Chemistry

While I know a bit about the basics of glass chemistry, I decided to take Corning’s 3 day online Furnace Glass Chemistry course to further round out my knowledge. I’ve taken two classes so far and they have been really informative. It has given me a new level of understanding about how the different materials used in glass formulas interact with each other on a molecular level and it’s rather fascinating. It’s quite like putting together a puzzle, with the picture becoming clearer as each piece is being put into place.

The classes started off with in depth information on creating a clear glass formula and today we began to delve into adding oxides and minerals. Next week we will finish up the list of the more top tier ingredients and then discuss some specific recipes and formulas. A lot of the information that we have learned so far is quite applicable to the way that we blow glass in our studio so I feel that I will be able to put this new knowledge to good use. It is also giving me a solid base from which to dig deeper into my own color and composition research when wanting to make period appropriate colors.

Memories of Villa Borg

I’m going to post a little more about my time at Villa Borg. It had such a great impact on my perceptions of historical glassmaking and even two years later it is an experience that I constantly turn to as it frequently informs whatever my current glass research is, no matter the topic or time period.

While at Villa Borg a couple summers ago I was able to work on a couple of personal glassblowing projects. It was a unique opportunity to try things that I was working on at a real wood-fired furnace, using a period glass composition and working in a more period manner than the set up at a modern hot shop. One project was a 7th century Anglo-Saxon globular beaker, which I then showed at Pennsic’s A&S War Point, competing for the East.

Making the vessel in a completely new environment was certainly a challenge. I had already created the muscle memory from working in my own shop and had the moves down pretty perfectly. At Borg I had to change everything… from using the rails on a metal bench to using my leg to roll the pipe on, the timing was different on each reheat, even the material moved in a different way. The learning curve was QUITE a curve ball. It was a wonderful challenge for my skill set though as it helped me gain more understanding of glass as a material, how it moves and behaves, and presented me with interesting problems to learn from.

1st Century Roman Vessels

I’ve been making folded foot vessels for a while now, but mostly doing bottles and jars and simple cups. Well this past week while playing around with them in the shop I realized that I can now make one of my favorite Roman cups!

Sometimes I feel rather silly. This was definitely an “oh, duh!” kind of moment. While goofing around in the shop I realized that I could make this cup. It’s a 1st century Roman vessel and happens to be one of my favorites. All of the techniques are things I’ve been doing for a while now so it’s really quite silly that I didn’t think to make these yet. The style is most often called a skyphos and they are just really pleasant to drink from. I often make production on the more mundane items for the shop (bottles, jars, roses, and the like) and forget the range of things that I can actually make if I take a few moments to think about it. lol Making this cup requires the use of three techniques: the folded foot, the folded outward rim, and cast off handles, all of which I have been doing for the last couple of years. *hard eye roll*

The bottom vessels pictured are all in the Corning Museum in Corning, New York.

After successfully making several of these cups I was prompted to try a flange bowl, another 1st century vessel.

Making a flange in glass is not for the faint of heart. It’s a move that needs a lot of heat and a bit of bravery. You just have to kind of go for it. If you hesitate you could waste the crucial moments needed to get a proper seal. The flange itself is not made of an additional trail of glass, but the side wall is collapsed onto itself creating this decorative element. I ended up making several of these, loosely based on some 1st century examples, which, as you can see, came in a variety of shapes and colors. These extant pieces can also be found in the collection at The Corning Museum.

Kohl Day

Yesterday I got to take a break from our UK order and play around in the hot shop. I decided to make some more kohl bottles. I kept within the period height variations and the general shapes and played with the decorative elements, not creating any one vessel to spec, but trying to capture the variety of looks while keeping with the period aesthetic and overall feel.

More than dabbling

Last week I was sending out a package and decided to play around with the shop’s calligraphy marker and do some fancy lettering on the address label and name tags for the items inside. Every couple of years I dabble with lettering. It’s enjoyable, looks pretty, and gives a bit more of a personal touch to a gift. All around a win. This time though, I decided that I could do better than just dabble and am going to try to make some actual progress on learning an alphabet or two and see where it takes me.

