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The Æthelmearc Gazette

~ Covering the Kingdom of Æthelmearc of the SCA

The Æthelmearc Gazette

Tag Archives: A&S competition

Behind the Scenes: Kathryn MacLuing talks about her Champs entry

20 Sunday Dec 2020

Posted by aethgazette in A&S Champs, A&S Competition and Display

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A&S Champs, A&S competition

Continuing the freshly-minted tradition of virtual sharing in these times of plague, the Kingdom Office of Arts & Sciences once again reached out to our fabulous Arts & Sciences Championship artisans. Through interviews for the Æthelmearc Gazette our artisans can share their work with the populace at large on a more personal level. Unlike the Virtual Queen’s Prize Tourney, which was run completely virtual, the Kingdom Championship is a juried competition, and included a week’s worth of face to face judging – with judges especially selected for their knowledge and background – as well as an online populace “meet and greet the artisans” before Kingdom court. Master Hrólfr and I, your Kingdom Arts & Sciences officers, enjoy these challenges of finding ways to inspire and motivate our artisans in these trying times and we are happy to see the Championship ran so smoothly! The Kingdom Championship would not have been nearly as successful without the extra-ordinary organizational skills of Master Hrólfr, the web development magic of Master Robert of Ferness and the zoom room wizardry of Lady Magdalena Txoperena and Baroness Amalie. Thank you for helping our artisans shine!

Today’s interview is with The Honorable Lady Kathryn MacLuing of the Barony of Blackstone Mountain, who entered the Kingdom of Æthelmearc Arts and Sciences Championship with her 10th century Saxon/Norman Outfit.

Could you tell me a little about you, your persona?

The Honorable Lady Kathryn MacLuing wearing her 10th century Saxon/Norman wardrobe.

I am The Honorable Lady Kathryn MacLuing, Order of the Millrind, Order of the Sycamore, Order of the Keystone. While I started with my persona being a Scots from before Wallace’s Rebellion, I have flowed along the time stream wearing whatever caught my eye. However, there’s just something about the lines of the late 10th-early 11th Century gowns that I adore. So, is this something my persona would have worn? Other than the belt and veil I would not have worn gowns patterned this loose, but they did lead to the fitted kirtles and sideless surcotes of the mid-to-late 1200s that are my more usual garments. I did make a mistake creating a filet to go with the veil, that is a solid 1200’s invention. The veil would have been simply wrapped like a scarf around my head and neck, and at most a simple circlet worn over the top.

What inspired you to make your entry?

My inspiration was multi fold. First, I had seen online the Calontir Clothing Challenge, which called for the participants to make a full outfit of 4 different layers from the underclothing out. The 4th layer was to be an ‘Accessory’ created by a method other than sewing. No documentation was needed, and we were free to be as period or modern as we chose. The Challenge started October 1st, and will end January 31st with the judging. Other bonus challenges were added as the word spread. I believe I am the only one from Æthelmearc to participate. It helped that I was about to be laid off for Winter, and thought a project like this would give me something to do while I had all that spare time. I did not expect to be finished in only two months, but that’s how it worked out.

With the idea of three layers of clothing, I wanted something simple but showy. The 10th-11th Century chemise, kirtle, and cotehardie had those simple lines, but could be easily decorated with embroidery to make it stand out. Then, there was the bonus of card-weaving a belt, which was an idea I’d kicked around because I own a woven belt and wanted another. So, with a full stash of fabric to choose from, and the looming prospect of being laid off all winter, I chose to take up the challenge.

I did NOT expect the response when the outfit was finished, and all the calls for me to enter the Kingdom A&S. Having Laurels and Fleurs, even if they were old friends, pushing for me to enter the competition was both flattering and bemusing. To think people thought my work was good enough to enter the Kingdom Arts & Sciences Championship was awesome and terrifying in equal measure. So, they were my inspiration as well as thorns in my side until I said “OK! I’ll Do It!”.

Did the entry throw up any unexpected issues?

The errors started early, as I discovered that ALL of my dress patterns I owned were missing. I can only assume they were left months ago at the last “Stitch-n-Bitch” the Barony had, and are probably gone forever. Thankfully, Baroness Ceridwen de Skene came and helped take my measurements, and I was able to recreate things from the measurements and from laying out my other gowns to take patterns from. Of course, mis-measuring happens, and so the cotehardie needed additional gores, but that is a pattern I’ve rarely used and was recreating entirely from my memory of how it worked.

The Honorable Lady Kathryn MacLuing first attempt at a cardwoven belt. Because her outfit was in need of one she took up this challenge and succeeded!

The belt was a real challenge. because I’d never tried card-weaving outside a couple demos. First, I did not own a loom, so I turned my cutting table upside down to string the warp over the legs. Then, there was a problem keeping the tension, which I tried to fix with weights, but it never quite got there. Due to the tension problems, the cards would catch on the threads next to them and didn’t turn correctly. On top of that came the more common errors of losing track of which turn I was on, was I going forward or back, etc. Even with those problems, I did manage to finish the belt within a week, working probably 3-4 hours a day on it. All credit to Baroness Ceridwen for making the cards and gifting them to me when I told her I wanted to try it.

Then, after I was prodded and convinced to enter the Æthelmearc A&S Championship, I had only 24 hours to document all the things I did as actual techniques, or find excuses why I didn’t do them like they would have been done. As I said, the Calontir Challenge did not ask for documentation, and gave us free reign to be only as period as we chose to be, and many of my techniques were more modern. If I had meant to enter the Kingdom A&S, I would have done the research first before touching any fabric (and probably wouldn’t have done the project).

I have never liked documentation, and Kingdom A&S would require a whole lot of it. I have run Baronial A&S, I have run Dirty Dozen Derbies, but I have never entered anything in any A&S competition that took more than a 3×5 card or one-page sheet of documentation. Thus, the 24 hour dash to try to prove at least a few of the things I’d done were period, and how the things I didn’t do exactly period were suitable changes.

Did you learn something specific, something you would do differently, or would recommend others to do again?

Research First, Document as you Go. Do not try to backtrack everything in less than 24 hours. Second thing I learned, from judges’ suggestions, were ways to mitigate the tension problems with card-weaving, things I’d not thought of like tying it to my waist and using my own body as a weight. As for my sudden need for patterns, there was a prize in the Calontir Challenge for using different patterns for creating your layers, so each layer was cut differently. If I do this again, I’d use just one pattern for all three dresses, and also use linen for all three layers, instead of a light cotton for the chemise. The color is perfect and it drapes well, but it’s definitely not period for the time and culture. I’d also look into light-weight wool for the cotehardie.

