telerib: (sca)
Long time, no post and all of that. Work, parent, write; work, parent, write.

Slowly starting to edge back to SCA stuff again, starting with some garb research. Poking around Gale Owen-Crocker's Dress in Anglo-Saxon England, I saw her mention that it's thought the decorated bands and patterned fabric visible on some 7th-9th century illuminations were silks (as opposed to embroidery or the illuminator having fun with decorations).

So I start kicking around the idea of a gown with decorated silk bands at the wrists and hem, possibly down the front (although that's more Frankish than Saxon). And I find pretty quick that the best source for modest amounts of highly decorated silk is sari shops. And pretty quickly after that, I have a dozen bookmarks of various saris decorated in about the right ways to be cut up into trim.

Then I wonder, hey, is this what Pintrest is for?

I hop over there and try and look at a few pinboards; none of the pictures want to load. And there's all the copyright infringement I suspect slapping up other people's images entails.

Anybody out there use Pintrest? What for? What do you like and dislike about it, and would you recommend it as a way to quickly organize Internet-based research?


Oct. 11th, 2011 07:52 am
telerib: (captain)
I just saw on the local SCA listserv that the National Geographic Museum has asked us to do a demo for the Staffordshire Hoard exhibit that's coming!


I gots to start practicing with my lyre now!

Musical AI

May. 21st, 2010 01:04 pm
telerib: (sca)
Computer-generated music is getting pretty dang good.

I don't want to get into "the last 1%" or the "innate human factor," but overall? I think this article is bang on the money. There's a reason musical genres sound distinct; they have certain patterns and techniques that distinguish them.

This is also why, IMO, if you have any pretensions to historicity as a bard, you need to listen to reconstructions of actual medieval music. You need to get the right patterns into your ear before you can recombine them as original works. Otherwise, you're writing modern music, using the modern patterns you've ingested your whole life.
telerib: (sca)
I field tested my new red veil on Saturday. The "straight edge over the crown" look seems to suit me better than the "oval gathered onto the forehead" look.

I think most of the weight was being held by the fillet for most of the day, and it wasn't uncomfortable. I had an auxiliary strap which was supposed to pass from the nape of my neck over the temples and then up the crown, to secure the veil in the center and help support the weight. That didn't work so well. As has been my experience with modern elastic circular headbands meant to be worn the same way, the thing slipped off the back of my head repeatedly. Didn't matter if I fastened it over or under my hair. I wasn't careful about pinning it to the fillet at the temples; maybe that's the trick.

The obvious options are 1) try again with better pinning, 2) do away with it or 3) use a chin-strap/wimple instead. I'm not sure when the wimple starts showing up, but I believe Walton Rogers shows it in her book (which covers the era up to 700 CE) as a possibility. I believe I will try options 1 and 2 first, as I am not a big fan of things on my neck, particularly in the heat.

Upon an amblere esily she sat,
Ywympled wel, and on hir heed an hat
As brood as is a bokeler or a targe.

- Chaucer describes the Wife of Bath on her horse, wearing a wimple and a hat as big as a small shield
telerib: (Default)
I got an email today from a professor teaching a class on medieval warfare. He uses Bertran de Born's "Well do I love the cheerful spring" as a source, and he also likes to play period music before his classes. He's asked for a recording of my version for this purpose. How neat!
telerib: (sca)
My log for the Arnegunde coat is fairly non-existent. I feel like I should keep Mi Contra Fa for performing arts research only. Should I get a separate log for artifact research or expand the log I already have? It is to ponder.

Docco in brief, before I forget any more. )

Yay coat!

Apr. 13th, 2010 05:37 pm
telerib: (sca)
After the bout of eleventh hour "Oh *&%^$, I've spent 20+ hours on this thing and it's probably going to look like crap," it is done and it does not look like crap. It actually looks pretty boss. I may just have to order the Arnegunde jewelry from Quiet Raymond just to go with it.
telerib: (spud)
I successfully did the interfacing at the neck of the Arnegunde coat I'm making. Finally! I made a neckline that isn't deformed and the contrasting fabric on the interfacing ended up right-side out! Woo!

