Collegium

Collegium this past Saturday was lovely. I got to hang out with my chickies, steal and snuggle babies, and learn fun new things. I had Serafina take pictures of my final product of the ginger linen dress, complete with sleeves. I'm now wishing I'd bothered to look in the mirror first, but here they are anyway.

And of course, for the world's viewing pleasure, is a photo of the spontaneous button-making class that Serafina taught.

Award of Arms - Lianor

This post is about four months late. I'm trying to be better about adding content, honest. Knowing that the lovely Lianor da Costa has an amazing knowledge and application of Spain and Spanish dress, I was disappointed in my own personal knowledge and inability to provide her with a scroll that would be more fitting her persona. This Award of Arms was done based on a page from the Hours of Catherine of Cleves, though I did use colors with Spanish influence. This piece was presented at Solstice Court in Loch Salann in December 2010.

I layered Holbein brilliant gold gouache to give an appearance similar to gold leaf over gesso. This adds both a hint of sparkle as well as some texture to the piece. All other paint is Winsor and Newton gouache. Click the image to see it in more detail.

Sleeves Done!

The Ginger dress is done at long last. Last night I opted to sew additional lacing rings to the shoulder straps, rather than sewing ribbons directly on it, so that I can change the color of the ribbons if I choose. This decision was somewhat based on the fact that I didn't find any fluttery ribbons on my quick jaunt to Hancock, let alone ones in the color I wanted. I was hoping for a springy color like butter yellow or salmon. I ended up with some eggshell twill tape. Not quite what I wanted.

At any rate, I can wear the sleeves now, and for some reason I have yet to take pictures of them. They are reversible!! I will be sure to obtain pictureness at Collegium. I will also be sporting my new laurel medallion which I commissioned from Deb at Time Travelling Traders.

I picked up some red coral beads as many portraits I've found are sporting lovely Italian beauties wearing coral bead necklaces. As jewelery making is outside my realm of expertise (and while I love it, I have to draw the line somewhere in my pursuit of hobbies), I will be commissioning the lovely Aine to help me come up with a way to wear said beads. She is brilliant, beautiful, and disgustingly talented. Everyone should go buy something from her right now.

Ginger dress revisited

With Southern Regional Collegium coming up this weekend, I thought I'd better ensure I have something to wear. Weight fluctuations have rendered my garb wardrobe as a topic of annoyance, at best. So last night I pulled out my ginger and teal dress to find that I never did attach lacing in order to tie the sleeves on (oops). The one time I did wear this dress, I wore it Campi style with my smock sleeves rolled up.

Tonight I'm off to the fabric store to find some suitable twill tape or something, so I can finally call this project done. Oh, and yes, it still fits (woo!).

I will be doing a test-run on my new shoes at this event as well, which means I should go about finding some insoles so that I don't whine incessantly about foot pain by the end of the day.

In other news, I'm looking at getting assistance in building a tape double so that I can work solo instead of constantly dragging friends into my projects. Also, Sven's cousin will be visiting us for a month this summer, which means I'll need to make a tunic for him for Baron's War. Guess I should stop slacking, hm?

Gryphon's Bits

I have oft pondered over the various names of awards in the Kingdom of Artemisia, and while I hold great respect and reverence over what they are and represent, at the same time I can't help but smile at the irony that the awards inevitably dissect our beloved Gryphon. The latest installation of this occasional artist is one such award: The Gryphon's Heart.

Having watched Giovanni aka Rat grow in the society and develop into a gentleman (a flirtatious one, but one nonetheless), has been a pleasure and it was thusly meaningful for me to be asked to create his Gryphon's Heart.

I didn't have much lead time on this piece and therefore needed something that would pull together very quickly. I also wanted something that was a little more masculine than the typical flowers/ivy borders that are quickly put together. When I found an oak leaf border in the Hours of Catherine of Cleves, I knew I had to do it (oak trees are strong and manly, right?).

I used Windsor and Newton Gouache in shades of green, and Holbein Brilliant Gold gouache for the acorns. Ideally those would have been done in gold leaf, but I had none available, and no time to procure any.

I used Higgins Eternal ink for the text, and it's all done on Bristol vellum finish hot press.