What did you think of the virtual face to face judging concept?

I think the online judging worked very well for me, because despite my years in the Society I still suffer from shyness when on the spot. Being at home and not spotlighted in the middle of a busy event calmed the anxiety. It also helped when I found that I knew three of the judges personally, so it wasn’t absolute strangers.

The feedback was excellent, in real time, and I will now call my sewing machine my ‘servant’ who takes care of the interior seams for me thanks to Mistress Graidhne Ni Ruaidh. The rubric was easy to understand, logical, and well-suited to the situation where judges could ‘look but not touch’.

I am very proud to say that I got a 3/6 overall score which was far better than I’d expected, and I’d have probably scored better with better documentation and more period construction. The judge’s explanations behind their scoring in their feedback was supportive and helpful, and made me feel good about entering.

What motivated you to enter the Kingdom Championship?

I want to point out, I did not intend to enter the Kingdom A&S Championships. This was an ‘just for fun’ project that was triggered by seeing an online competition, which wasn’t even in this Kingdom. This was a Winter Project, because I had a stash of fabric, time on my hands, and a Challenge to make something to add to my wardrobe. Plus, there was the bonus of learning a new skill.

I did not expect the reaction after I finished the outfit and started posting pictures to my Facebook page. I did not think it was worthy of the Kingdom Arts & Sciences Championship, and the reaction of friends who are Laurels and Fleurs was overwhelming. I still don’t know if I should thank my friends for pushing me into entering, or plot revenge (probably both 😀 ). I got a big thrill that so many people liked the outfit, and how many compliments I got on it. I am proud of my score, which was far more than I expected considering the flaws in it. I am actually thinking of trying to do it again, the Right Way, because of the positive feedback and reactions. But first, I have to restock my stash, and experiment with the card loom I was gifted for Christmas.

Are you interested in reading more about the entry after this appetizing interview? You can! All entries including documentation and images are available at the Kingdom Office of Arts and Sciences website.

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How to navigate the largest Arts & Sciences competition & display of our Sylvan Kingdom, and have fun doing so!

11 Wednesday Mar 2020

Posted by aethgazette in Arts & Sciences, Competitions, Ice Dragon, Research

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Tags

A&S, A&S competition, Ice Dragon Pent

NOTE: DUE TO CONCERNS ABOUT THE CORONAVIRUS AT THE COLLEGE WHERE THE EVENT WAS SCHEDULED TO BE HELD, AND DECISIONS BY THE GOVERNOR OF NY, ICE DRAGON HAS BEEN CANCELED FOR THIS YEAR.

Are you contemplating entering the largest Arts & Science competition of our Sylvan Kingdom, the Passing of the Ice Dragon Pentathlon? And perhaps you are intimidated by it’s size, it’s reputation, and even a bit overwhelmed…?  So, why do artisans enter competitions? Most of our artisans enter for feedback and/or for exposure. Which one you value most can help you to figure participation, and have the most Fun!

If you already know what you would like to do, the preregistration forms for both judges and entrants are NOW LIVE! Please consider preregister, this allows the organizers to match skills as much as possible, resulting in more constructive feedback. Thank you!

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Category Pottery, ID 2018 – Richard and Saladin floor section by Ian Campbell

Factors to consider before jumping into the challenge of Arts & Sciences competitions:

  1. Critiques must be consensual
  2. Judges are volunteers
  3. Know what the entrant wants out of the competition
  4. Use the judging criteria, it is there to help
  5. Documentation is not meant to be homework
  6. This is supposed to be fun and helpful!

1. Critiques must be consensual.
Unless an artisan specifically invites someone to critique their project, feedback should be kept to compliments. Once an artisan enters into a judged competition, that will be considered consent to critique. Unfortunately, not all commentary from judges will be helpful, and the artisan may not like or agree with what a judge has to say about their project. That’s part of the deal though – take what you need, disregard the rest.

For entrants, don’t let the judging sheet be the end of the dialogue, especially if you don’t like something or feel like you can gain more from a longer conversation. Follow up and – hey look! You made a new friend.

For judges, keep your commentary focused on the project and serve the compliment sandwich (constructive critique sandwiched between two feel-good compliments); make sure every part “tastes good”.

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Category Cooking – leavening / yeast cakes; and another Category Cooking – Pompei Bread
Both by Cristnna MacTavish

2. Judges are volunteers.
Sometimes judges are the perfect person to judge your project, sometimes they step in at the last moment to help fill spots and they know little about your project. You never know who you are going to get. Your job as an entrant is to present your project in a way that someone who has no clue about what the object is can come in, see the object presented in a pleasing way, learn about it in a few minutes via documentation & presentation (project plus visual aids, clearly labeled), and have enough context to have a semi-intelligent conversation about it, with references and sources so they can follow up if they want to.

3. What do you want to get out of the competition?
If you are in it to win it, make a show piece, use the judging criteria, have several people proofread your documentation journal, practice your presentation, test run your display and ask for critiques before the competition. Will you win then? Maybe. That’s always the answer – you have no way of knowing all the factors ahead of time, just make it the best you can each time. Take the critique and make the next display/project/documentation/presentation better. Up your game any way you can.

For entrants, see above. If you are just there to share your cool project and get feedback, tell the judges that “tangents,” also known as “rabbit holes,” are welcome and encouraged.

For judges, if someone is clearly there to win, offer the next better step suggestion, score them honestly, and tell them why you scored them that way – don’t leave them guessing.

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Category Youth: Made from scratch list-legal wood arrows with silk wrapping, by Mary of Harford (Myrkfaelinn); three (pest) animal illustrations by Hannah. So you realize, these are YOUTH entries! Really!

4. Use the criteria, they are there to help
The judging criteria, a grid of scoring criteria, is not only intended to guide judges to score less subjectively. Judging criteria are also intended to give entrants – or even just those wishing to improve – guidance on how to improve their art. Keep in mind that the highest score of the judging criteria reflects expert work. Reaching this level should be the goal of every entrant, but don’t expect it to happen overnight. Then when you do reach this milestone, it will be an achievement to be rightfully proud of – a true masterpiece!

For entrants, by reading the judging criteria and self-scoring your entry beforehand you can discover any shortcomings while you still have the opportunity to do something about it.

For judges, the judging criteria can help facilitate feedback to reach the entrant, even when under time constraints, by marking each topic on the form that applies to the entered project. Keep in mind that the highest score should be for entries so good that the most authentic recreator would consider it perfect.