...okay, so two of the gores are wrong-side out, but the seams are finished very nicely (thankyouverymuch) and I'll just sew them flat and pretend like it's embellishment.

So. All going quite well. Going to bind the cuffs in satin, sew up the sides, slice down the front and then bind the raw edges in more satin. Hem the bottom, more satin optional, and it's done.

And guess who has started rejecting the breast at feeding time? It's been 50/50 the past three days whether or not Ben will nurse. I think he prefers the instant gratification of the bottle, or maybe he's just more used to it now - on an average workday, he gets one, maybe two feedings from me.

I mean, it'll be a nice overtunic regardless. It's just very *headdesk*y that the person for whose benefit the garment is being made is now mooting its purpose.
telerib: (Default)
I wandered away from the Got Medieval? blog during a hiatus, and boy, what did I miss? Jaunty, an anthropomorphic vulva pilgrim's badge.

Things like this seriously tempt me to ditch Anglo-Saxon England for the High Middle Ages.
telerib: (Default)
So using the RIT dye was not so hard. There was a lot of babysitting the washing machine to reset dials, but that was all. The machine doesn't appear to be at all pink. Unfortunately, the fabric didn't change color either. I have a scrap of "before" to compare to "after" and they look identical.

I'm wondering what this stuff is. I knew it wasn't "100% wool," but I had assumed it was a 97/3 wool/Lycra blend; that seems pretty common as suiting. Now I'm wondering if it's totally synthetic. Time to Google "burn test for fabric," I think...
telerib: (sca)
I have nervously embarked on my first dyeing project. The red "100% wool" I used for my veil is a touch orangey, and not the best look on me. Not bad, but I like a bluer red. So I got some RIT dye in scarlet and... well, it's in the washer now. It gets another rinse, then a wash, and then the dye fixative.

I guess I'm worried about staining the washer? Or something? It seemed like a huge blinking deal.

I decided not to splash out on real silk. (The original coat had its edges bound in silk, which then had goldwork couched to it.) If I do this over with actual wool in the future, maybe then. I bought a decent quality, lower-gloss polyester satin instead. I normally avoid polyester like the plague, but it's only going on the edges and hems. It shouldn't be too bad.
telerib: (sca)
I want to make some nursing garb. I've zeroed in on an open-fronted Kentish coat (in the style of this Frankish example) worn over a tunic with nursing slits. I think I can, working in small time units, complete a coat before the next event I'm attending (Highland Foorde Moose Collegium). But the tunic?

Hey! I have an old tunic that's starting to fray at the seams, and the neck is kind of lopsided, and I've been saying I should make a new one anyway. Rather than make a new undertunic with nursing slits, I could cut slits in this old one and then, later, make a new one without. So when I no longer need nursing garb, I'm not retiring a new item!

...okay, there's no reason I couldn't wear a nursing tunic while I wasn't nursing. It's not like anyone can see it under the coat or an overtunic. But this way I don't have to make two pieces of garb! And it gives me a stronger reason to finally making more undertunics later. (I've had the linen in my fabric box for... four or five years now?)
telerib: (sca)
New reconstruction of the 'Arnegunde' grave outfit.

I have been trying to figure out early period nursing garb and... oy. I figure nursing slits, but how do you layer them on the under and over-tunic so that nothing gapes or shows through? Well, if your over-tunic is open down the front, Frankish/Kentish style, there's half the problem solved! Discreet side vents on the undertunic and you're in business. And the outfit just looks awesome, anyhow.
telerib: (sca)
Must remind myself...

The Persona Pentathlon is tomorrow. The deficiencies in my entries loom larger in my mind than their virtues because, as a perfectionist, I still feel like I should have fixed them.

It's okay that the tafl board uses wooden craft knobs.
It's okay that the music isn't in perfect period style.
It's okay that it's a capella.
It's okay that the veil isn't hand-stitched.
It's okay that the woven band is only faux-brocaded instead of really brocaded.
It's okay that the pins are not 100% authentic.
It's okay that not everything is absolutely authenticable to precisely the ninth century.