In other, somewhat unrelated news, I had a flood of sorts in my art studio (kitchen sink was directly above my bookshelves), and while I was lucky to not have any significant damage to my beloved books, the room needed serious work. I had to relocate everything out of the room so that the ceiling could be fixed, carpet torn up, disinfected, padding replaced, relaid, and cleaned... on and on. It's all done now, and I have a room once again, which has been greatly improved through the process. I also have a brand new set of shelves that is begging to be put together which will help my storage needs!

Recent(ish) Scrolls

The text in this blog will be pretty short. Mainly because I honestly don't remember many of my references for these pieces and don't have my library at hand at this moment to refer to...

This is a Golden Maple Leaf scroll made for Allegretza. It was a back-scroll assignment done with Windsor and Newton purple gouache, Holbein brilliant gold gouache, Higgins Black Magic ink, on Bristol vellum finish hot press. I'm thinking the border on this was slightly modified from a border from the Winchester Psalter, but don't quote me on that. I'll have to check my references and edit this later.

Here we have a Gryphon of Artemisia Scroll done for Duchess Caryn. This was based on the Hours for the Use of Paris in a style that I've just loved for years. Most pieces in this style have a sort of "patch-work" look, but the more organic shapes here drew me in and told me I had to do this piece. The white cat is based on Caryn's device or Coat of Arms, and I admit that I arbitrarily chose to do the Gryphon in white - mainly to see if I could, and to match the cat.

Latest Projects

I have not been sitting in the dark since the gold brocade gown, though that may seem to be the case. After the announcement that I would be sitting vigil for elevation to Laurel, I depended on the lovely Serafina Basso, who did my gown with the assistance of several people in beading and jewelery. I was utterly pleased with the results, pictures of which can be seen all over the web, but here are a few of my favorites:



I take pretty much no credit for that gown, save perhaps the design and fabric choice (a fabulous green/blue shot silk taffeta imported from Thailand). But, of course, I had to share.

Since then, I have created a Golden Maple Leaf Scroll, a Norse tunic, and a norse rectangular cloak.

The latest project was a ginger colored linen gown, with aqua linen guards. It was originally intended to be a middle-class Open-front Venetian, but ended up more of a Campi-style working class, with a dropped V-waistline rather than straight. This all happened accidentally due to an error in seam allowance, but it all worked out rather well, I think.

The dress is quite comfortable. The bodice is interlined with cotton duck and the front, along the hand-sewn eyelets, is boned with four pieces of 1/4" spring steel boning (2 pieces in each channel, 2 channels on each side). The guards were hand sewn, and the apron was added at the last minute with a scrap of grey linen and some red cotton cord from my stash. The apron was 100% sewn by hand.



I'm overall quite pleased with how this project turned out, though I do intend to create matching sleeves for days I don't want to be quite so "dressed down." I now have camping garb that both fits and is in good repair. It is a momentous occassion!

Gold Brocade Venetian Gown

Sadly due to a camera loss incident, I don't actually have many pictures of my creative process on this project, and those I do have are poor camera phone photographs.

This project started out with the girls hanging out at artsy night discussing Solstice Court dressmaking plans, to which I bemoaned the fact that there was no way I would be able to afford fabric to make a new gown. Serafina, being the amazing, generous lady she is, promptly handed me a bolt of jaw-droppingly gorgeous gold brocade that has a shimmer to it that no photographs can properly capture.

After futzing with my new corset for waaaay too long, I finally finished it and was time to start getting fitted for the new gown. All my old gown patterns are now useless due to some recent weight loss (which also happens to render my SCA wardrobe into a state of dusty pointlessness). This is both an awesome and annoying thing. Luckily Serafina is also amazing at draping and fitting and is always willing to help people.

I decided I wanted a gown done in the style worn in Venice, c. 1560-1570ish. I wanted the fabric to do most of the speaking on this because it says things so much better than embellishment can (typical for Venice at this time, actually).

I decided that while putting guards on a brocade gown was not extremely common, it was in fact done, as illustrated here. Guards are handy in that they can add a contrasting color while also hiding lacing stitches, as well as making hems clean and easy. It took me a while to find a fabric to choose for my guards, but after much contemplation, I chose a lovely pine green satin.

After stitching the guards down 100% by hand, I moved on to the skirts. All of my previous skirts have been a separate garment on a waist band which is hidden by skirting elements on the bodice. So this was a new thing for me. The most important trick was to grade the front of the skirting down to account for the "V" in the front of the bodice. As always, Serafina educated my brain and all went smoothly.

