Craftsman, Artificer and Artisan

This Trade actually encompasses and expresses all the various types of common tradesmen and/or handicrafts, down to even the Cottage Crafts, for those players who are interested in those skills. These crafts can be very physically intensive  (blacksmiths, potters/bellfounders, glassblowers, etc.) or tend toward the creative stressing fine skills of hand and eye (limner/rubricator, gem-cutter/lapidary, tailor/seamstress, etc.) The variety is great, however it does not include those basic labor trades, like fullers, diggers, barrowmen, sandthrowers, clearers, mortar carriers, hodmen, carters, porters, hinds (farm hands), longshoreman or dockworkers, woolpackers, watercarriers, streetsweepers and rubbishmen, or the like, as these are merely labor services that don’t require any special knowledge, skill, or serious training (except perhaps to toughen the body). Craftsman is the broadest of the Trade entries in the game, and calls for some further consideration on the player’s part in the choice of a particular trade to which the character must restrict himself, as follows.

basket/mat weaver                  spinner                  bookbinder

cordwainer/roper                   cobbler/shoemaker                  limner/rubricator

potter (earthenware)                  rug weaver/tapeter                  tailor/seamstress

tanner/tawyer                   blacksmith                  dyer

roofer/thatcher                  glazier/glassblower                   chandler

tiler                   gem-cutter/lapidary                   leatherworker

plumber                  carpenter                  feltmaker

shearman                  mason                  horner

saddlers                  girdlers                  harnessmaker

furrier                  lorimer                  cutler

lanternmaker                  lattener                 pointmaker

spurrier                  tinker                  broderer

bellfounder/potter                                    pewterer

This list is only representative of intent, it is not meant to be exhaustive, by any means. The GM may well add to it from time to time. Any trade the player is interested that embodies some specific knowledge/skill that applies in the period of the game which the player doesn’t find on the list here, the player should discuss with the GM. Any additions the GM makes to this list the GM should be sure to share with his players.

Because such craftsmen must be able to deal with money and counting coins, making change and keeping record books of client’s materials and jobs, the Craftsman will be schooled at the local grammar school in the towns set up to serve the needs of the craft halls and merchant guilds at the beginning of his apprenticeship prior to entering active play. The Petty Skills of the Clerk/Accountant or Clerk/Secretary will be bundled along with the specific knowledge of the chosen Craftsman Trade, and will not count toward the number to which the character is limited during character creation.

The player will please note that several of the Trades listed on the roster above are actually composites comprised of a number of specialties, each of which was followed as a Trade in and of itself in the period of the game, many of which are enumerated above.

Builders are comprised of a number of different allied Trades. Roofers also work in slates and roofing tiles. Tilers not only install tiles, but make them, too. At the end of the period chosen for the game the people were rediscovering burned brick, lost since the time of the Romans. Made of the same material as their hearth and floor tiles, bricks were also called wall-tiles, and used to fill in the spaces in half-timbered buildings, as a substitute for the traditional wattle and daub. Plumbers are a type of specialized smith; they not only install the materials of their craft, but make the piping, as well. For this they use not only the well-known lead pipes abhorred by modern folk, but terracotta and drilled-out log sections, the latter especially for water mains and other large-bore pipe needs. The Trade of carpenter generally refers to those engaged in raising frame structures, but also applies to those framing and installing windows and shutters and building and hanging wooden doors.

Carpenter specialties include the arts of the wainscotters (wood panellers), joiners (furniture makers), cabinetmakers (inc. finished woodwork for interiors of buildings), bowyers and fletchers (often one and the same), and shipwrights, as well. one must be a Carpenter to execute common siege weaponry, BUT also a BlackSmith to make such things as ballistæ, which need an iron bow stave.

The difference between cobblers and shoemakers is that only shoemakers are allowed to make new shoes of whole materials. Cobblers only repair shoes, they are forbidden to make new shoes, or even to buff and finish the shoes they repair in order that the work of especially skilled repairmen not be mistaken for new work.

Masons generally lay foundations and build fireplaces and chimneys, raise stone facades and walls, vaulted cellars, and whole structures from fine town homes to manor houses, castles, palaces, and cathedrals. Their special fields include mortarmakers, stonecutters, freemasons who also may be sculptors in stone, but also including, pargetters, paviors, marblers, and even plasterers.