There are several FB groups for the scribal arts in the Sca that I wasn’t sure where to start. I could easily go to any of them and comb beginner threads and wade through the many differing opinions, or, just to get started, I could go to a single trusted source. I chose The Source.

I explained what little background I had and she gave me advice on how to begin and what tools to get. I immediately purchased a copy of Marc Drogin’s Medieval Calligraphy (which should be arriving today), an Ames Letting Guide, and pulled out a couple of grid line note pads to help with practice.

This is a quick and dirty list of some of the information that I was given to start off:

Materials:

  • Paper: Bristol board in a pad, hot press (also good for small scrolls)
  • Ruler: cork backed, 18″ is versatile
  • Ames Lettering Guide for line making
  • Mechanical Pencil: .5mm is a good choice
  • Medieval Calligraphy by Marc Drogin
  • Ink and nibs: Higgins Eternal or Calli (online), Rotring (they make 5 different sized points)

Some tips:

  • it’s helpful to start off with graph paper to keep angles consistent, especially gothic scripts
  • try to keep the whole men edge down on the paper, adjusting the angle without fighting the ink
  • start with the big nib as it magnifies the feel of of keeping the pen on the paper
  • calligraphy pens work in one direction- downward, always pull the nib, never push it, especially for a dip nib as they are sharp and can catch , dig in, and then spring free spraying ink everywhere
  • practice with letter groupings: a,c,o,d; l, i, j: etc…
  • once comfy using the Zig marker (which I already happened to have) try ink, for a stair step use a cartridge pen, for a bold step go for dip nibs and bottle ink
  • find a type that you like that you might enjoy practicing: structured rigid fonts = texturas, “old English” or organic, flowing fonts = batarde

We also discussed the importance of repetition and muscle memory. As a glassblower I am all about the building of foundation skills. In the shop we often joke about how some objects are “sanding the floor” or a new technique is “painting the fence”. In many crafts it can be so important to learn how to walk properly before running. Can you jump in sometimes and figure it out on your own to find your own voice that way? Sure. That can work. Although sometimes the best way really is the tried and true. Practice the drills. Rinse and Repeat.

Anyway, I’m looking forward to my book arriving today. I’m certain it will be an interesting read, and then? Time to start practicing!

humble beginnings…

The Order of the Laurel

Last night I received my writ for induction into the esteemed Order of the Laurel.

Wow. Just… wow. This has certainly been an unexpected event. I won’t say that I didn’t want it, or had never thought about the possibility, but for me the idea of it happening was years in the future, and most certainly not in the strange times we’ve been living in, with events away on the horizon, and not close enough at hand.

I am truly honored to have been considered for this by the Order, and for TRM to not only feel that I have earned such a title, but, most importantly, that I am fit for the responsibilities that come with it. I shall endeavor to be worthy of all of its aspects.

Being that I’m rather unprepared for such an event, I had no “In Case of Peerage” ideas written down or really even in my head, it will take me a minute to catch my breath and make some decisions on events and their details. My Peer had mentioned it a time or two but as I thought that it wouldn’t be for some time I didn’t jump on it right away.

For the moment I would just like to express my heartfelt thanks to everyone for their enthusiasm and support. It’s really quite overwhelming and it will definitely take a minute for it to sink in, especially after hearing the words coming from their Majesties.

“Wait. What?!” and “That’s crazy!!” are on repeat in my head.

My smoothing board has arrived!

I’m so excited because my new smoothing board from the Practical Viking has come in. This will be the perfect display for our Viking Era table in the shop, as it will give a wonderful visual representation of what the smoother and accompanying board may have looked like in period (if in fact it was used for that and not as a serving board as has also been suggested). Granted, this is a thicker version and made of poplar instead of whale bone, but the visual context is what I’m looking for and I think it is well suited to the task.

Blown Viking Linen Smoother

We had a great color in the furnace this past week… a lovely pot metal green glass. While trying to decide what to make, I had a moment of inspiration when I remembered the blown linen smoother that I saw back in 2016 while visiting the Swedish History Museum. I recalled how I was so excited upon seeing it, as the realization hit me that I was looking at a hollow linen smoother as opposed to a solid one. I had seen pictures of this smoother before, but they were poorly taken and one couldn’t really see the details properly. Seeing it in person was a wonderful experience. The cracks in the piece showed the wall thickness well, and I was able to see nearly every angle. When looking at the jackline on the end you could even make out the small hole left over from the inflation process. I was just dumbfounded that I hadn’t realized before that it was blown!

