Recruitment Project Shopping List: Project ideas to accompany the SCA Recruitment for the Populace Class
This is the handout that relates to the class SCA Recruitment For The Populace Part 2: Sales Resources. This is a summary of some of the projects listed in the class.
Goal: To produce a pattern for a fitted garment from only 4 initial measurements.
Target Audience: new to moderate experianced sewers
I did not develop this. I suggest looking at the original source of “Cotehardie Construction from Extant Pieces” created by Mistress Mairghead de Chesholme (Jacquelyne Aubuchon) found at http://www.chesholme.com/wfiles/2-1-Cotehardie.pdf
For the purposes of this class I have rewritten the instructions in a manner to generate a more generalized fitted pattern that can then be directed in a variety of directions. It is also my go-to first step in drafting patterns for use in making historic clothing for newcomers, including many unfitted garments.
In pattern drafting in the SCA there have been several techniques that have been taught over and over though the years. Techniques of draped and pinned fabric or the duct tape pattern can be used to produce a fitted garment pattern. Both of these do require the presence of the person during the patterning. If you want to try to generate a fitted pattern without the victim present, your options are more limited.
The technique herein described is not absolutely fool proof, but it has great advantages. Using the 4 measurements of chest, hips, waist and total height, you can get fairly close to a fitted garment. I have used this several times with people that I have never physically met and essentially remotely fitted a garment. The pattern it produces is generally within 5-10% of the true value from my experience, and gets close enough to minimize excess fittings. I have been using this for many years to make all manners of garments, from the cotehardies taught in the class I learned this process from, male cotes and cotehardies, Burgundian gowns to many less fitted garments like loose cotes bliauts and tunics and even over garments. If you can pattern the fitted garment, you can figure out how big a loose garment has to be.
Another Luggage strap for our UK trip. Based this time off the heraldry of our home SCA Kingdom, Calontir.
Piece is of 10/2 Cotton. Total Cards 66. Pattern Cards 44. 45mm wide. Double-Face technique. Snip of GTT pattern below
For our upcoming trip to the UK (whenever all this COVID-19 nonsense is done) I decided to be a little extra with heraldic luggage straps for our four suitcases. This is for one of the small suitcases and features part of Vincent’s heraldry. As the suitcase is red, creating the strap as just the stripe made sense for the allusive heraldic look I was aiming for.
Project is 10/2 perle cotton. 40 mm with w/60 cards. Star Pattern is 38 cards wide. Snip of GTT pattern below. Double-face technique
That’s it for now.
This is a project started in 2012 that I updated some information on recently by request. the full resource is not open for download, but group chatelaines and recruiters in Calontir can ask for access. As of 1/2020 there were over 100 entries in the guide. Two are provided here as examples as well as the project description.
Project Description v 1.2 2020
The dream of the Costuming Guide is to make a usable tool to assist groups and chatelaines in recruitment and retention as well as aid our members, new and old. We hope it will aid individuals in knowing their options for historic clothing as well as expanding their knowledge of the clothing commonly produced and warn around them.
When we talk to people about joining us in our recreation hobby, there are often times when their vision of what we do does not line up with the actual things we do. One of these cases of discordance can lay with historic costuming. There are people who think we do what some of us would call theatrical costuming, or cosplay or LARPing. Although these are related to what we do, there needs to be an effective way to show the differences between what they do and what we do. By having a source of examples of what we do we can effectively draw distinctions and educate people on our hobby.
There are also those who join with us in our game but who lack either the specific knowledge about historic clothing or lack the vocabulary needed to articulate their desires for clothing production. Many of us who do recruiting work have had a new person we are talking to and we ask them what time period or what culture they would like to explore, and they on occasion, cannot describe what they want. Although a guide of commonly produced fashions does not solve all these problems, it can form another resource in a recruiter’s arsenal.
There are those who don’t know where to start in tracking down patterns and primary sources of information. On occasion I have seen an image of someone’s costuming or an image in a book and thought I would like to try that, but I wasn’t sure what it would even be called. Having a well populated guide could also help people to be pointed in the direction of at least a few resources. It will also represent an easy resource for the unsure newcomer to point to in order to say ‘I’m doing it right, yes, I will fit in.’