It is okay. It really is. It will even be okay after I get back the judging forms telling me that I need to fix all of the above, even though it will make me feel like I need to go to all the judges and say, "I knew that!" because heaven forbid anyone think that I'm not clever.

The embroidery on the tafl board is really striking.
The pieces looks rather elegant.
I actually hope to play a game with it soon.
I'm growing my Anglo-Saxon bardic repertoire.
The songs sound good.
They probably ought to be a capella, even if harp/lyre would look/sound cool.
The veil looks so much more appropriate than my current 12th century Norman one.
The veil is red. Awesome!
I did my first leatherworking project - will shoes be next? I hope so!

Interminable embroidering of black lines aside, I had a lot of fun working on the projects and I learned a good bit. The rest is gravy.


Feb. 21st, 2010 09:20 am
telerib: (sca)
The red wool crepe I bought? Advertised as 100% wool? Has small, rubbery, stretchy fibers in it. That's a weird sheep, right there.

I thought it draped too smoothly to be all-natural. It's probably 2% Lycra or something; it's meant as suiting, so this would give it better drape and anti-wrinkle properties.

Oh well. Not much to do about it now.
telerib: (sca)
There is really not much to the veil project. Take long rectangle, hem. Pin to band on head. Done. So it seems like a good place to go all period technique, doing that long hem by hand.

If there is something I have learned working on a smaller silk veil, it's that I don't especially like hand-sewing. Especially long, boring projects. Like an 8' long hem. I know that if this weren't a scored competition, I would not even think twice about zipping this through the sewing machine.

So, that's what I'm going to do. Whether or not it's hand-sewed is not important to me. (If it ever does become important, I can rip out the machine hem and do it over, too. It's not like I'm welding it in place.) So, I'm not going to spend precious hours working on something I don't care diddley-squat about, all to squeeze another point out of a competition.

Woo! Wool!

Feb. 16th, 2010 05:30 pm
telerib: (Default)
My red wool came in the mail! I won't need to use an acrylic scarf for my A&S Pentathlon entry after all!
telerib: (captain)
I finished another project yesterday, by far the most fun one I'm doing for the run-up to Kingdom Arts and Sciences Festival (KASF). I made a book.

I want to display all the stuff I did this past year as Poeta Atlantiae, and if there's one thing I've learned recently, it's that poetry and music displays like... well, like boring pieces of paper next to all the beautiful arts. So I decided to bind my collected output. I did a little light reading but didn't make the binding itself into a major A&S effort. It was fun!

I harvested the pressboard covers from an old binder. Some scrap wool left over from my Owl and Apple cloak serves for a binding. Between the beading and the leatherworking, I had two skeins of linen thread to pick from to stitch the folio together (and the leatherworking awl was helpful there, too). A piece of Bristol board from my calligraphy efforts went to be the end-papers. I had some wire around from my non-SCA jewelry-making, and twisted it into a frame and compass star (my heraldic primary charge) for the cover. Metallic thread from the sewing box - couched the wire-work onto the cover. I used my felt-tipped calligraphy pen to write a cover sheet (insular miniscule), but printed the rest of the poetry out on the computer. Then, Elmer's Glue-All and some heavy books to put it all together!

It didn't take long and the result is spiffy. I could easily see doing this for all kinds of compilations.
telerib: (sca)
I'm so glad I went to the trouble to flip through my new copy of Walton-Rogers' "Cloth and Clothing in Early Anglo-Saxon England." She's got a ton of information on early veils and lays out evidence for (and against) the kind of project I'm planning. (It seems - unsurprisingly, IMO - that there's more than one way to make and wear a conversion-era veil.)

Also, I ran into my copy of "A Veiled Reference," a Compleat Anachronist issue on veils. While it wasn't as useful, it did give me the forehead-slapping realization that, in addition to rectangular and half-circle veils, there could have been half-oval veils, which would solve some problems.

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