After viewing the rest of the museum (one of the best laid out museums that I’ve ever been to) we asked if the curator for the glass collection was available. After a short wait we met Kent Andersson, head of Collections and Research. He was very nice and took the time to answer several of our questions, one being about this particular item. As of that time, this linen smoother, found in a richly appointed female chamber grave in Birka, was the only blown smoother of this shape that had been found. The most common style is black in appearance (created by a dense, dark green glass) and was round in shape, similar to a modern paperweight, with a punty mark in the center base, as opposed to this particular piece, which had the smoother broken off at the jackline at the end of a flattened teardrop shape. A similar shape as this, but hollow, has also been said to be found, but I have yet to do more research on that particular style.

It took a few tries to get the shape correct. One was too wide and blob like, one to narrow on the end near the jackline, one too small… but one… it was nearly juuuust right. I couldn’t wait to take it out of the oven the next day and see how it fit in the hand. I thankfully wasn’t disappointed. It was so comfortable! Light, but sturdy, it must have been a lovely tool to work with.

Working with an image I took while at the Swedish History Museum and an image from Kent Andersson’s book Glass From Romans to Vikings, here are two of my prototypes.

The smoothing boards found in upwards of about 60 female graves are interesting artifacts. There is actually still some debate about their exact use, often being suggested as a board for smoothing linen, but also as a kitchen tool, likely similar to a cutting/serving board. Other uses have also been suggested, such as a ritual item in religious ceremonies, but the these are the two most often sited. Plaques like this are generally dated to around the later 8th century to the later 9th century.

I have commissioned a smoothing board to compliment these pieces for a display in the shop, but once received I will also be doing some experimental archaeology to get the feel of how exactly this tool might have been used to better explain it’s function when teaching about it.

References:

Andersson, Kent. Glass: From Romans to Vikings. Uppsala, Balderson Publisher, 2010

Discussions with Kent Andersson, Head of Collections and Research at The Swedish History Museum, Stockholm, Sweden, 2016.

Evison, Vera I. Catalogue of Anglo-Saxon Glass in the British Museum. London, British Museum Press, 2008

Reinicke, Tamás. A Whalebone Plaque from the Collection of the British Museum. https://www.academia.edu/12070380/A_Whalebone_Plaque_from_the_Collection_of_the_British_Museum

More Kohl Bottles!

I made another batch of kohl bottles, once again not trying to create any specific bottle to spec, but taking the elements of the period bottles to capture the look, feel, and design of the originals. With this batch I decided to concentrate on making a thinner, more elegant main body, and creating the more slender handle style with pinched decorative tops. As seen on bottles of the period, these are applied to the side wall, cast off, and pinched with tweezers. I also changed the shape of the foot to one with a smaller attachment point and more of a flared silhouette. These pieces range in height from 3.75″ – 5.75″, easily within the range of the period vessels.

Though using a modern furnace set up these bottles were made using period techniques and tools, such as shaping without a blow hose and the casting off of bits, and the main tools being the jacks and a pair of tweezers. My last tool was simply a stick made from a tree branch for additional shaping of the handles when needed, as the tweezers could chill the glass too quickly, causing a permanent angle on the inside of the handle.

For more information on this style of cosmetic container please check out my previous post regarding Late Roman Kohl Bottles.

Cosmetic Tubes/Kohl Flasks made by Leslie Pierce
Cosmetic Flask/Kohl Tube, 4th Century C.E., Museum of Fine Art, Boston
Cosmetic Flask/Kohl Tube, 3rd – 4th Century C. E., Israel Museum, Jerusalem
Roman Kohl Bottles, Yale University Art Gallery, Connecticut

References:

Cantz, Hatje. Roman, Byzantine, and Early Medieval Glass: 10 BCE – 700 CE, Ernesto Wolf Collection. Ostfildern-Ruit, Hatje Cantz Publishers, 2001.