All characters equipped with the Craftsman-Mason Trade will have developed the following abilities :

a) discern new construction when amidst older work, or discern layers of works if an accretion of many periods of alteration, repair, and/or additions.

And when indoors and/or underground to determine :

b) the presence or use of grades or slopes in the passages they travel

c) the approximate depth underground

For which all characters of the dwarf race are allowed AWA/Perception checks on d100, being so closely associated with earth and stone and due to the nature of their subterranean homes.

Clothmakers will of course include the omnipresent spinners and weavers, but also include feltmakers and the shearmen who comb and cut the finished face of woolen cloths.

Leatherworkers include saddlers, girdlers (belt makers), harnessmakers and furriers.

The Smith entry generally refers to the common and well-known BlackSmith, shoer of horses, repairer of wagon and cart wheel rims, axles, and other fittings, maker of most everyday items and tools like sickles, pitchforks, plowshoes, sharpener of blades, and pots and pans, for farm and domestic household use, but it also includes the more specialized skills of lorimers who make fittings for belts and especially horse harness, cutlers making domestic utility and common belt-knives, lanternmakers, pointmakers, spurriers (a division of the lorimers), and tinkers. Smiths will be able to work in any common metals such as iron, pewter, latten, brass, or bronze, but not high-quality carbon steel, unless the player makes his smith an armorer and weaponsmith to start with. If the player wants his Smith to be able to function as a Locksmith, he must be sure to make him an Artificer, too.

The BlackSmith trade is the minimum basic requirement for an Artificer to manufacture his own mechanisms.

The Armorer and WeaponSmith trades are directly related to the BlackSmith trade, BUT the player will have the choice of any one of them.

A Blacksmith may seek out a Silver-/GoldSmith or Armorer or Weaponsmith to teach him one of the finer crafts, if he should desire. Each must be learned separately, but all three may be learned, if desired. However, it is possible to train and learn the art and craft or weapons or armor from the start rather than working to gain general experience with working metals as a BlackSmith first. While Armorers and WeaponSmiths are both smiths, their work is directed to the tools of war and steel of which they are made. They know little or nothing of domestic implements like horseshoes and ploughshares. If they have one to use as a pattern they can certainly make a copy, but it is rather beneath their talents once they have taken the time and trouble to learn the finer crafts.

The Silver-/GoldSmiths will be similarly able, BUT due to the rather extreme difference in the sizes of the tools used, and the different natures and responses of the common metals to the gold and silver used in their art, their effective SL will be reduced by 1/4th normal when doing so. The finer crafts of the Smith would be considered more appropriate in making a character from the wealthy commons for the player who does not want his character to be a Merchant.

A Silver-/GoldSmith-Artificer can make small clockwork toys and amusements, animations such as are seen in horary procession clocks, but on a small scale. For them to attempt works on a larger scale incurs an effective SL penalty, as noted. BlackSmiths incur a similar penalty for working small.

While Tinkers do not make things on their own, making their way on repairing the original pieces of other Smiths, they can take scraps and improvise just about anything with the right materials. Where BlackSmiths and Carpenters generally work only in large scale (excluding Joiners, who will have no such restriction), and Gold- and SilverSmiths work only on small scale, the Tinker isn’t bound by any such restrictions. They can fix just about anything, so long as they can figure out what it is supposed to look like unbroken. If the owner knows what’s broken and can point it out, a Tinker can probably fix it.

Any limitations or penalties due to scale can be overcome if the character applies himself to acclimating himself to working in all scales.

A Bell-maker, also called a Potter, is a Smelter and Founder; his skills lie in a completely separate realm of knowledge. Only these characters will know how to judge an ore by its sample, how to read it and judge its worth for the purposes of mining by use of an AWA check on d100. The Lattener specializes in the making of alloys with which he executes decorative inlays, and the Pewterer makes pewter alloys and fashions it into plate for the table, candlesticks and the like.

Historically, fine pewter of the sort manufactured exclusively in England was the only metal acceptable to the Church for use on the altars of poorer chapels, due to the fact that visually it was difficult to tell from silver, very nearly as bright.

One who has the Artificer skill alone will have knowledge of all crafts and materials, to some extent, BUT not as much as one who actually works with a given material in his craft on a regular basis, BUT he will nonetheless be able to design buildings, support structures, machines and devices of all sorts for all purposes simply due to his knowledge of mathematics, especially geometry, and his familiarity with certain basic principles of physics.