5. Documentation is not meant to be homework
Unless you intend to write a research paper, a graduation thesis is not what the judges are looking for. Your documentation should be a combination of historical context combined with a project journal. It should tell the judges what you made, how it was made, and why it is historically authentic. And ask yourself: could a stranger to the topic understand and recreate your project using only your documentation journal?

For entrants, how much time will the judge have on average per entry? At an average reading speed 1500 words per 15 minutes, this limits the length of your journal. If judges need to speed-read supply keywords and highlights, and move side-quests to the appendices. Use a cover sheet summary, step-by-step instructions and photo journals to help organize the information and simplify navigation.

Feeling a little overwhelmed? Check out “Don’t know where to start your documentation journal? Have trouble “reading” the judging criteria? Don’t you worry, we’ve got you!”

A few things to keep in mind about judges and judging:
– it is LOUD in A&S competitions, and not everyone reads well in noisy rooms with lots of distractions.
– stupid questions and assumptions are going to happen, and sometimes have to happen for clarity. Note them and recheck your documentation. It could be that the judge missed that due to distractions, or you could have mentally filled in with your own prior knowledge and your audience has no way of knowing.

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Category Illumination; Second scroll ever by our very talented Crystal Bradley.

6. A&S competitions are supposed to be fun!
While most judges are careful about serving edible compliment sandwiches, sometimes you are going to get anchovies & pineapple on the same pizza. It is unfortunate when that happens, but it does happen. It’s a risk of competition, which is why #1 is so important. Take the feedback as it applies, disregard the rest.

A&S competitions are supposed to be educational. They are supposed to be fun. If it’s not fun for you, don’t do it. If you aren’t looking for feedback, don’t do it. But if you are, we are very happy you found us! Together, we can challenge and inspire each other to reach the stars!

To help find us, below is a map listing Troll (William Stuart Forum), the Pent rooms (T119A+B) and the Performance Arts (Stuart Steiner Theater).

GCC map 1st floor

For more information on the Ice Dragon Arts and Sciences competition:
Kingdom Event page on the AS 54 Festival of the Passing of the Ice Dragon.
Home page of the Festival of the Passing of the Ice Dragon.
Home page of the Passing of the Ice Dragon Pentathlon.

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A&S Competitions and Critiques: Some Thoughts and Reminders

07 Wednesday Mar 2018

Posted by aethgazette in Arts & Sciences, Costuming, Fiber Arts

≈ 1 Comment

Tags

A&S competition, A&S Competitions

By Mistress Alfrun Ketta.

Mistress Alfrun, photo by THL Amie Sparrow

I don’t generally like doing A&S competitions in the SCA.

By that I mean that they are not my thing to do − but I do believe that for some people they provide the drive to finish work or they provide valuable impartial feedback that they might not get elsewhere.

I would personally rather display than compete, and I would rather teach than display, but every now and then I do opt do toss something out into the ring to see what happens. 

I think it is valuable to our members to continue to offer opportunities to compete, but we also need to remember that competing is not a requirement, and people who are uncomfortable with competing in the arts should never feel compelled to do so.

One of my best competition experiences was a couple of years ago, when I participated in the Persona Pentathlon in Atlantia’s Kingdom Arts & Sciences Faire.  My experience was so profound that I actually would really recommend a venue like this for those who are seeking to push their boundaries.  The competition has you create five items that would have belonged to one historic persona, and you choose your categories from a list of options.  Most artisans work easily in a couple fields, but often have to learn something new to make the final entry.

My entries were clothing, weaving, spinning, food, and research. I got a near-perfect score on one item and a fairly low score on another. The one I got the lowest score on was the one I was most deeply invested in, but I was completely okay with receiving that score.

Why? Because the conversations that I had surrounding it were still positive. I was told that the research was very valuable to the SCA. The reality is that item just did not well fit the categories for the competition and was appropriately scored as such. 

I still had a wonderful time discussing that with people who came to the table, and that is what was important.  That, not some score on a piece of paper, is what made entering that particular item worth while.

What else made even that experience positive, despite that one score? I know how to separate myself from my work, and listen when someone is giving me feedback.

That is a skill that every artisan needs to really take time to nurture. Distance yourself, be open to the criticism, allow yourself to believe that no one is there to deliberately crush your world, and take the advice given and grow from it. Remember that someone took the time out of their day, out of their event, to weigh in on your work.

Most often, the judges are there because they want you to grow as an artisan.  It is their goal to aid you on that journey and learning to listen to critique with that in mind can change the entire competition experience.  Not everyone is an expert at giving advice, but it you listen to them with the idea that they truly have no ill-will towards you or your work, a great deal more can be taken away from the experience than if one gets defensive from the start. 

Even the best mentor or judge out there might occasionally give poor advice, or they might be referencing older research, or they might just be wrong about something.  You can absolutely choose not to take that advice, but make sure that it is not a knee-jerk reaction on your own part.  It is always okay to ask for resources or clarification.  Likewise, it is okay to offer your own resources and clarification, but do so with grace.  It is also perfectly okay, at the end of the day, to thank the person for their comments and just move on.

During a more recent conversation about critique, Baroness Kateryne of Hindscroft, OL, pointed out that a middle score in a competition is not actually a bad score.  The work is decent, it has room for growth, but it is not “bad.” If the art is fairly new for you, this can actually be a good score to see, as it shows you are on the right track and hopefully the feedback will allow you to take it to the next level when you opt to compete again.

One of the other benefits of entering this specific competition is that I had some very good one-on-one time with the judges. I highly encourage artisans who do want to compete to seek out those competitions that offer that experience.

Allowing you to answer questions as part of the process lets you show your knowledge without them having to read through a tome of documentation (which, let’s face it, can be very, very hard to do at events). It allows for an exchange of ideas as well, something you will not get with a just a take-home judging form.  It helps the entrant understand why a score was low and what could be done to raise it the next time.  I know Æthelmearc has been offering more opportunities for competitions like this, as well as the ability to get feedback in a competition-free environment.  I cannot recommend enough that newer artisans take advantage of these opportunities.

The final reminder that I would like to leave here is that art takes time.  Fabulous art takes an exceptional amount of time. Take your time, learn about the art, the items, and the people that used them.  Applying context (in terms of social status, occupation, or the lifestyle of the owner) to an object can offer ways to perfect and item or fill in the blanks in the hows/whats/whys that might be missing in the tangible evidence.  Enjoy the excitement that comes with exploring an art and growing as an artisan.

