Sunday, December 11, 2016

Bhakail Yule A&S Competition-Documentation

The Devotion of an Irish Glass Bead Maker


My name is Aibhilin inghean Ui Phaidin. I am a glass bead maker from early medieval Northeastern Ireland who studies under the tutelage of a master bead maker. I am passionately devoted not only to my art as a glass bead maker but as an Irish bead maker making glass beads native to my homeland. Though many know of bead makers in Anglo-Saxon England, Scandinavia and Continental Europe, not many know about the beads we are making in Ireland. In addition to bead makers in Northeastern Ireland, there are also bead makers in other areas such as central, eastern and southern Ireland. Like many of my fellow bead makers, I often make glass beads in shades of blue to represent the water and sky of Ireland. We also sometimes use green to represent grass and vegetation and use gray to represent the rocks and cliffs of Ireland. As an Irish bead maker I believe it important to make beads that are known throughout my homeland. I often make blue beads in different shapes such as round or globular, annular, segmented and even a blue on blue spiral bead. I also create beads with decorations such as the mulberry bead and the herringbone bead. As I refine my skills at decorating beads I hope to learn to make a Meare spiral bead.
It is my honor to create beads to be worn by fellow Irishmen as well as Royalty. My beads are not only for adornment but they are also functional. Beads I make may be used to decorate hair or as decoration on a pin or brooch that is used to fasten a garment like a brat or cloak. I also decorate the heads of pins with glass. My beads can be strung together and worn as a necklace. Now that my fellow Irishmen are utilizing the burial traditions of Christianity, my beads are not often buried with their owners as they were prior to Christianity coming to Ireland. Irish bead makers like myself have begun to create beads for ecclesiastical ornaments. There are also glass beads from Anglo-Saxon England and Continental Europe that can be seen in different parts of Ireland.
Today I have brought a display of some of my art including a necklace of several blue beads, one white bead, and a herringbone bead that I made for one of my neighbors in our settlement and a brass pin decorated with a blue annular bead that I made for Royalty. Lastly, I have a collection of beads that represent other types of beads that are often found in Ireland. This varied display of my craft is a true reflection of my devotion not just as a bead maker, but an Irish bead maker creating beads native to my homeland.


Research Notes

The beads, necklace, and pins made for this project are reproductions of artifacts found in different excavations across Ireland. British, Scandinavian and Europeans beads have typically been found in sets or strings in grave sites, as it was the custom to be buried with their finest. However, the Christian Irish utilized unaccompanied burials. The Irish beads were typically found in settlement sites instead of grave sites. These excavations generally did not yield large assemblages of beads. In fact, some beads were originally thought to be lost or strays. Without large assemblages from individual excavation sites, it made researching beads in Ireland difficult and it was necessary to modify the methodology for studying the beads. Irish Archaeologist, Mags Mannion, created a unified classification system to compare beads found across excavation sites in Ireland. Her standardized system classified beads by distinct classes of geometry, form and decoration.
The beads on the necklace were reproduced based on an assemblage of beads found within the bedding in one of the homestead structures at the Deer Park Farms ring fort in County Antrim and have a radiocarbon dating of 660-780 A.D. Though there was no string present archaeologist surmised that beads may have a necklace based on their promixty. The brass pin with an annular blue bead was reproduced based on a bronze pin found at the royal site Lagore Crannóg in County Meath. A similar find from Moynagh Lough, County Meath has a radiocarbon dating of probably the 7th to 8th Century A.D. The glass topped pins are a much smaller version of what was found at Deer Park Farms and are dated from mid-7th Century to late-10th Century. The collection of beads are reproductions of Irish beads found in a variety of excavation sites such as Lagore Crannóg, Deer Park Farms, Clonmacnoise Ecclesiastical Centre, Garranes Ringfort, and Garryduff 1 Ringfort. Irish beads are dated from 6th Century to 10th Century A.D. with the Mulberry bead as late as the 12th Century A.D.

References:


Hencken, H. (1950, November). Lagore Crannog: An Irish Royal Residence of the 7th to 10th Centuries A.D. [Abstract]. Proceeding of the Royal Irish Academy, 1-151.