This Project is designed to have a specific scope to it. It is not the end all and be all of guides to all clothing. It is not intended to become an encyclopedia of all knowledge on costuming. It is also not intended to become a pattern book for the production of all historic costuming. By controlling the content that is submitted as well as the format it is in, we hope to direct it to meet our primary goals.
We also recognize that this project may spawn other projects with greater scopes. In the future there may be a way to automatically categorize and store patterns and information or a way to link to other wiki’s that have come before.
The Current Design
The hope is that as submissions are processed each submission with be used to generate a 1 page (front and back) entry that includes the basic information and at least 2 photos, one of a source example and one of a recreated example that someone is wearing around today. It will be enough to introduce someone to the concept of the costuming component and contain at least a couple resources to direct someone down the path of being able to produce the garment themselves.
The entries can then either be printed and put in a binder for use at recruitment opportunities or meetings, or viewed on laptops or tablets. There is also a chance that the entries will be uploaded to a website to allow universal access.
Because of the use of the entries, all photos will need to come with releases that we may use them from the person in the photograph as well as the photographer.
Ver. 1.0, 1/28/2020
This class will discuss some key ideas for newer members, a self-check for skills and resources and a list of specific simple projects with links to examples, blogs or other online instructions. This is a general class that will look at a wide variety of items, define what the different items are and provide resources to patterns and instructions but not cover the construction of the items themselves. The goals for this class are designed for people new to historic costuming and those who help them.
This was a quickly put together class handout and will be updated when I have time.
Information from and handouts related to:
Introduction to Metal Decoration on Finnish and Latvian Clothing
Lady Margery of Penrith, Mistress Johanne Fisher Gate, Vincent De Vere
Calontir – 2019 v1.0
In this class we will introduce some of the stereotypical characteristics of garments related to the tribes occupying the eastern Baltic area. Many of these ensembles based on grave finds are identifiable by the metal decoration applied to the fabric of the garments as well as the metal accessories associated with the styles. We will look at two specific examples and talk about the characteristic traits of these pieces. We will introduce the variation of design between these key examples and a few of the other tribes in this region. Then we will talk briefly about a few of the resources for the beginner to explore these fashions and link to additional introductory handouts to aid in their construction.
decorativecoilsforbaltictribalgarmentsandaccessories
introductiontometaldecorationonfinnishandlatvianclothin1
baltictribemetaldecoratedknifesheath
webtwistedwireringsa26streasurechestintrosheet
webversionnorsegroomingtoolsa26streasurechestintrosheet
Vincent De Vere Axed Root, Calontir V1.0 2018
This is part of the longer ‘Beginning the Garb Journey class taught in the spring of 2018.
Goal: To provide an outline and strategies that aid a newer or more established member in planning their SCA wardrobe.
Description: This class provides some tools and strategies that may help someone in creating an organized, long term plan for constructing their SCA wardrobe. In focusing on a long term plan you can better take advantage of budgeting and cost savings through planned purchases as well as the motivation of reaching goals along the way.
So you can make a pattern that can help you make a variety of things. You are more comfortable in searching out resources and fact checking them. You are meeting new friends who can help you learn and grow. One possible way forward is to actually make a plan with lists of what you want to do and goals for when you want them done by. There are advantages to making a plan and being organized.
Filling out a wardrobe and moving further down the path towards better authenticity is likely to be done in a series of small steps. You don’t need to leap clear to a perceived end goal instantly. You can invest time and money as you have them and pursue skill sets you are missing along the way. This can be a less haphazard process with a plan.
In this case, what bothers you about your kit? If something bothers you then it may be making you uncomfortable. If you are uncomfortable then you are distracted from your learning and from the fun.
Garb that doesn’t fit?
Garb that isn’t warm enough?
Garb that isn’t cool enough?
Garb that you are embarrassed about or know is blatantly wrong?
Really this process of writing down what you find annoying can be a great way to focus in on important things and prioritize your efforts. If you correct the thing that bothers you the most and then move on to the next most annoying thing and the next, soon what you have left isn’t very annoying.
Court garb? Work Garb? Heraldic garb?
Nice shoes?
