In fall 2019, I wanted to improve my embroidery, so I drew a knotwork design that I decided to fill using a combination of satin stitch and split stitch. While the knotwork has finally been completed, I still have yet to decide what I’m going to sew it on to.
Battle on the Bay 2019 had an Epona-themed challenge—and as a horse lover, I had to enter something. I was on a huge knotwork kick, and I wanted something soothing, so I combined knotwork, a horse-shoe shape, and the Staffordshire Hoard’s “stylized horse” in this scroll blank. Materials are permanent pen and gouache
In the summer of 2019, I went on a small jewellery/beading jag.
Left, top to bottom: necklace that doubles as circlet made of amber on beader’s wire; amber drop earrings; glass bead swag with removable beads (cord is beader’s wire with silver beads); amber and copper bead swag on beader’s wire for Old English garb (with brooches). These are all for wearing with my Old English garb.
Right, left to right: Pearl-and-amber paternoster on silk with silk tassel; green-stone-and-amber paternoster on cotton with cotton tassel; green stone prayer beads on cotton with cotton tassel. The first two paternosters are to wear with my 14th-century garb, while the prayer beads are for my Ottoman garb.
In summer of 2019, I made my first pair of shoes with Michel Almond de Champagne’s shoe kit. They were remarkably easy, and will fill a nice gap in my wardrobe, as they will work roughly for most time periods.
The leather and rubber soles came in the kit, which I handsewed with silk thread. The shoes fit very well both with and without socks, but the soles are incredibly thin, even with a pair of insoles. Because of this, I only plan to wear these when I know I will mostly be standing on dirt or grass.
The prompt for Poeta Atlantiae in 2019 was too good to pass up: choose two poetic forms that are from locations at least 500 miles from each other. I chose the ghazal, from Persian and Arabic traditions, and alliterative verse, from Old English tradition. Kaaren Valravn kindly did last-minute calligraphy of both poems for my entry’s display, for which I am eternally grateful.
I picked up scribal in the fall of 2017, and although I was unable to attend the following Twelfth Night, I desperately wanted to enter the New Scribe Contest. Based on Her Majesty’s whims (Viking persona and a love of horses and the color red), I decided to do an Urnes-Style Horse and Grasping Beast Scroll. I was honored that my scroll was selected as the winner!
Because I wanted a challenging design (and I could not find any digitized exemplars of period illuminations that fit my concept, as Nordic manuscripts are rare before 1100), I decided to base my design on Urnes-style knotwork (c. 1050-1132). I used three artifacts as inspiration:
I decided to adapt one of the Urnes-style grasping beasts into a horse, based on Her Majesty’s whims.The color choices were also influenced by an Urnes-style scroll found online dated 2007; I could not find the name of the original artist. I used gouache and pencil on pergamenata.
As mythird scroll ever, this scroll had many firsts for me:
first entirely original composition for a scroll,
first completed illustrationof knotwork of any kind