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A Research and Documentation Primer

26 Tuesday Sep 2017

Posted by aethgazette in Arts & Sciences

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Tags

A&S competition, competition, documentation, Research

An Introduction to Research & Documentation

By Euriol of Lothian, O.L., O.P.

Please don’t run away! I know that Research & Documentation may scare many of you. No need to fear, I know it is a bit frightening… like a young child coming face to face with a junkyard dog. But if you give me a chance, perhaps we might be able to make this journey less intimidating and more enjoyable. Believe me, this dog will not bite.

Take a deep breath. You alright? Ready to take your first step? No need to worry, I’m here beside you to help you on your way.

I cannot recall how many times I might see something and think to myself “That is so amazing, I wish I could learn how to….”. We are very fortunate in the current modern age that we have so much information at our disposal. Sometimes it is too much information, and we don’t know where to start. The purpose of this article is to offer guidelines, suggestions really, on where you might start your own research journey and how to document it to a desired audience (e.g. classroom notes, newsletter articles, competition documentation for judges).

Research vs. Documentation

What is the difference between Research and Documentation? Research is the investigation of a subject to discover or revise information on the subject. Documentation is an artifact that is derived from the research. Research can include looking at primary, secondary and tertiary sources of information including expert analysis and opinion as well as practical hands-on experience. Examples of research may include the following:

  • Online articles and pictures
  • Personal attempt to create an item that is the subject of your research
  • Books, Magazines and Periodicals (Printed and Online)
  • Viewing a painting contemporary to the time period of an item (secondary source)
  • Archaeological notes from a university publication (expert analysis & opinion)
  • Examining an item on display at a museum (primary source)

Many of us are not fortunate to have access to many primary & secondary sources of information, but most of us have access to online articles and pictures as well as our own personal experience in attempting to create an item.

How far you go with your research is completely a personal choice, but sometimes when you start following the breadcrumbs of information, you might not anticipate where that journey might lead you.

Resources

Now that we have made the decision to start researching a subject, where to begin? There are several starting points at your disposal.

Do you recall where you first heard or saw something about the subject you want to research? Perhaps it was at a class? Perhaps you saw someone wearing or working with the subject? Go to these individuals, and strike up a conversation about the subject. I can tell you that people really do enjoy talking about subjects that are of interest to them. Ask them if they have any information of how you can learn more about the subject and get their contact information.

Perhaps the subject was something you learned about while watching a TV show, movie, or some other video. Perhaps it was an article online or in a magazine.

You had to learn about the existence of the subject somewhere; if you can. make a note of where you first learned about it.

Additional starting points may be:

  • Search engine (i.e. Google)
  • Wikipedia
  • Online Communities for the Subject (i.e. Facebook or Email Groups)
  • SCA Arts & Sciences Websites
  • Personal websites by Amateur Scholars

Notes

As you begin your research you also want to make sure you are keeping some sort of notes of your research. These notes are to help you keep a record of the sources you investigated and the information you learned from these sources. Pick a method of keeping notes that is most comfortable for you. Some methods that may be used are:

  • A blog or personal website
  • A notebook or journal
  • An electronic notepad (Word Document, One Note)
  • Idea board (Pinterest)
  • Email folder

Below are some samples of a note entries:

Type Book
Title Harvest of the Cold Months
ISBN 9780571275328
Information Learned
Ice was used to cool wine in Italy during the 16th century.

 

Type Online Article
Title The Garden of St. Francis
Website http://www.medievalhistories.com/the-garden-of-st-francis-formed-a-contrast-to-the-semi-urban-cultivated-landscape-of-13th-century-italy/
Information Learned
The garden was specifically embellished with an inner sanctum – a smaller garden – meant to hold a flower-garden, uniquely kept to provide olfactory and visual pleasures

 

Type Personal Experience
Title How to Crack Honey without Thermometer
Date June 14, 2017
Information Learned
I was finally able to get the honey to get hot enough that in cracked like peanut brittle when the nucato was cooled. You will get a whiff of smoke as the honey is boiling, and then immediately take it off the heat. Reminder, not to put the nuts nor spices into the honey while it is being heated, otherwise the spices and nuts will burn.

Documentation

Documentation can be as simple as taking all your notes and putting them together in a manner that is directed for a specific audience. There are several different types of documentation you can create based on your research. Examples of documentation can include the following:

  • An article for a newsletter or a blog
  • Class notes
  • How-to guide
  • An article for a magazine
  • A periodical issue
  • Documentation for a competition

Knowing your audience can help you determine the type of documentation to create. There are templates available for creating documentation. I also suggest having someone not knowledgeable in the subject matter review your documentation so anything that might not be clear can be identified and addressed.

Some of the details you might consider discussing in your documentation are as follows:

  • Introduction
    • Introduce the reader to the subject and set their expectations for what they might gain or learn from the document
    • What about this subject has inspired you to research it?
  • Historical background
    • Tell the reader about the subject and how it relates in context to a time period or through several time periods
  • Materials, Processes, Tools & Techniques
    • If the subject is an item that can be crafted, discuss the materials, processes, tools and techniques used to make the item.
    • Discuss any differences between historical practices and how you made the item.
  • Supporting your Research
    • For further information – Give the reader information on where they could learn more, this could include your contact information.
    • Footnotes or Endnotes – Give credit where credit is due by supporting what you have learned by where you learned it from.
    • Bibliography – Now you have all your notes, you can create a bibliography based on all the information you have gather.

Thank you for taking the time to let me guide you on these first steps to Research and Documentation. I have only scratched the surface on these topics. Hopefully it is not as scary as it was once before. If you would like to learn more, feel free to contact me at euriol@yahoo.com. For your convenience, I have many links on various articles on research and documentation on my website at:

https://sites.google.com/site/eurioloflothian/resources/documentation

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A&S Faire and Queen’s Prize Tourney: FAQs and Food

04 Thursday May 2017

Posted by aethgazette in Arts & Sciences, Event Announcements & Updates

≈ Leave a comment

Tags

A&S competition, A&S Display, A&S Faire, Nithgaard, Queen's Prize Tourney

From Master Fridrikr and Mistress Orianna, Kingdom A&S Ministers:
Good gentles,
Regarding the Æthelmearc A&S Faire and Queen’s Prize Tourney this weekend in Nithgaard:
  1. The A&S Display is separate from the Queen’s Prize Tourney.
  2. The A&S Display is open to all. No registration is needed. Just come, set, & display your work. Easy-Peasy!
  3. The Queen’s Prize Tourney is open to all NON-Laurels.
  4. The Queen’s Prize Tourney is by registration only.
  5. 5. For planning purposes, the Registration closes Thursday night (TONIGHT) at midnight.