Accessories? A more correct pouch? A hat or hood?
This is a little different then looking for annoying things. It might not annoy you that you are lacking a specific item, it may still be a goal to have over time.
Inventory your garb stash. What garb do you have? Is there any of it that you would really rather not wear? Is there some that doesn’t fit?
Inventory your fabric stash. What do you already have? Is there enough of it to do anything with? Are you heading towards having ten tunics out of the same grandma couch print fabric?
Do you have a sewing machine, interlock machine? Cutting table? A place to sew?
Are there skills or knowledge that you don’t have?
There are many perfectly useful educational videos available on line to fill in minor gaps in knowledge. From the basics of sewing machines to how to use the buttonhole settings to specific historical costuming information. There is also a mind boggling amount of information available for patterning and general costuming information. One of the major problems is rooting through all of the flotsam and jetsam on all the blogs, ancient web pages and Pinterest pages to find information that is reliably accurate. The problem isn’t finding information, it is finding good information.
Where can you buy the fabric you need? Do you have local stores that carry fabrics suitable for historic costuming or will you have to plan further out when you visit communities with these resources? Will you need to order on line? Do you know where you can order from? Do you know what colors patterns and weaves are appropriate?
What are the outfits you want?
This can be a long term (sometimes very long term) to do list. Items you really want to have some day. Looks that inspire you. Specific images you want to recreate. Gather tougher the inspiring images and sketches. Make notes of acceptable colors and amounts of fabric.
Are there outfits you can assemble over time?
What are the components to specific outfits and what are you missing from them?
Are there accessories you can get over time?
Are there people with the skills you can ask for help from? Post asking for help on specific topics.
Are there classes you need to look for or that you can ask to be taught again? Make a wish list of classes.
Are there friends you can work together with? Are there group sewing nights?
Can you organize your wants and needs and based on patterns keep a list of amounts of fabric needed
Shopping strategically and looking for deals. Buying when things go on sale or deals are found.
I have used the format of a note book with lists, sketches, class notes and information related to the construction of specific garments. I include amounts of fabric needed, costs, websites where I can buy the fabric, and measurements. I flip back through my notebook once in a while to remind me about different plans and projects. I know of other people who use three ring binders with sheet protectors as pockets to hold class handouts and receipts.
The format that I use most is a spreadsheet. I keep the project name, lists of materials, goal dates to complete the projects by as well as a percentage complete to remind me how close I am on specific projects. Part of that spreadsheet is a shopping list
However you stay organized, if you focus on your fun of creating and fun of learning and keep moving forward you are sure to make more progress than just sitting back and watching life roll by.
2023 updates and revisions coming soon
This is the first effort to release examples of our “A&S Treasure Chest” activity kits on the web without having more direct control over them. Therefore these represent the edited new forms we have been using.
This edit represents a change to links to online content where ever possible and activity kit instructions that we have written where required. We recognize that there are many sources on line for instructions on how to do various activities. Our efforts are not to create an encyclopedic and all-inclusive listing of all instruction sets, but to lay out for the consumption of a newcomer, a set that we know, understand and that we feel does a good job at explaining the activity being covered.
These are also not meant to be the end all and be all of each craft. They are introductory activities meant to aid in the first steps of exploration. Often the instruction sets chosen are more simplified or leave out details of the more advanced classes. After our new A&S explorers feel comfortable at the introductory level, then it is assumed that they will dive more in depth to any area they find interesting.
We have, in some cases, linked to classes, blogs or web sites that are easily found on the web. If you find a link to your material and wish the link taken down, just let us know.
And yes, I am sure there are typo’s and formatting errors. I would rather do something, even if flawed, then be paralyzed by perfectionism and do nothing.