Although they require some knowledge of Smith craft, Coopering and Cart-or Wainwrighting also require knowledge of the basics of carpentry which none of the other Smith crafts include, so they are a separate group for the purposes of this skill. The Cooper’s and Cart-/Wainwright’s abilities in the disciplines of Smithying AND Carpentry (proper) will not be as great as the trade Smith nor trade Carpenter. Only when making the pieces and fittings directly related to their own Coopering and Cart-/Wainwrighting crafts will their skills apply.

Like the Cooper and Cart-/Wainwright, the common village Blacksmith’s craft also include a limited amount of knowledge of Carpentry, but only enough to fashion the wooden hafts or handles their arts require, frames and structures for churns, frames and forms for cheeses, and only enough about the woods commonly used in their own craft and their fashioning to get the job done in the traditional manner taught them by their masters.

The special skills of smelters, bellfounder/potters, and pewterers are also separate in smithcraft for the purposes of this skill, as their forte lies not in working the metal but in extracting it and mixing alloys, in crafting molds and pouring the molten metal, rather than working the metal by hand with hammer and anvil. Smelters and bell founders will be able to work in silver and gold, but no gravure or repoussé relief work, filigree, or other fine hammer work harking to smithcraft (GM’s discretion).

The player must be sure to specify what type of smith skill he wants for his character. If he wants him to be able to work in miniature, the player must specify Silver-/GoldSmith, which will give him the knowledge of working silver and gold to the utmost of their delicate and versatile capabilities.

To design machinery of any kind, especially to improvise and/or improve it, to create siege engines, be an inventor like Leonardo da Vinci, act as an architect designing structures (especially as a member of the mason or carpenter trades) one must be an Artificer/Mechanician (description to follow). To do so for the apparatus required for mining, smelting, and foundry work, the bell-maker must also be an Artificer.

The player and GM will please note that the Artificer trade is available as a product of the Scholastic Trades, especially as a Magister-Sage, allowing the character free reign to dabble in all crafts, BUT only in theory. In order to be able to execute any of their own designs/ideas, the character will have to be trained to work the materials in which the concept is to be expressed. If the character is trained to work in wood but wants his idea executed in bronze or some other metal, or in stone, he should make a model and pass it on to the appropriate Craftsman colleague for him to execute.

The player will please note that while some crossbows have steel staves, most don’t, and all crossbows will be fashioned by bowyers, listed among the carpenter specialties.

Tailors and seamstresses, while related to clothmakers in that they work with cloth, mustn’t be confused with those who spin and weave, and we mustn’t overlook the specialist crafts of glovers, capper/hatters, or pouchmakers/pursers. These last three divisions are drawn more for the purposes of the craft halls in larger cities than among the poorer craftsmen or those who ply this trade on an itinerant basis in the rural areas for the benefit of the more remote noble families and wealthy franklin farmers.

The player will please note that those crafts named are those that aren’t necessarily artistically or creatively oriented, though their crafts may involve some use of decorative motifs, most will rely on those common traditional patterns they have seen all around them all their lives as well as handed down by their masters to embellish their wares.

If the player wants his character to have some creative, artistic talent for laying out decorative patterns, interpreting old patterns in attractive new ways, the Artisan aspect of the crafts is available and required. Indeed, unless the character is specifically given the Artisan elective skill, the player will have to rely on the designs of others, even hiring an artist when he cannot find a suitable pattern, throughout his career.

The effects of the Artisan skill on the character’s Craft are discussed in the Artisan description, to follow.

Whether the character is given the Artisan skill or not, the character must keep a design and pattern book, a journal of sorts, in which he should copy down all of the designs and motifs he encounters in his adventures and travels, to enhance his versatility. If the character does have the Artisan skill, this will also be the sketchbook used for recording his inspirations and conceptual designs. Many craftsmen in the period of the game toured not only their own realms but the lands abroad for just this purpose of finding new and lovely designs to record and take home to embellish their own work and inspire them for making new designs. For this activity the character need not even be able to read or write, and it provides the opportunity to gain a SP here and there.

If the player is more interested in being able to copy the works of other artisans, in making himself a student of other peoples’ styles instead of developing his own, he may take the Forgery/Mimic skill as a part of this Trade for his character. This is also appropriate in those instances where the character has worked in the shop or manufactory of a great master, producing works in the master’s style alongside several other journeymen or masters so the master can meet the demand for his work. This can be taken in addition to the Artisan aspect of the trade, it will not prevent taking that as well.