Please register before 11:59 PM, Thursday, May 4th! Registration forms may be found here.

 

From Lady Elena de la Palma, Event Steward:

I’m excited to share the dayboard menu Lady Magdalena Txoperena has created for the A&S Faire and Queen’s Prize Tourney.

This dayboard explores Aztec cuisine at the time of Spanish arrival in the early 16th century. Recipes are sourced from descriptions of the foodstuffs, cuisine, and recipes provided by the arriving Spanish and Aztec sources, including first-person narratives from Bernal Diaz del Castillo, conquistador alongside Hernan Cortez and later author of The True History of the Conquest of New Spain, and Fray Bernardino de Sahagun, a Spaniard who moved to New Spain in 1529 and continued to study and write extensively about all aspects of Aztec daily life (including food) for the next 50 years. Additional information about the research behind the food will be available at the Faire.
ALL DAY
  • Red Popcorn – Red corn, chili powder, salt
  • Blue Popcorn – Blue corn, salt
  • Tortillas and Totopos – Corn masa, some with chiles
  • Vegetable and Fruit Sticks – Carrots, cucumbers, jicama, mango, pineapple
  • Guacamole – Avocadoes, tomatoes, tomatillos, onion, salt
  • Salsas – Assorted peppers, onion, tomato, tomatillo, pepitas, salt, pepper,
  • cocoa powder, honey
  • Alegrías – Popped amaranth, sugar, honey, salt
BEVERAGES
  • Atole – Masa, flavoring, piloncillo
  • Chia Water – Chia, pineapple, sugar
  • Chocolate – Cocoa powder, cocoa butter, cocoa nibs, honey, chile powder, salt
MAIN COURSES
  • Chilaquiles de Huevo (served for breakfast) – Eggs scrambled in sauce of tomato, onion, peppers, salt, pepper
  • Caldo de Pavo (Turkey Broth Soup) – Turkey, carrots, corn, onion, salt, pepper
  • Frijoles de Olla (Beans with Onion) – Black beans, peppers, onion
  • Rabbit Pipián Tamal Balls (Rabbit Tamale Balls) – Rabbit, pepitas, red peppers, salt, onion, masa
  • Pescado en Salsa de Tomate (Fish in Tomato Sauce) – Tilapia/cod, tomato, onion, chiles, salt, pepper

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New and Favorite Categories in 2017 Ice Dragon Pent

20 Sunday Nov 2016

Posted by aethgazette in Arts & Sciences, Event Announcements & Updates

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A&S competition, A&S Display, Ice Dragon, Ice Dragon Pent, Ice Dragon Pentathlon

rhydderichhaeltheWelcome to the 2017 Ice Dragon Pentathlon!

My name is Jenna MacPherson of Lions Tower and I’m the coordinator for this year’s Ice Dragon A&S Pentathlon. Their Excellencies Rhydderich Hael invite artisans of all levels to bring your works for a day of friendly yet fierce competition on April 8, 2017.

This year we have some new additions to the Pent (outlined below) such as the 5-in-1 category and the special theme prize category. We have added one or two new subcategories and one new main category. We also have returning favorites:  the projects display-only area and the magnificent “failures” display, both hosted by Master Thorpe as in previous years. There is something for everyone.

The following is the list of categories and some general rules for the competition. Over the next few months, information will be forthcoming on the Æthelmearc Group/List, as well as in the Æstel and on the Facebook Page. Questions can be emailed to me.

I am looking forward to seeing the beautiful works of all the artisans!

2017 PENTATHLON CATEGORIES:

The list of categories this year is similar to previous years with a couple of additions that I hope will inspire new levels of creativity as well as new avenues of expression for the artisans.

Please note the following requirements:

  1. Virgin Entries – works may not have been entered in any previous
    A&S competitions. ****NOTE RULE CHANGE**** items MAY be placed in
    Non-Judged displays and showcases. (Rule updated Nov. 19, 2016)
  2. No kits.
  3. Proxy entries will be allowed.
  4. Entrants are limited to ONE cross entry of ONE item only into ONE additional category. When cross entering you must supply a set of appropriate documentation to be present on the tables for each category entered.
  5. The Special Prize 5-in-1 category item is not in itself sufficient to enter the Grand Pentathlon. (See further detail posted on this page.)

ACCESSORIES

  • Acc1: Textile
  • Acc2: Non-textile

Decorative items that enhance a person’s appearance (belts, hats, veils, jewelry, gloves, etc.)

ANIMAL ARTS Tools of the trade or accessories made for the use of animals (equestrian, beekeeping, hunting, farming, fishing, etc.)

APPLIED RESEARCH Extremely well researched items too simple or modest to compete fairly in a more traditional category. The score would be split between the research paper and the item, with the paper being worth more than half of the points.

BEVERAGES

  • Bev1: Beer & Ale
  • Bev2: Wine & Mead
  • Bev3: Cordials
  • Bev4: Other (including non-alcoholic)

A liquid prepared for human consumption.

The one-year stipulation on completion of entries starts at the time the beverage has completed fermentation and sufficiently aged to allow the flavors to meld, as per the recipe. When the entry becomes drinkable, the clock begins.

The documentation should include the details of your process.

Once a beverage has been entered it may not be entered in subsequent years.

CERAMICS AND GLASS

  • C-G1: Pottery
  • C-G2: Glasswork
  • C-G3: Stained glass

Items made of ceramics or glass

CLOTHING

  • Clo1: Pre-14th century
  • Clo2: Post-14th century

Garments that cover a person’s body.

Since the cut and fit of clothing changed during the 14th century, it is up to the entrant to choose which category they enter items based on 14th century garments.

CULINARY

  • Cul1: Main dish
  • Cul2: Side dish
  • Cul3: Sweets/ subtleties
  • Cul4: Breads

Items prepared for human consumption (beverages excluded)

CURIOSA Unique or unusual entries that don’t fit in any of the traditional categories.

Entries in this category must be approved by pent coordinator.

FIBER ARTS

  • Fib1: Spinning
  • Fib2: Weaving
  • Fib3: Narrow work
  • Fib4: Dyeing
  • Fib5: Knitting, netting, nalbinding, etc.
  • Fib6: Other (felting, fabric printing, etc.)