web cloak A&S treasure chest intro sheet
web Honeycomb pleatwork apron A&S treasure chest intro sheet
web a simple hood A&S treasure chest intro sheet
web liripipe hood A&S treasure chest intro sheet
web norse womens hood A&S treasure chest intro sheet
web 6 or 4 panel hat A&S treasure chest intro sheet v2
web Simple cloth bag A&S treasure chest intro sheet
web script or shoulder bag A&S treasure chest intro sheet
web buttonhole A&S treasure chest intro sheet
web cloth buttons A&S treasure chest intro sheet
web hand sewing A&S treasure chest intro sheet
web simple coif A&S treasure chest intro sheet
web Simple cloth bag A&S treasure chest intro sheet
web seam finishing A&S treasure chest intro sheet
web basic t tunic or dress A&S treasure chest intro sheet
web eyelets A&S treasure chest intro sheet
web identifying fabric A&S treasure chest intro sheet
web mail A&S treasure chest intro sheet
web etched medallions A&S treasure chest intro sheet
web wire weaving A&S treasure chest intro sheet
web twisted wire rings A&S treasure chest intro sheet
web metal needle A&S treasure chest intro sheet
web wax hardened wax tablet case A&S treasure chest intro sheet
web wax hardened penner case A&S treasure chest intro sheet
web basic leather cup A&S treasure chest intro sheet
web aglet A&S treasure chest intro sheet
web belt buckle A&S treasure chest intro sheet
web penannular brooch A&S treasure chest intro sheet
web intro to leather tooling A&S treasure chest intro sheet
web Heddeby coin pouch A&S treasure chest intro sheet
web leather sewing A&S treasure chest intro sheet
web identifying types of leather A&S treasure chest intro sheet
web netting A&S treasure chest intro sheet
web bobbin lace A&S treasure chest intro sheet
web Lucet A&S treasure chest intro sheet v2
web kumihimo A&S treasure chest intro sheet v2
web inkle weaving A&S treasure chest intro sheet
web tablet weaving A&S treasure chest intro sheet
web embroidery v2 A&S treasure chest intro sheet
web Nalbinding A&S treasure chest intro sheet
web drop spinning v2 A&S treasure chest intro sheet
web intro to pre prints A&S treasure chest intro sheet
web bookbinding A&S treasure chest intro sheet
This class describes a project designed to encourage personal ownership of A&S exploration, encourage active participation at meetings and aid people in their first explorations of A&S activities. In using the kits we have found several ways that the same arrangements of supplies and materials can be utilized. The class will describe the process we went through to settle on the current design, describe the usage of the kits and discuss the design and materials found in them.
There are many ways to play the game, just as there are many ways groups can encourage their membership to participate in a variety of Arts and Sciences. Several years ago a conscious decision was made in our group to move away from prescheduled A&S classes at our meetings and instead encourage personal development and one on one learning, to strive for increased personal connections between members. Although this decision was, I feel, correct for our group at that time, I am not claiming that this would be true for all groups or at all times.
We saw that some groups that have a set pre-scheduled A&S night monthly or every other week would quickly run into a series of the same issues. A lack of instructors volunteering to teach anything, people wanting to learn something specific but “it was just done last week” or “that isn’t scheduled for several months”, classes where everyone taking the class already is familiar with the topic but they feel bad that no one is taking the class so they sit through it anyway and often developing members that seemed to desire to have A&S projects spoon fed to them rather than exploring on their own.
From these issues we developed a plan that first started with encouraging everyone who is an ‘expert’ in some area to be open to teaching that topic in a one on one setting when asked at meetings. These one on one classes could turn into larger classes, but they did so naturally, and on occasion turned into group activity nights.
One of the next stages was to encourage people to have traveling projects that they can bring with them to meetings and events as much as possible. When we tell potential members that we are an active organization that actively does a variety of arts and crafts we should actually do what we say we are doing. This connected to other parts of our recruitment and retention strategy.
To facilitate the teaching of some of the basic and often repeated classes that were taught to newer people we came up with the idea that became the A&S Treasure Chest. It was decided that having kits made that would provide the resources to teach these common topics on hand and ready to loan out or use at meetings would facilitate this process. The initial idea was analogous to A&S loaner gear.
In the brainstorming process it was decided that there were specific areas that lent themselves better to the A&S Treasure Chest than others. But in general they would take the form of plastic containers holding sets of materials, instructions and most of the resources needed to explore the topic. That they would build upon each other and provide for and encourage interconnecting between areas.