If the player is more interested in mechanisms and things that work, like cranes, mills, and other similar machines of cams and axles, wheels and springs, how best to deploy a rope or chain and pulley-tackle for the labor available, he will want to take the Artificer/Mechanician aspect of the trade. The arts of the Artificer only really apply to Smiths, especially in so far as it enables them to make mechanisms like mills, (though many millwrights are structural carpenters, the interior mechanisms made almost entirely of wood, including the gears and their teeth), and town clocks, water-drawing machines for wells, and the like, or even clock-work toys, as mentioned in the Artificer description (pg _), but the knowledge of Traps and Locks, of finding them and disarming them, of picking them, of Masquing and Hiding them, this skill also provides the opportunity to learn is also applicable to building, but only in the mason and carpenter specialties. These applications are spelled-out in the description of the Artificer skill, to follow.

Due to the builder-specialist’s intimate knowledge of and constant attention to the ways in which structures are put together and support themselves, he will receive a multiplier of (0.25 per 4 SL’s) towards any damage that he inflicts on any building structures such as cages, walls, doors, roofs, arches, pillars, and so on when the purpose is to bring it down or break it apart, to reflect his ability to direct the greater part of the damage towards a structure’s weakest point(s).

In addition, the Craftsman will NOT be able to perform any function of his skill without the proper tools. These are covered in detail in the equipment rosters in Appendix D.1, especially where the various smithing, carpentry, and masonry crafts are concerned.

The GM will have further information on tool kits for the other, more obscure (at least in terms of adventuring) crafts and trades.

The items that the character can make with this skill are many and varied, much too much so to go into great detail here. The character will be able to make almost anything that the player can think of with this skill, as long as it belongs to the area of specialization or specific Craft he has chosen. Whether it is to be greatly embellished by his Artisan skills or strictly utilitarian, whether for common or covert use, it is merely a matter of planning, materials and time. In combination with the Masquer skill, the Craftsman can disguise one thing as another; while with the Conceal/Hide skill the Craftsman can conceal one thing within another.

Costs for items made with the Craftsman’s skill will vary with the materials chosen, the quality of the item made and, of course, its Size. The player should see his GM for further details regarding any specific uses of this skill that he may have in mind. The GM will have further detailed information to work out fair costs that will lie at least in the ballpark of accuracy to the period of the game.

Taking on apprentices can always help, providing an extra pair of hands to help out with the grunt-work and basic clean-up and maintenance of the shop. The process is directly tied to the guilds in the towns, and the maximum number of apprentices a master may have at one time will be limited by guild by-laws. In the rural districts, masters will certainly take on apprentices as well, but there they will be registered in the local lord’s court rather than with the guild and the franchise of the town.

Journeymen Improvers and Journeymen Proper are also  available for the master to take on when he has need of extra hands, but by custom he must be prepared to take them in and keep them at work for no less than one full week at a time, from Saturday to Saturday.

Taking on an apprentice (or more than one) puts a little extra money in the craftsman’s hand to start with but is a great responsibility, as well. If the craftsman is under the view of a local guild, there may be restrictions on the number he may take on and how long their term  of service is to be. The most commonly accepted length is 7 years, but for some of the greater (more lucrative) crafts (Merchants, GoldSmiths) as long as 14 years might be required. Through the payment of fines to the master as high as 10s. to £1. per year (in recompense for the years of labor lost), the term of apprenticeship can be shortened to as few as 5 years.

Having apprentices on hand to help with several projects at once OR to aid in getting a single large project done will have the benefit of allowing more work to be done or work to be completed more quickly, but it will also lower a portion of the DV for the projects on which they are employed.

The GM will have the details on this.

For coming up with a sound, workable design for any exercise of his craft the att. mod. will be based upon the character’s AWA.

For any exercise of his Trade in actually fabricating anything belonging to his specific chosen craft, the att. mod. will be based upon the character’s CRD, and also STR in the case of any of the heavier metal-working Smith Crafts (NOT gold or silver smithing).

GM’s Notes :

The use of this skill will take a good deal of thought and creativity on the part of both the players and the GM.

IF a player is only interested in this skill for one of the specific trades mentioned above, that character will have taken his training for this skill under a master of the specific specialty chosen by the player. Masters of the various crafts will be available in both rural and town settings alike. If he comes from a rural setting, it is most likely that the craft chosen for the character is strong in that area/region, one of those for which that area is known. The crafts will vary in that manner in that way, according to the natural resources present. The GM can take the materials needed for that craft as his cue for determining what resources are available in that area in describing the gameworld.