Lynn, C., & McDowell, J. A. (2011). Deer Park Farms: The excavation of a raised rath in the Glenarm Valley, Co. Antrim. Norwich: Stationery Office.
Chapters 1, 18, 34 and 35

Mannion, M. (2015). Glass beads from early medieval Ireland: Classification, dating, social performance. Oxford: Archaeopress.



Bhakail Yule A&S Competition

Yesterday, I entered my 2nd A&S Competition. The theme which was devotion really pushed me to not only think differently about the Irish medieval bead project I've been working on, but also pushed me into thinking about what and how I would display the project. I created an necklace, brass pin, glass topped pins and a collection of beads that would have been found in Ireland. Lissa was a wonderful help both prior to and the day of giving me input and feedback!

During the judges review, I received complements on my beads and on my display itself. Using complementary colored wool fabric helped to give the display a more period and cohesive look. I received some helpful and thought provoking questions and feedback from the judges. Though I don't recall the exact question, the question essentially was if I took liberties with anything. My first thought was that the pins I made were not the same material and construction of the pins from the research. However, I then realized the better answer was my use of modern tools to recreate these period beads. This then led to questions and an explanation of how Lissa and I have been doing experiments creating period furnaces, and in fact, at the Great Northeastern War we were able to successfully make beads not covered in ash. The judges encouraged me to include that information into my documentation and to display the beads that I've made in the period furnaces.

I was also able to talk to Lord Muin maqq Minnain about how the pins would have been made. He very kindly took the time to explain to me how it was done using cold working a piece of bronze with a hammer and a chisel and intermittent annealing of the metal. He also recommended a book, The Complete Metalworker that would help to get me started making my own more period pins. Needless to say, I've already added it to my Amazon wishlist.




Saturday, November 12, 2016

A Day with Lissa and Twisted Stringers

Lissa showed me a new and very helpful technique for making twisted stringer.

Using my new twisted stringers I was able to make a Herringbone bead. First, I made a base blue bead and then laid down a twisted stringer on one side and melted it in, and then laid a 2nd twisted stringer down next to the first and melted that in. One stringer is twisted in one direction and the other is twisted in the opposite direction,

Fun with the Bead Furnace

Lissa and I made 2 bead furnaces with restaurant can scaffolding at Marion's and then I transferred them to my garage.

We then brought it Roses on Memorial Day weekend.

Some more pictures...







Stringer Work: Practice Makes Progress

Throughout the summer and early fall I've been practicing my work with Stringers to make waves and layers of spots on beads. I'm learning to work in, out and next to the flame as well as improving my hand control to paint the stringer on my beads for waves. I've also improved my hand-eye control for more evenly placed and symmetrical spots. The wave bead above has been one of my best with the beginning and end of the wave connecting seamlessly. This bead was made at the Wrightstown Demo in September.



These two pictures are part of a Viking necklace I made for Katya to give as a present to the new Queen of Trimaris. The necklace has spirals, waves, melons and evil eye beads (spots on spots)

These are of some of my earlier wave beads.

A fibula I made with 2 melon beads and wave bead.

Sunday, May 1, 2016

Spirals



Lissa first taught me how to do spirals on the 4th of July, 2015 which inspired my patriotic red, white and blue bead. I worked on holding the stringer underhand so that it essentially hangs downward and then turning the mandrel to lay the stringer down on the bead while the hand holding stringer is controlling the angle and spacing of the spirals. This method explained by Tinker is good for first learning to spirals (i.e., instead of using an over-hand, painting method). I'm working on my control of the angle of how the stringer hangs down to control the spacing and number of spirals I get on a bead. I was only able to get 3 spirals on the bead, but with practice I have started to get 4 spirals. Working with thicker stringer initially has helped me improve my control of the stringer around the flame. Heating the stringer to the side or back of the flame vs in the flame is best. I'm continuing work on my control and movement of the bead and stringer at the back of the flame and finding the sweet spot...definitely not in the flame!
First 4 spirals

The next spiral
Raked spiral
4th of July spiral

1st red and yellow spiral

2nd red and yellow spiral



Twisted spirals (including Anglo-Saxon traffic light beads)





Saturday, April 30, 2016

Beads for Lissa at her Laurel Elevation

I was honored to make this for my wonderful and talented friend Lissa Underhill as she was elevated to the Order of the Laurel. The beautiful laurel beads were made by Heart of Oak Crafts and the others were made by me.