The arts associated with making yarn/ string or items made from this type of material

HERALDIC DISPLAY Any item embellished or enhanced through the addition of heraldry

HISTORIC COMBAT ***New Category** entries of artistic endeavor showcasing a martial art of SCA period and/or used currently within the Society. The format is limited only by the entrant’s creativity and safety considerations.

SPECIAL NOTE:  No entry will be accepted if the presentation requires a marshal or safety equipment to be present. No active combat (by Society definition) of any type will be allowed.

HOUSEHOLD ARTS Items produced for everyday use in the home. (Toiletries, cosmetics, candles, needles, decor, etc.)

LEATHERWORKING Items made of leather or use of leather as a decorative element

LITERARY ARTS

  • Lit1: Research paper
  • Lit2: Musical arrange.& composition
  • Lit3: Poetry & prose

Written entries

Entries in Literary Arts must be received by me ***no later than March 11, 2017***

(See more information on Literary Arts Entries below)

METAL WORKING

  • Met1: Armor
  • Met2: Domestic
  • Met3: Jewelry

Items made of metal or use of metal as a decorative element

NEEDLEWORK Decorative sewing, embroidery and lace making

PERFORMANCE ARTS – MUSICAL

  • Perm1: Instrumental
  • Perm2: Vocal

Entries should not exceed 15 minutes and must be performed in the area where the judging is taking place.

PERFORMANCE ARTS – NON-MUSICAL

  • Perf1: Physical (dance, juggling, etc.)
  • Perf2: Storytelling and Theatrical

SCRIBAL ARTS

  • Scr1: Calligraphy
  • Scr2: Illumination

Items that would be made by a scribe.

Handwritten and/or painted pages based on documents or manuscripts

STUDIO ARTS

  • Stu1: Drawing & Printmaking
  • Stu2: Painting
  • Stu3: Bookmaking

Various visual arts that require a specialized set of tools or space to create.

TOYS Items whose primary function is to be played with.

Articles that provide amusement or a way to pass time.

WOODWORKING

  • Wod1: Construction
  • Wod2: Embellishment
  • Wod3: Turning

Items made of wood or use of wood as a decorative element

YOUTH ENTRIES

  • You1: Ages 3-11
  • You2: Ages 12-17

Youth are not required to enter in these categories. They may choose to have their work judged as an equal to any adult entry in the category appropriate to the materials and/or construction.

SPECIAL PRIZE CATEGORY (new this year and as yet to be named)

The pent coordinator in consultation with Their Excellencies will announce a theme/item/topic do this category. Entries are limited only to the artists interpretation of that theme/topic/item. THE THEME CHOSEN  BY THEIR EXCELLENCIES IS “All Things Welsh.”

SPECIAL CATEGORY 5-in-1 Project. Any ONE item that can qualify for entry in a minimum of 5 of the above listed main categories. This item may also be cross entered into ONE main category to count toward the grand Pentathlon Prize.

***Any category or sub-category may be expanded or combined to meet the needs of the entrants and/or judges.***

Entries in Literary Arts must be received electronically or postmarked by *** March 11, 2017 ***

Entries may be sent electronically or via hardcopy in the mail.

If you do not receive a confirmation email that an electronically submitted entry has been received within 24 hours of sending it, contact me.

Please contact me in advance if you are sending hard copy.

My mailing address or answers to any other questions you have about the Pent are available by emailing me.

please watch the Pent website and the Æthelmearc Kingdom calendar for more announcements.

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Delftwood’s Peace Tourney FAQs

14 Friday Oct 2016

Posted by aethgazette in Arts & Sciences, Event Announcements & Updates

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Tags

A&S competition, Delftwood, Yule

Greetings fair and mighty Æthelmearc!

Questions have been coming up about Delftwood’s Peace Tourney at our Yule event on December 3, 2016. Please see this page for event information:

What is the Peace Tourney?
It’s Delftwood’s third annual Arts & Sciences competition held at Yule. Artisans, scientists, and performers of all levels are invited to participate from across the Society.

What is needed?
One to three pieces of your best work. Works in progress are allowed. You will discuss your work with the judges face to face. It is suggested that you bring notes, but written documentation is not required. Please do bring a list of your resources.

A sponsor. Anyone can enter and anyone can sponsor anyone. Your sponsor
must provide a prize of no more than $10 in materials. Prizes will be
picked in order of points received from highest to lowest.

  • A sponsor can be found for you.
  • Please offer a prize if you don’t have a person you are already sponsoring.
  • You can sponsor more than one person.
  • Please provide a prize for each person.

What else do I need to know?

  • There are no categories.
  • There are no novice or advanced divisions.
  • Scrolls will be given for the first three places.
  • You will be assigned a time to sit with your work. Sitting with your work all day is up to you.
  • All performances pieces will take place during dessert. Performance pieces are limited to five minutes.

Please contact Mistress Othindisa Bykona at aebeelady AT gmail DOT com for
more information.

We look forward to seeing your entries!

Othindisa
A&S Coordinator for Delftwood Yule

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Marzipan & Sugarpaste: Medieval Playdough!

12 Tuesday Jul 2016

Posted by aethgazette in Arts & Sciences, Food

≈ 1 Comment

Tags

A&S competition, AEthelmearc War Practice, blogs, Subtleties

By Elska á Fjárfelli.

The hens and their eggs at the Scarlet Apron cooking competition. All photos by Susan Verberg Photography.

Inspired by the Scarlet Apron subtleties contest at Æthelmearc War Practice, I delved into the challenge of sculpting with food. And what’s better to play with than sugarpaste and marzipan!

As a traditional sweet at our Dutch Saint Nickolas celebrations and as filling of our traditional Christmas Stollen bread, marzipan (sweetened and finely pureed almondpaste) symbolizes home and the year’s end to me. For years, the store Aldi’s supported my seasonal habit… until a few years ago they stopped carrying German marzipan. Luckily, my best friend Angelika Rumsberger, originally from Hamburg and with a similar seasonal sweet tooth, gets a holiday package filled with German goodies. The marzipan from Lübeck is highly prized! As Angelika grew up on Lübeck marzipan, considered to be the best marzipan in Germany (and probably the world), she was able to give me great feedback on what good marzipan should taste and feel like.

Even though modern marzipan is typically seen as a German sweet, it originated in the Orient (where almonds and sugar also originated). A Persian doctor, Rhazes, praised the curative qualities of almond and sugarpaste as far back as the 9th century. When the Crusaders returned from the Orient, they brought marzipan with them. Thirteenth century philosopher and theologian Thomas Aquinas reflected upon the indulgence of eating marzipan, reassuring his anxious clerics: “Marzipan does not break the fast.” And in his novels, 14th century poet and author Boccaccio clearly noted a correlation between passion and marzipan.