The most versatile application of this skill lies in the Tinker specialty. The Tinker is the fix-it man and the improviser – the medieval version of television’s “MacGyver©”. In the hands of the right player, just about any thing should be possible.

The Craftsman should be able to repair or rebuild any object related to his trade or specific field, provided he has the tools and materials to do so.

The DV for these repairs will be equal to the number of STP’s of damage done to the object, plus the fraction of the total number of STP’s that the object has that the damage represents, rounded to the nearest one-fourth.

For example, a BlackSmith has a strongbox that was recovered after having been beaten up by bandits. If the built-in lock had 8 STP’s originally and 6 STP’s in damage were delivered to it, the base DV for repairing it would be 6, plus 5 (4.5) for the damage done was 3/4 the object’s total STP’s, making the total DV 11 for repairing it. Of course, he would have to be an Artificer to repair that lock mechanism, or at least have the Tinker specialty to make a stab at it. As long as the Tinker is careful to diagram it as he takes it apart, he should be able to fix and put it back together again. A Tinker with the Artificer sub-skill would be able to repair the lock just as well as member of any full Smith trade.

STP’s are explained in Chapter 3. of Part III. (pg __). If the bandits had beaten the box indiscriminately, the STP’s of the box and the damage done to each side and feature (ie. hinges) would be totaled and the DV for repairing it determined from those numbers. The box itself, its hinges and bindings, would not require the BlackSmith to have any special Trade skills to repair. This will hold true for armor repairs, as well, the DV being determined by the damage done to all AoD ‘s of the piece being repaired.

The DV’s for planning and making items new, from the ground up, will be a bit more difficult to determine. A good rule of thumb for determining the base might be the volume in materials needed for the finished item.

Some types of work will cover large areas but only be completed in sections. These must be approached a little differently. Frescoes and large painted panels (of wood, often framed as lids for chests, doors for armoires, or as folding wall-hangings or portable religious shrines) will be approached on a square-foot basis, 1 at a time like the leaves of a book, according to the procedure detailed for the Scrivener’s skill. The longer the character works straight through on the same project, the more likely he is to make a mistake as he gets weary and bleary-eyed with the prolonged intensity of the work. Cloth weaving will be handled by the foot of length, the width being determined by the loom used, using the same procedure. Embroidery will be handled by the square-inch, again in the same manner. Tapestry weaving. which is half weaving and half embroidery, will be handled in the same manner as embroidery. Painted miniatures (portraits) and illuminations (in books) will be handled in square-inches in the same method. Unlike Scrivenry, when mistakes are made in any of these media, they can simply be taken out, snipped out if need be, without injury to the base fabric or warp threads, or the damaged area simply painted over with a bit of gesso, allowing the character to simply try again, with the normal penalties to the DV. With frescoes, the paint is mixed into the plaster just before it is applied, and then finished as the plaster dries. If a change must be made, the plaster is generally chipped away again and the artist does that section over. Gessoing and painting over, while faster, loses something of the quality of the rest of the fresco, and is too readily discernable.

In place of the original DV of 1 used for inscribing words, the GM should substitute the AV of the design as set by the Artisan-designer, which may be as high as the Artisan’s full AV (but no higher), for figured cloths, tapestry designs, embroidery, and painted or carven designs or ornaments. For simple regular (geometric) designs like stripes, chevrons, etc., a base of no more than 3 to 5 should be used. This procedure should be followed whether the Artisan and craftsman are the same person or not.

The art of forging metal armor and weapons is considered a very difficult and exacting craft, the apex of the metal-worker’s craft in the eyes of the nobility who depend on it, and most armor and weapons will be imported from the great centers renowned for their work in this field. The making of such items should definitely be restricted to those who have pursued the Armorer and/or WeaponSmith specialty. Tailors and seamstresses will make padded armors, sewing the leather straps on the trellised varieties, and the rings for the ringed variety being provided for them by the Armorer to sew on, also. All studs will be applied by the armorer (or more likely his apprentice or journeyman).

Getting armor to fit is the challenge, just as it is in making civilian clothing. Making pieces and garments for average-sized people is easy enough, just follow the cast-iron forms and/or patterns handed down by one’s master.