Israeli, Yael. Ancient Glass in the Israel Museum: The Eliahu Dobkin Collection and Other Gifts. Jerusalem, The Israel Museum, 2003.

Lightfoot, C.S. Ancient Glass in National Museums Scotland. Edinburgh, NMSE Publishing, 2007.

Matheson, Susan B. Ancient Glass in the Yale University Art Gallery. Connecticut, The Meriden Gravure Company, 1980.

Whitehouse, David. Roman Glass in the Corning Museum of Glass, Vol. Two. Corning, The Corning Museum of Glass, 2001.

Merchants and Awards in the SCA

There have been several posts recently on Facebook regarding the role that Merchants play in the Sca. I’ve seen them praised for their hard work and I’ve seen it said that they are unnecessary and that their presence doesn’t make or break the Society. As someone who has been a merchant in the Sca for just over 10 years I definitely have some feelings about this topic in general. Before getting into this post I just want to clarify that these are just my personal opinions on the subject.

As a merchant I do not see the need for a separate peerage, as has been suggested. However, I would like to see the work put in by many merchants to not only be considered for A&S in the case of Artisan merchants, but to also be able to begin to be considered as Service to The Dream.

I really appreciate that it was pointed out by one of the original posters that merchants do play a big role in the Sca as an organization, especially as I saw several comments in other threads about how they are not necessary and to me these comments felt like we are considered a throwaway. A lot of work goes into a successful merchant’s booth and the marketplace at an event helps to provide an ambiance that it would not have otherwise and gives further life to the Dream of the Living Medieval Village. There are several events that would indeed be lesser without their marketplaces. There can also often be a lot more work going into merchanting at an Sca event versus something like an art show (both of which I have done so I have a good understanding of the differences), though it is not always apparent to the casual observer’s eye.

The first argument that I often see presented is that yes, there are many artisan merchants who have been recognized for their contributions, their research and their work. No, it is not impossible, at least not here in the East from what I gather from these conversations, and from my own personal experience, where being a merchant doesn’t seem to factor positively or negatively into the award discussions. However, there are definitely other things that can make it difficult for an artisan/merchant to be thought of when polling comes around. I absolutely think there is a general Society wide bias, and it does run deep in many places. That is like the folks who say “I have never seen racism so I don’t believe it exists”. In these discussions online I have seen a number of people specifically say that they were told, point blank, that they would never be considered for these awards because they are a merchant. I have also heard it been spoken about by friends in regards to merchants from other Kingdoms myself, and after discussing it with Master Ali, he has come across it many times throughout his 20+ years as a merchant in the Sca. So yes, this bias absolutely exists, and I just want to give a little perspective to the life and work of a merchant.

We are not all just “salesmen out to make a quick buck”, as I have seen stated several times in these conversations. Many artisan merchants BECAME merchants as a byproduct of wanting to take their craft further and became a professional at it instead of a hobbyist. For some reason this makes them lesser in some peoples’ estimation, when I feel that it should be the opposite. The path to mastery does not come from making one thing well. It comes from practice and repetition. It just happens to be that some people use merchanting as a part of that path. It is unfortunate that in many circles this particular path to mastery is looked down upon. That someone should have so much passion for their art that they want to dedicate their life and livelihood to it should be celebrated!

Many of these artisans also became merchants because they saw a need in the Society and wanted to fill it. Master Ali is a great example of this. Back in his fighting days he made a helm. Because of his lack of experience in the craft he was unhappy with the final product. He then decided that instead of dabbling at other crafts, he would dedicate himself to glassblowing and be the best glassblower that he could be so that folks would be able to acquire the items that they longed for to elevate their Game. Also, as he himself had been awed by several A&S display pieces over the years but knew that he could never own such things because the artist only made that one or never wanted to make more or sell them, he also wanted to create pieces that one would might normally only see in A&S displays or competitions and make them accessible to everyone. He saw a need/desire within the Society and used his craft to fill it.