The hen mold liberally covered with powdered sugar in preparation for the sugarpaste.

In 13th century Italy, confectionery and spices were generally traded in tiny boxes. One theory is that the Italian word, mataban, for “small box,” gradually came to be used for the sweetmeat contents of the box: mazapane (Italian), massepain (French), marzipan (German, recently also English), marsepein (Dutch), and marchpane (English). The Latin form of marzipan appears as martiapanis in Johann Burchard’s Diarium curiae romanae (1483–1492), and Minshæu defines the word as Martius panis, or bread of Mars, for the elaborate towers, castles, and other subtleties made of this confectioner’s art sweetmeat.

For my subtlety entry, I choose to use marzipan as a filling and sugarpaste on the outside, since sugarpaste has a much finer definition of detail and would help keep the marzipan moist during display. As suggested in my period source, I wanted to use a mold and was lucky to find a good deal on a vintage Dutch candy mold. Even though this mold is obviously not period, the use of molds to shape food is period.

I based my marzipan on recipes in A Closet for Ladies and Gentlewomen, 1602:

 To make a Marchpane, to ice it, and garnish it after the Art of Comfit-making.

Take two pound of small Almonds blanched, and beaten into perfect Past, with a pound of suger finely searsed, putting in now and then a spoonfull or two of Rose water, to keepe it from oyling, and when it is beaten to perfect Past, rowle it thin, and cut it round by a charger, then set an edge on it, as you doe on a tart, then drie it in an Ouen, or a backing pan, then yce it with Rose water and suger, made as thicke as batter for fritters, when it is iced garnish it with conceits, and sticke long comfits in it, and so guild it, and serue it.

To make all sorts of banqueting conceits of Marchpane stuffe, some like Pyes, Birds, Baskets, and such like, and some to print with moulds.

Both halves of the mold lined with sugarpaste.

TAke a pound of Almond past, made for the Marchpane, and drye it on a Chafindish of coales, till you see it waxe white, then you may print some with moulds, and make some with hands, and so guild them, then stoue them and you may keepe them all the yere. They bee excellent good to please children.

Blessed with a local health food store, I was able to pick up two pounds of raw almonds. Then I looked up the word “blanched” simce I was unfamiliar with the process. Properly educated, I thought, I poured boiling water over the almonds so that the skins would loosen enough to be removed, since the skins are bitter and would darken the almond paste a brown color (rather than a very light beige). Since I do not own a large mortar and pestle (yet), I chose to run the blanched almonds through my food processor and came to the first hurdle: the almonds would crumble but not stick together as a paste! Maybe mixing in the sugar and rosewater would help it come together? But no… the period recipe clearly does not mention processing it twice. However, it did not look right, so I ran a small sample again and behold: marzipan! Apparently, modern almonds need to be processed twice?

This kept bugging me, and after some brainstorming with a fellow SCA cook, I learned about the difference between modern blanching and period blanching: in modern blanching, boiling water is used (a quick process) while in period blanching involved extended soaking in cold water (a slow process). And I wondered — would the extended soaking have a different effect? Soaking anything for extended periods hydrates tissue, and the same is true for soaking dried almonds: I suspected that grinding soaked almonds makes for perfect period marzipan.

The mold is filled with marzipan

Since historically marzipan is connected with both Christmas and with Easter celebrations, I choose a hen shape for the main mold. In Denmark and Norway, it is common to eat marzipan pigs for Christmas and marzipan eggs for Easter. And the English word marchpane might mean “march bread,” for marzipan shaped into a loaf. Inspired by the German tradition of Marzipankartoffeln, small potato-shaped marzipans dusted brown with Dutch cocoa, I shaped little egg marzipans. Instead of dusting with cocoa, as post-period kartoffeln are, I used spices available in period, including cinnamon, to give the “eggs” a beautiful brown glow (and a bit of a tartness in the first bite).

And what about the sugarpaste?

Sugar, by far the most important ingredient in confectionery, was first grown probably by the Persians and Arabs. Most importantly, they learned how to refine sugar from the raw cane plant. In Roman times, sugar (called saccharon) was available only as naturally exuded droplets from the cane. Before that time,  honey was the world’s main sweetener; after this discovery, the cultivation of sugar cane spread slowly throughout the Arab world. A number of sugar-related words trace their heritage to Arabic origin, including sugar to sukkar, candy to qand, and syrup to sharab.

In medieval times, sugar was imported by the Venetians and Genoese from Arab-controlled areas until the 1420’s, when the Portugese started cultivating cane in the Azores. Not only would sugar quickly become indispensible in medicine, as a sweetener, and a preservative, it also became an artistic culinary ingredient of amazing flexibility: sugarpaste, which could be molded, formed, and dried into an array of edible items.

Although THL Lijsbet de Keukere quickly pointed me in the right direction to find a period sugarpaste recipe, unfortunately it was made with an ingredient not typically found in modern cooking supply stores or supermarkets: gum tragacanth. This period binding agent (also known by gumme and dragant) is a bit challenging to locate (and more expensive) than modern gum paste. If you have the time, order a couple of ounces if only to experience sugarpaste from scratch. (See URL for a vendor below.)

Against my cooking philosophy but up against deadline I used modern gum paste, which was available in the bridal section of my local Jo-Ann’s Fabrics Store.

The mold is clamped tightly.

The most complete period recipe for sugarpaste comes from Thomas Dawson’s The Second Part of the Good Hus-wives Jewell, 1597 (see http://www.cooksplaydough.html  for a redacted recipe).

To make a past of Suger, whereof a man may make al manner of fruits, and other fine things with their forme, as Plates, Dishes, Cuppes and such like thinges, wherewith you may furnish a Table.