The original design of the kits included a variety of “Make and Take” projects that supplied the materials at cost and allowed for the member to take the finished project home after the self-guided activity. This plan was later scaled back out of concern that by the time the new members are to the point of taking on full projects they should be searching out the materials and supplies themselves. Handing them too much of it would reduce the amount they have invested in it (time, money, effort) and might backfire resulting in members who want more spoon fed activities rather than producing membership that self-motivates and seeks out the resources themselves.
The majority of the “Make and Take” activities were replaced with folders containing hard printouts of various classes and instructions people have taken at events as well as ones found on line. This maintains the natural progression of the learning process and reduces the cost and size of the A&S Treasure Chest greatly.
One other point is related to the ownership of the kits. It was decided early on that the A&S Kits would be owned by individual members and not become the property of the local group, and thus the property of SCA Inc. This meant that they would not fall under an inventory of the group’s property and if kits were lost, damaged or not returned it would not be a matter of theft of SCA Inc. property. This may or may not be of concern to others, but it factored into our design.
Although the main initial thought was to use them for introducing newer members to a variety of A&S topics, we have found that they can be utilized in several ways
The general progress is to have people begin with the activity that best fits their current skill and knowledge level. Our new members come to us with a variety of backgrounds and skill levels. Some of the kits begin with extremely simple activities and build as skills and knowledge builds. One of the examples with this is the sewing progression
Activity Kit 1 – Identifying Types of Fabric – The fiber identification and burn test kit the familiarize people with different fabrics and the pros and cons of the different choices.
Activity Kit 2 – Basic Hand Sewing Kit – Introducing some of the basic hand sewing stitches.
Activity Kit 3 – Basic Seam Finishing – Introducing some of the basic seam finishing techniques.
Activity Kit 4 – Make and Take Coif Kit – Using hand sewing to produce a wearable coif from pre-cut supplies.
From this point the member should be able to identify an appropriate fabric choice and have the skills to sew a basic garment. The member could then look at some of the provided handouts on basic garb items (t tunic, pants, tunic dress, etc). The more experienced members can assist the newer members with taking measurements, pattern choices and pattern drafting, and the newer member can use the skills acquired in the earlier kits to continue their learning.
A new member may come in with no sewing experience at all, but with a knowledge of fabric, or with no knowledge of fabric choices but a good understanding of sewing. Some members may jump directly to the handouts on patterning and dress styles, or go back for the kits on seam finishing, button holes or making fabric buttons.
All of this is done with the understanding that current experienced members are always going to be available to assist when someone gets stuck or needs guidance
This style of kit does not lend itself to all topics covered in the SCA in the areas of the Arts and Sciences. Logically we chased after the low hanging fruit first of topics we already covered, ones we had excess tools and supplies for, common ones that many of our members did. However there are others that we did not either cover yet or might not for various reasons.
Our group already has a resident fiber arts expert in weaving with loaner looms, so it was felt that topic was already well covered. Another local person had regularly offered shop time for armoring and other metal work. So, again, some of these topics were not explored yet.
Other topics don’t lend themselves to this for other reasons. We had the ability to make a lamp working kit, but we felt that the inherent dangers with this activity made it better covered in some of our group project nights. We were contemplating a pewter casting kit but felt that would have similar concerns.
Some topic ideas did lend themselves well to kit construction, however the expense associated with the kits made their loaning out a risk. In dealing with new and potential members it is important to keep in mind that they may, at any time, not return. So there is always a risk of kits going missing. One of the examples of this is a chasing and repoussé kit. It doesn’t often get loaned out to people until we know then well.
Obviously there are many, many other topics and areas that we could, and I hope will, explore given time and resources. Rarely is it that I can wander through a large event and not see another activity that would lend itself well to this project.
It was decided early on that we did not need to reinvent the wheel on any of the topics that we were covering. There are already many resources on line and at our own events providing us with classes covering any number of topics and the instructors are normally fine with using their materials to teach other people as long as they are sited. Realistically all we are doing is printing out a copy of a set of instructions that any newcomer could find for themselves but ensuring them that the one we print out does actually work and is a good example for that topic.
There has been some gaps in our lessons and these, on occasion, must be filled in by one of us finding the time to research the topic and generate our own new lesson. But once a gap is filled it continues to be filled and it is covered.