I know that many will throw in the argument about being compensated by the fact that we make money off of our products. Trust me when I tell you that the money most vendors make will never cover the costs of all of the work that is put in. Many of us lug heavy and expensive equipment across the country to provide demonstrations of our work. This adds extra time and energy to our set up and tear down times, often just to have someone watch us and say “I can make that” or “I’m just looking for ideas” and walk away. It can be quite disheartening! Folks give up what would be a day off or what would otherwise be “free time” to do all of the extra research, practice, and promoting so that they can continue to pursue their passions and try to further not only THEIR Dream, but the Dreams of others as well.

It takes heart, dedication, and patience to provide our patrons with quality items and accessibility. Not everyone can or wants to buy everything online and how wonderful an experience is it to be able to hold items in your hand that you may have only seen on a museum shelf! We try to provide an environment that portrays the right feel, often purchasing specialty tents and booth furniture. We travel great distances and set up and break down in all weather, sometimes to the detriment of our wares and/or equipment. We stay open in bad weather and provide a refuge from both sun and rain for any passerby. We donate items to largess, Kingdom baskets, and competitions or tourney prizes. We research not only history, but materials, processes, and techniques to bring our products to life for our patrons. We often must make our own tools because no one makes replicas of the period ones and go through an immeasurable amount of trial and error. Countless hours are spent learning and perfecting. We source materials from all over the world to get *just* the right thing to use for a specific purpose. We are educators about our craft and our wares nearly every time someone comes in to our shop, often pointing folks in the direction of helpful books and research papers to further their own personal studies. At times we even educate our patrons about the things that others sell, assisting them in purchasing the item they want or need, even if it is not from us. What is all of this if not Service?

Another short sighted comment that I would like to touch on is from the folks who try to say “Oh, but it’s so easy to find someone to watch your booth while you go off and teach (or take) a class or go to court (or volunteer, retain, etc)”. One particular poster said to just trade a ride and maybe some food and the entrance fee into the event to some university student, or other such person who may not be able to afford it, and and bingo! Problem solved! Unfortunately real life doesn’t actually work that way. More often than not, that person is more interested in having fun and talking to their friends than helping in your booth and you get someone who is a lackluster addition at best. If you leave your booth you then end up worrying about your shop the entire time you are away and don’t enjoy the time off as a result. There’s also the fact that this person will know little to nothing about the items you sell, your craft, your processes, or even the art of selling itself (because yes, there is absolutely an art to it), and therefore is woefully ill equipped to make sales or educate one’s patrons and instead you and your patrons lose out by having a complete novice in your shop. This, unfortunately is not an uncommon scenario in the slightest and leads to merchants spending the majority of their time in their booths to make sure that their patrons, new and old, are all equally treated to the same quality service and information. This then leads to merchants who are not able to be “seen” as much during events and helps to contribute to this lack of recognition.

I know this is a bit of a rant and it sounds like it’s just one big complaint. It isn’t. It’s pointing out the realities of merchant life and hopefully giving folks a better insight into what we do. There’s a love of our part of the Game that transcends money, because that is not the sole reason that we do what we do. It cannot be if we are to continue to do what we do.

We love seeing someone’s eyes light up when they walk in to our booths and see an item that they have coveted from that museum shelf that they can now own for themselves. We love getting to know the patrons who come into our shops year after year and become wonderful and amazing lifelong friends. Sharing our knowledge and our passion with people who are looking to get into practicing our chosen art fuels us and gives life to a new generation of artisans.

When it’s a hot and sweaty day in the glass shop and I have someone who has never seen glassblowing before exclaim that what they are seeing is magic I can’t tell you how it uplifts and energizes me. It IS a kind of magic! There’s the little girl who sees me blowing glass in a dress and says “Look Mama! She’s doing it too!”, realizing, maybe for the first time, that she could do whatever she wants in life, regardless of “being a girl”. These moments make my heart fill with joy and they show me that what I’m doing matters and maybe, just maybe, I can make even a small difference in someone’s day, as they have made a difference in mine.

It is these moments that keep us doing what we are doing, despite the (sometimes actual) blood, sweat, and tears, and I just wanted to present another viewpoint in the conversations that have been started on this topic. They are important, they are necessary, and it is good that they are being had.

So please, the next time you see a merchant working hard at sharing, researching, and creating, write them in, be it for Art or for Service. Merchants also deserve recognition for their dedication to turning The Dream into A Reality.