One Year Project Competition- The Guidelines

[Heather Swann <heather@pop.net>]

Poster: Heather Swann <heather@pop.net>

Having read this over, I want to add a few things:

I want to encourage anyone who is interested to enter or display.
My idea for setting things out to be judged/displayed is I'd like to
see:
A write-up of what it is, who would have used it, how, etc., essentially
place it in its historical context.
A general idea of what steps and decisions you went through to get to
this point in the project (whether it is finished or still in progress-
which is perfectly acceptable).
The usual sort of documentation. (All the above can be in the
documentation.)
The item(s).
If you have pictures of the steps you took or helpful sketches or
anything else you think would be interesting and help explain it to
someone looking at it (since the folks in the hall will be able to come
up and look at these during the day), that would be nifty as well!  :)


OYEZ!  OYEZ!

Here are the parameters of the competition as it will be held.  First, I
have a copy of the original announcement.  I will note the small changes
I have made, and then I will expand upon the idea.


>         THE ORIGINAL ANNOUNCEMENT
> 
>         The event is open to individual artisans, or groups.   Items are
> the primary focus of this display/competition.  HOwever, there are no
> restrictions on the type of item.  Yes, this means that there will most
> likely be breads competing  with pavillions, but the spirit of the
> display/competition is to stretch your own creative (not financial) limits.
> To enter the display:  the artisan, or group needs to send me a letter
> outlinig their project.  Just a lne or two is all that is necessary.  This
> will let me be on the lookout for your efforts.  The letter needs to be
> postmarked by September 15th.  My address is below, sorry email won't work.

Well, obviously the whole 'send me a letter' thing is shot in the foot
now, so it's not required.  If you can email me ahead of time and give
me a clue as to what you have so I can prepare space, that would be
nice, but you don't have to.  I have the responses that were sent in
already, so don't worry that those might have gone astray.

> 
  Tell me as much about
> your idea as you can.  What will it be?  When is it from?  What materials
> will you use?  Why?  If you don't know something...   This is your chance
> to find out,  as part of the project,  but don't let that stop you from
> getting that letter to me.  If you could send me a picture or diagram of
> what you propose this would be very helpful to me, BUT this is NOT
> required.

The whole idea with this competition is to expand your horizons.  Not to
worry if you can't send in a description.  Please feel free to enter the
competition on the day of the Festival.

> 
> Competition judging criteria will follow the standard Arts&Sciences format

That still stands.  I think some emphasis on trying something new and
having stretched your own horizons will be added as well.

> found in the Kingdom A&S Handbook.  As for judges  HELP!  VOLUNTEERS!
> PLEASE!

That definitely still stands....please volunteer to judge if you can.

> 
> Setting your item in a historical context:  To help the audience understand
> your work better,  items will need to be accompanied by a brief, not over 1
> page,  description to enter the competition,  and for the display this
> wouldn't hurt.  Please experiment with this.  How do you like to present
> the basic information  (What it is, where did it come from,  when would it
> have been made, who would have used it, what is it made of ,  why?  An
> example of a like artifact, method or item from a museum,  or writing, or
> painting, or woodcut, or mural, or fresco etc.)  Remember this doesn't have
> to be a dissertation,  this is NOT  a Writing  Competition.

Please do this whether you intend to display or compete.
> 
> Remember a couple of things -
> Over the course of a year projects can,  and often do mutate.
> Also ask for guidance over the course of a year.

Well, it's a bit late for that...  ;)

> And last but not least I encourage everyone to display their pieces in
> progress.

Absolutely!  :)

The original plan and I plan to go with this is:
(This is what Bridgette sent me and in the interest of getting the
information out there, these are her words.)

 In judging the competition  I was intending to take the time to
> really talk to people about their work.   Try to get a feeling for how much
> research went into it.  How many obstacles they overcame, what kind of
> incidental information they picked up along the way.   How did they do
> their research?  
>         Also,  I was going to look at areas of investigation.  If there was
> anything really  out there,  new, original,  pushing the boundaries of SCA
> research,  I was going to suggest a bonus for that kind of pushing the
> envelope.   
(snip)
>         I wasn't trying to get people to think "HUGE"  I was trying to get
> people to think "authentic".   So I was thinking that proper materials
> would end up playing a heavier role than usual.  AND  because I was hoping
> that people would push themselves, and their skills,  I was thinking that
> workmanship might not be weighted as heavily.
> 
> FOR EXAMPLE:
>         Entrant A made a beautiful, drop dead georgeous, table cloth of
> cutwork.   Just like she said she would.  The fabric is the genuine single
> weave linnen, but it was purchased.  The working thread is a linnen thread,
> but also purchased.  And this is the 1st piece of  cutwork that the person
> has done,  but she is known for other needle work.   She has a picture of a
> mural from Florence showing a tablecloth similar to hers.  She also has
> documentation of her stitches from a church inventory of its vestments.
> 
>         Entrant B made a viking box.  He had said that he was going to make
> a curved top chest from 15th cent. Italy.   He changed his mind when he
> went looking for wood.   He decided instead to attempt to mill his own
> lumber.  He went through many attempts that failed,  but he fianally  cut
> the boards from a tree fallen from a hurricane, split them by hand and
> planed them into rough shape.  All this was brand new to him,  he had
> previously been power tools only.  He passed on using the iron clasps he
> had thought of originally for leather.   Leather hinges and leather handles
> and leather tie in front.  His reasoning is that Vikings in N.America  in
> 12th cent.  didn't  commonly use iron.  He has a picture from an
> Archeological dig in Newfoundland.  The box isn't pretty to the modern eye.
>
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