I also had to be cautious of lining up the pattern elements on the skirt - something I've never had to pay attention to in the past. I proceeded to cartridge pleat the skirts and attatch them to the bodice by hand. This was then followed up with the careful application of a hem guard.

This image is of my pillow wearing my gown. Doesn't it have a lovely figure? At this point all I had left to do on the project was to make a new camicia/smock and sleeves. A grand idea was concocted to make a shirt with starched standing lace for the collar. The shirt went together smoothly, as shown here, but after the starching part was complete, I decided that some modifications need to be made to this kind of neckline for a standing collar to work. I ended up wearing an older high-necked smock instead of my new shirt.





Solstice Court (Images all blatantly stolen from other people, mainly Serafina):









At the end of the day in court, I was called forward and asked to sit a vigil for potential elevation into the Order of the Laurel. Dig the "meep!" face I have here. I'm still shocked, to be honest.

Two New Scrolls

Actually, it's just taken me far too long to post these, so let's get down to business!

I was approached by Dame Varia to do Dame Annys's Laurel scroll, as there was rumor that she enjoyed my work. I was terribly flattered by the compliment, and of course accepted. I didn't have a ton of time to complete the piece, so I tried to find an inspiration manuscript that could be done in minimal time but still look amazing and have a touch of the "wow" factor (i.e. sparkle). Having done a piece from the Stephen Lochner prayer book before, I was thrilled when I found copies of several more pages from which to pull inspiration.

I spent hours upon hours trying to find the perfect set of supporters and a way to integrate the Pelican that Annys already had into the piece. I couldn't make it work the way I wanted, so I opted to do a standard mantle with the pelican in her piety, with the laurel wreath surrounding the coat of arms.

The gold flourishes are all done in gold gouache, but emulates what shell gold would have looked like. I'm saddened that this piece did not fit on my scanner bed, which resulted in this scan being cropped in a very sad way.

I also learned a very valuable lesson when doing this piece: double check your blazon before you do anything! If you know much about heraldry, you'll notice that the blazon in the text does not actually describe the image of the coat of arms. It's backwards. I learned (too late), that the blazon I was given was incorrect. I was able to paint the image to look as it should, but the text is wrong. Le sigh.

I was unable to be there for Dame Annys' ceremony, but I do hope that she had a memorable time, and that she enjoys this part of it.

The second scroll was created for Jean-Richard de Holloway, who is one of the most talented artisans I know. He has taken to studying and recreating many Japanese things such as armor, clothing, and more, so I felt it appropriate to finally delve into my passion for the East, and give Sumi-e a try. I'd been wanting to try this out for a long time, and finally had the perfect opportunity.

Let me first point out that this is done in English. I found a pseudo-script which I used as a guide, and converted it to my slightly more elaborate version you see. If this resulted in any actual kanji characters, it is by pure accident, and I cannot be held liable for what rude things it may say. It can be read starting at the top right, reading downward and to the left.

The first line reads "For embracing the virtues of the dream." I'll let you try to read the rest on your own, if you dare.

To create this piece, I used authentic sumi ink, which I ground by hand into an inkwell. It is written that this part of the sumi process is vital, as it is part of the meditative mindset, and I'd agree. The consistent pressure and circular motions help your mind focus. to achieve the different shades of ink, I had to separate it into different wells and add water.

I must admit I'm not 100% happy with the result, but I have a new respect for those who have created masterpieces in this elegant art form. I would defintely try it again.

Reserve Champion Scroll

Firstly, the blackwork'd caul in the previous post is still in process. To be fair, I haven't touched it in weeks. Alas, other priorities have surfaced, this being one:

HE Mistress Cassamira asked me to do the Reserve Champion scroll for Kingdom Arts and Sciences. I didn't have much time to complete this piece, so I kept it very simple. The border is based on the Winchester Psalter, in Winsor & Newton Gouache, and the hand is Gothic Textura Quadrata in Higgins Eternal ink.



I've also been working on a special scroll for Quest, so I should be able to post that in about 2 weeks. For now, I'm also working on a Peerage scroll for Uprising. Sometime I also need to work on some new garb for myself - none of mine fits. Or rather, only my ancient stuff fits, and it's horrid. I made it all before I knew how to properly sew anything. Bleh.