Take Gumme and dragant as much as you wil, and steep it in Rosewater til it be mollified, and for foure ounces of suger take of it the bigness of a beane, the iuyce of Lemon, a walnut shel ful, and a little of the white of an eg.  But you must first take the gumme, and beat it so much with a pestell in a brasen morter, till it be come like water, then put to it the iuyce with the white of an egge, incorporating al these wel together, this done take four ounces of fine white suger wel beaten to powder, and cast it into the morter by a litle and a litle, until they be turned into the form of paste, then take it out of the said morter, and bray it upon the powder of suger, as it were meale or flower, untill it be like soft paste, to the end you may turn it, and fashion it which way you wil.  When you have brought your paste to this fourme spread it abroad upon great or smal leaves as you shall thinke it good and so shal you form or make what things you wil, as is aforesaid, with such fine knackes as may serve a Table taking heede there stand no hotte thing nigh it.  At the ende of the Banket they may eat all, and breake the Platters Dishes, Glasses Cuppes, and all other things, for this paste is very delicate and saverous.  If you will make a Tarte of Almondes stamped with suger and Rosewater of this sorte that Marchpaines be made of, this shal you laye between two pastes of such vessels or fruits or some other things as you thinke good.

Modern sugarpaste is made by combining powdered sugar with gum paste and glucose. I used my trusted Kitchenaid mixer with the dough paddle attachment and followed the recipe on the gum paste’s can, and discovered that it made a fairly sticky dough (like thick peanut butter). To be able to sculpt I was expecting something more like bread dough, and since sometimes my bread dough is also similar to peanut butter when the liquid is off (that extra egg…) I did the same thing I’d do then and kept adding a dry ingredient. I added more powdered sugar slowly until the dough came together as a ball without sticking to the bowl, until it finally turned into something I felt comfortable sculpting with. According to the can’s instructions, I then rolled it into a loaf, wrapped it in plastic, and cured it at room temperature until the next day.

The two hens ready for final detail. The mold worked great!

The sugarpaste was initially dry to the touch, but probably due to body heat handling it quickly became very sticky, which made sculpting rather frustrating. My solution was to keep my finger pads dusted with powdered sugar, which worked like a charm. To keep the sugarpaste from sticking to the mold (which would have made it impossible to unmold without losing the fine detail I wanted) I used a paper towel dipped in oil to grease the inside of the hen mold, and then liberally dusted both insides with powdered sugar. The sugarpaste hardly stuck to the walls and the hens were much easier to remove. I recommend keeping sugarpaste sculptures away from heat or moisture (including sunlight), and give it time to air dry until it becomes a beautiful chalky white.

While the sugarpaste I used was a modern substitute, I was able to make my marzipan with raw almonds and raw sugar. It therefore had a fairly course texture, which I really like. For a smoother marzipan, you could use finely ground almond flour and powdered sugar, which you can buy pre-made from a store. But never forget the rosewater – it’s the finishing touch of quality marzipan! The one feedback on my entry that is still with me is the remark that the “eggs” could have been made sweeter. I suspect cinnamon was at fault for this, as well as the influence of my Lübeck-trained friend who was very clear that good marzipan is never made with less than two-thirds almonds, to cater to a more refined European taste!

References

http://www.niederegger.de/World-of-Marzipan/A-History-of-marzipan

https://en.wikipedia.org/wiki/Marzipan

https://en.wikisource.org/wiki/1911_Encyclop%C3%A6dia_Britannica/Marchpane

“A Closet for Ladies and Gentlevvomen, Or, the Art of Preseruing, Conseruing and Candying” (1602). Edited and Annotated by Johanna H. Holloway, 2011. www.Medievalcookery.com

HistoricFood.com article on Confectionery

http://www.mkcc.rhawn.com/MKCCfiles/cooksplaydough.html (Countess Alys Katherine’s how-to article, which inspired many of the sugarpaste subtleties across the SCA)

Thomas Dawson, “The Second Part of the Good Hus-wives Jewell” (1597)

Where to buy gum tragacanth:

http://www.chemworld.com/Tragacanth-Gum-Powder-p/LO-7270-2.htm?gclid=Cj0KEQjw4827BRDJvpbVuKvx-rIBEiQA2_CzsNCeGynEUvEuLBWy2IwlgH3kksXHao_j7vt4Jd8CnwMaAnBH8P8HAQ

Artisans! Do you have narrative documentation or a project diary of your recent A&S creation? Have you written a handout for a class? Share your knowledge and submit it to the Gazette at aethgazette@gmail.com! Our editors are happy to work with you to format it into an article.

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Change in Documentation Requirement for Kingdom A&S Champs

06 Tuesday Oct 2015

Posted by Krista in Arts & Sciences, Event Announcements & Updates

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Tags

A&S competition, A&S Faire, Kingdom A&S Championship

A missive from Fridrikr and Orianna, Kingdom Ministers of Arts and Sciences. [More information about the Kingdom A&S Championship, to be held Oct 31st in the Shire of Angel’s Keep, can be found at aeans.aethelmearc.org. Pre-registration is encouraged.]

After some discussion about documentation & its purpose, we have decided that:

In the upcoming Æthelmearc A&S Championship, documentation will NOT be scored as a separate item.

Documentation will be taken into consideration as part of your entry since your documentation will inform the judges in looking at your work. The extent of your documentation is up to you; however, be aware that the judges will look to your documentation when they consider your work.

If you have any questions concerning this decision, please contact us at ae.ans@aethelmearc.org.

In service,
Fridrikr & Orianna

ArtsAndSciences

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Are You the Next Iron Scribe?

12 Sunday Jul 2015

Posted by aethgazette in Arts & Sciences, Event Announcements & Updates, Scribal

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Tags

A&S competition, Iron Scribe

Scribes compete in Iron Scribe VI. Photo by: THLady Ursula of Rouen

Scribes compete in Iron Scribe VI. Photo by: THLady Ursula of Rouen

The Seventh Annual IRON SCRIBE Competition will be held at St. Swithin’s Bog Throw Back Three Day next weekend on the 18th day of July!

All are invited to step into Illumination Stadium and compete for the title of IRON SCRIBE! Whether you’ve only colored in coloring books or you have your Laurel in illumination, this is the competition for you!

At the start of the contest, the Mystery Theme will be revealed! You will then be given a set amount of time to create an illuminated scroll blank that embodies that theme, however you interpret it. You may feverishly work the whole time, or come and go as you please, but when the clock strikes at the end of your allotted time all brushes will be put away and the judges will then pick who will earn the title of Iron Scribe! Feel free to bring books, light boxes, paints, pens, brushes, paper*, vellum, whatever you think you may need to complete a scroll blank.

You may then take your blank with you, or donate it to our faire Barony or Sylvan Kingdom as you see fit.

Come and enjoy a day of competitive camaraderie as we create and draw and paint our way to glory!!

*Paper will be provided but you are welcome to use your own!

 

If you have any questions about the Iron Scribe Competition, please contact THLady Ursula of Rouen at ursula.of.rouen@gmail.com

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Æthelmearc Gazette

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