February & March: Getting to Teach Beginners

I got to co-teach with Lissa at two events in February: Schola in the Shire in Caer Adamant and St. Aegir's Festival in the Shire of Archer's Ford. At Schola in the Shire I narrated as Lissa did a demonstration and then spent the rest of the day demonstrating and teaching.
At the bead day at my house I also was able to teach my friend Molly to make her first few beads.

Stringer Work in March & April...Learning to Make Waves

During a beading day at my house, Lissa helped me with my stringer work to make waves. I worked on building the skills of holding the stringer like a pencil and "painting" the waves onto the bead while also learning to the move the bead/mandrel toward and away from the flame and from side to side (i.e., more moving of the mandrel than the stringer).
practice, practice, practice

practice makes progress
I got to practice again with Lissa's guidance at Mudthaw.

Lissa and I demonstrated and taught at Mudthaw as well.

Saturday, January 23, 2016

July to December, 2015....A Very Busy Few Months

July, 2015 

Novice Tournament: I entered my project I had been working on: Recreating Early Medieval Irish Beads: A Project in Process. With the blue annular beads as well as segmented, melon and spiral beads. I was delighted to receive recognition for best new skill with the spiral beads I had learned the weekend before. Pictures to come.

Pennsic: I was able to be part of Glass Day at Artisans' Row which was a fabulous experience getting to demonstrate bead making and getting visit and collaborate with bead makers including people I hadn't met before. I was also able to display my beads at the A&S day along side Elysabeth (Lissa) Underhill. That was another wonderful opportunity to meet other bead makers. I went to one of Lissa's class to offer her help and assistance and ended up helping people making their first bead.  I took 2 great bead classes: veil pins and making cane. I was very excited to produce a lovely cane on my first try! At the veil pin class an unexpected opportunity arose and I ended up teaching someone how to make twisted stringers. I also spent one afternoon/night with Lissa and Bruni working with the period kiln. Picture to come.

August, 2015

Bhakail Commons: Lissa and I began by demonstrating bead making. I then had the opportunity to teach a couple of people how to make a bead under Lissa's tutelage. I began to feel much more comfortable teaching others by the end of the day.


September, 2015

Salon Event in the Barony of Concordia: A wonderful day of Lissa and I demonstrating bead making.

Wrightstown Demo in the Shire of Buckland Cross: Another wonderful day of demostrating bead making with Lissa. I was able to make basic evil eye beads in different colors. The next day at home with spent researching evil eye beads and writing documenation. As I'm getting more skilled in research and documentation, I'm really learning to enjoy it, especially research!



River Wars:
I was able to serve as the A&S Row coordinator. I was able to do demonstrations and teach a young woman how to make her first bead. It was a wonderful day spent with fellow bead makers. I was able to purchase some lovely glass rods from Erlan. Carowyn taught be a new technique in order to make a bead with two side by side colors such as seen in the chancellor minor symbol.

I entered the Barony of Iron Bog's A&S Tournament whose theme was to create something involving mischief. I entered the project I worked on the weekend prior entitled Mischief in Glass: Evil Eye Beads. I recreated two different evil eye beads. I recreated two Phoenician beads each one based on a string of glass eye beads from collections at the Metropolitan Museum of Art; a Phoenician string of opaque yellow beads with blue and white layered eyes from 330-70 B.C. and a Greek/Eastern Mediterranean string of blue beads with white and blue layered eyes from 6th-4th century B.C. Pictures to come.

I was very delighted and surprised to have won the competition and I am now the current Baronial A&S Champion. The surprises for the day continued when I received the Barony's entry level A&S award, the Sable Compress, from the Baroness Creature.  What an amazing day! 

In addition to expanding on my Early Medieval Irish Bead project, I would also like to do more with the Evil Eye Bead project learning to make more advanced evil eye beads.