Blue is one of my favorite colors.

Thank you. It's fixed. I guess it was bound to happen when uploading 30 videos simultaneously. Thank you for letting me know.

Thank you! Since I couldn’t be there, I’m enjoying watching the fights.

Glad you enjoyed it!

Thanks!

Glad it was helpful!

Thank you

Thank you!

Thank you!

A variety of things! In no specific order: armor, weapons, rattan, clothing, medallions, shoes, circlets, books, belts, baskets, honey stuff (beeswax items plus honey sticks), leather, parasols, and so much more! It varies a bit from year to year, as far as which merchants will be there. Closer to the event, the Pennsic website should list the merchants for that year.

Pennsic War is held at Cooper's Lake in Slippery Rock, PA. www.pennsicwar.org/

On his behalf, thank you.

One of the first books on blackwork embroidery that I ever read was Mary Gostelow's Blackwork. Aside from providing some history on blackwork with various museum examples, there is a chapter called Techniques for Blackwork. This chapter shows examples of different stitches, such as double running stitch (aka Holbein stitch) as well as other stitches like chain stitch and back stitch. Depending on which type of blackwork you're interested in doing will help to determine which stitches you use. If you're interested in the reversible geometric embroidery that was iconic in many of Holbein's paintings, then that's the double running stitch. If you're interested in the swirly floral embroidery iconic of the later 16th century in England, then you'll primarily be using other various stitches (some museum examples are reversible, while others are not - it just depends on the type of stitch you use). Other blackwork embroidery books that I looked at when writing my capstone project for my first degree were Blackwork Embroidery by Elisabeth Geddes and Moyra McNeill, The Creative Art of Embroidery by Barbara Snook, The Needlework of Mary Queen of Scots by Margaret Swain, and others. About 10 years ago, I put a History of Blackwork Embroidery on my blog at: tudorblackwork.blogspot.com/2014/08/history-on-blackwork-embroidery.html There are other books listed on the Works Cited at the bottom of that blog post. I also have various videos on my channel showing step by step on how to do blackwork, how to find and recreate historical patterns, what materials to use (if you're interested in looking for historically accuracy), etc. Here is one video that was made about 4 years ago, an Introduction to Blackwork Embroidery: kzbin.info/www/bejne/joi0ioCQfdqLnsU (Please don't judge too harshly, as I was still trying to learn how to be comfortable in front of a camera.)

Thanks! You're welcome.

Glad it was helpful!

Then it's a good thing that this video has music and isn't silent.

Thank you! The embroidery itself is about 18 inches long and 0.75 wide. The panel is 18 inches long and 2.5 inches wide. The cuff itself (the part that goes around the wrist) is 7 inches long and 2 inches wide.

@LynneFairchild thank you! I am gearing up to make my own but was going to have it all attached to the shift. This way makes so much more sense re preserving all that hard work! Thank you!

The embroidery on my cuffs are the length they are because of the dimensions of my slate frame. With previous embroideries, I've attached the embroidery to a smock / shift. There are pros and cons to this. Historically, attached is more accurate, based on examples available in museums. However, from a modern perspective, I find it's more of a con - if you want to wash the dishes, wash your hands, etc and not potentially hurt the embroidery in the process, it makes it much easier to remove the embroidery and then do the task that you'd like to do.

The main difference (in my opinion) between Renaissance Festivals and medieval reenactment events is that Ren Faires are for-profit with patrons paying to watch others dress up and act, while with medieval reenactments are not for-profit and you're the one dressing up and having fun. As for medieval reenactment groups, there's the SCA (Society for Creative Anachronism) and HEMA, along with many other groups: www.abbeymedievalfestival.com/re-enactment-groups/

Thank you. I was doing my best to replicate the look of embroidered cuffs in the 16th century, which shows the embroidery being continuous all around the cuff.

Thank you!

Glad you like them!

Thank you.

Glad it was helpful!

Anyone who can put in a square (diamond) gusset in the armpit, I applaud you! For me, I find it's easiest to put in 2 triangle gussets and then sew one continuous side seam from the wrist, up the arm, and then down the body of the smock.

Thanks!

In my experience, the slate frame provides tension from all 4 sides of the frame because of its stability. However, the scroll frame lacked tension with the roller bars, regardless of how tight I tried to tighten them. For me, it's an issue of keeping the roller bars (and the fabric rolled on to it) stationary. It's more difficult to do counted embroidery stitches on loose fabric.