enameled copper wire. The simple style is well-documented in Viking finds.










I am also presenting Her Majesty with twelve fingerloop braid cords in kingdom colors, and twelve Viking wire weave chains. These medallions could be worn suspended from either cord or chain.