It is my hope to continue expanding the topics we cover and the kits we house as we have time and as we find more projects that fit in it. Being that I also work a great deal with costuming for newcomers I plan to expand the sewing/patterning section as well as the various other projects that fill out a complete kit. I place specific importance on these as they aid in yielding a newer member who not only looks like they belong, but more importantly feels like they look like they belong.
I also hope to continue the integration of this project with other projects I have worked on, including a garb guide for newcomers.
The A&S kits have been an attempt to foster a culture of personal ownership of ones exploration of A&S topics and avoid a group full of members who need to be constantly entertained with and spoon-fed activities and classes.
We have found many other ways to utilize these kits and make the initial investment in them pay off. It is my hope that other groups may see in this project, if not a framework to emulate, then an encouragement to proactively think about how newer members are constructing their way of looking at the Arts and Sciences.
Axed Root’s
A&S Treasure Chest
Kit Name Here
Introduction
The brief introduction to the topic
Prerequisites
What skills you need before starting this project
Things to try after this kit
How this project connects to other projects and where this learning can take you
Things to make that go along with this kit
Ideas about what to try next to connect this skill or project to your sca kit
Difficulty Level
Relative difficulty of the project
Materials
What you need to have
Things you need to do this project (scissors, pencil, paper)
Consumables
Specific materials provided in the kit and the cost to use it
Item and cost
Included Materials and Tools
Materials tools and supplies provided in the kit that are not consumed and should be returned with the kit
Historical Background
At what point does this project fit into history and what cultures does it represent.
Safety Warnings
Instructions
Links to additional information or videos on the topic
This Kit belongs to Kristine nic Tallier and Vincent de Vere.
The total kit cost is $XXX. If you lose the kit or damage it in some way you will be asked to pay replacement costs.
**Example – Axed Root’s – Example**
**Example-A&S Treasure Chest–Example**
Calligraphy and Illumination
Introduction
It may be Calligraphy to us, but in the middle ages it was simply writing. They used the quills, styluses and reed pens because it is what they had. Illuminated manuscripts still live on as representations of faith and devotion as well as love and artistic endeavor. The techniques they used produced enduring works of art and inspire us today.
We use calligraphy and illumination to produce artworks and award scrolls to recognize the works of our friends. It can be as simple or as complex as you desire.
Prerequisites – What skills you need before starting this project.
None – this is an introduction kit.
Things to try after this kit- How this connects to other projects and where this can take you.
Try painting some pre-prints for crown
Make your own borders inspired by the many different styles of calligraphy and illumination found throughout history,
Difficulty level – Relative difficulty of the project
Beginner –
Materials – What you need to have to do this project
Paper towels
Water
A cup or bowl for water
Consumables – Specific materials provided in the kit and the cost to use it.
Item and Cost
Pre-print borders – $0.05 each
Materials and Tools
Materials tools and supplies provided in the kit that are not consumed and should be returned with the kit
Paints
Brushes
Shells
Handbook
Unused pre-prints and borders
Ink bottle
Calligraphy pen and 6 tips
Historical background
At what point does this project fit into history and what cultures does it represent.
Safety Warnings.
Don’t spill the ink. Might not want to drink the ink either.
Instructions
Use the included handout “Calontir Scribes Handbook” as your instructions for learning about calligraphy and illumination.
The pre-print cardstock border sheets are $0.05 each for replacement cost. Leave a nickel in the kit box if you wish to use one.
Let the paints in the shells dry out before packing up the kit.
You will be asked to pay for replacing anything missing from the kit
Links to additional information or videos on the topic
none yet – search : sca + Calligraphy + Illumination
This Kit belongs to Kristine nic Tallier and Vincent de Vere
The total kit cost is $40. If you lose the kit or damage it in some way you will be asked to pay replacement costs.
Axed Root’s
A&S Treasure Chest
Calligraphy and Illumination
Axed Root’s
A&S Treasure Chest
Calligraphy and Illumination
Axed Root’s
A&S Treasure Chest
Calligraphy and Illumination
Axed Root’s
A&S Treasure Chest
Calligraphy and Illumination
Axed Root’s
A&S Treasure Chest
Calligraphy and Illumination
Stars and Garters 