Clothing and armor are two products of the Craftsmen’s arts that are handled together. This is due to the fact that they are both fitted to the body, and also because the skills that create the padded garments of armor are also the very same skills used to create social street-wear for civilians. Often times single-thick padded garments made of finer or even sumptuous fabrics are sported socially for a military look by members of the nobility (who can best afford them).

While their production take a number of steps to execute, from a) taking the client’s measure, b) working the materials, c) fitting the client and adjusting as necessary, to d) finishing and embellishment,

Steps a, b, and c, will all be accomplished by a single roll. Together they described “the work” required to complete the basic item needed and have it fit properly. The proper fit is considered part and parcel of the definition of success when making a roll to complete any such project.

The final step “d)”, finishing and embellishment, must be rolled for separately because it involves extra materials that are usually of greater value and is generally artistic in nature, a different sort of process entirely ­– the application of any Artisan skill or talent, or meeting the challenge of executing an Artisan’s decorative design(s).

The base DV for these projects will be based on the materials, as follows :

Type of Material

Base DV

Cuerbully; common metals (iron, mild steel, lead, tin, copper, bronze, etc.); Common fibers (wool, linen & cotton) & worsted threads; Low Fabrics (sewing)*


3-ply cuerbully; “strong” steel or silver; fine natural fibers (angora, camel hair, for weaving); Common Fabrics (sewing) †


4-ply cuerbully, Proof steel or gold; Common Furs; Fine blended fibers (camlet) & silk (weaving); High Fabrics (sewing) **


Double Proof steel; noble (High) furs; figured silk blends (weaving); Luxurious Fabrics (sewing) ††


Triple Proof steel; silver & gold threads & blends, bouclé, pile-on-pile sculptured velvets (weaving); Sumptuous Fabrics & Furs (sewing) ***


* These are the simplest home-spuns, kersey, “rayed” cloth, cameline (cheap goat-hair camlet imitations) worn only by beggars and other poor folk,.

† These are finer weaves used primarily by the working classes, the Commonalty, a better grade of cloth including those of distinctive weaves (herringbone, diamond pattern, etc., marbled weaves).

** These are best quality and heavy cloths (good fustians), also light fine-grained cloths (linen/muslin) for outer or under wear, the finest and most desirable weaves worn for daily wear by the wealthy commons and worn for casual wear by the lesser nobility

†† To include camlets and similar silk blend cloths, brocades, damasks, moiré silk taffeta and the like worn daily by the nobility (great local lords or earls and those of greater rank).

*** These include plush or “cut” (figured) velvets, sheerest silks, flowing satins, velvets, fabrics “shot” with precious metal threads, and so on, usually reserved for great feasts and high state occasions.

If there is a pattern on the fabric with which the Tailor must work, or a texture woven into the fabric or a discernable grain to the fabric, these are constraints on the Tailor in laying the pattern out on the cloth, perhaps indicating a higher category for purposes of determining the DV to work with it.

Featured designs on a fabric, especially among expensive figured silks, brocades and the like, must be centered over shoulders or down the outsides of the arms, on the chest or upper mid-back, or else why buy them in the first place? This is why the base DV for working with them is high. Striped or marbled cloths are much easier to work with, although the stripes still require care to match up at the seams.

Plain cloths which have no proper front or back, whether colored or undyed, will be the easiest to use, and most of the Low and Common cloths will be of this sort, although there are some cheaper versions of the more expensive cloths, such as cameline and “rayed” cloths, but the niceties of fashion are not usually given any notice when working with such cheap stuffs, those of the lower classes would not notice or appreciate it if they were, and professional Tailors and Seamstresses rarely if ever have to work with such stuffs, as those folk usually cut and sew their own clothing at home – hence, the niceties of fashion get ignored.

All padded armors are assumed to be made of Low fabrics unless the purchaser/client specifies something else, in which case it will have to be evaluated according to the materials table. Nobles will likely opt for Luxurious fabric outside and a fine lawn (muslin) or linen lining (High fabric), while great nobles and royalty will likely opt for something Sumptuous, unless the garment is to be worn under armor, in which case it wall still maintain the fine lining but the outside will be some sort of High fabric of a solid color.

For padded armors and clothing that is fully lined (as those of the noble class will always expect), two rolls will be needed due to the fact that there are effectively two of the same garment which must be cut and stitched together and then assembled into one at finishing.

In the case of garments of padded armor, the check for finishing will encompass the process of stuffing and quilting the garment together (final assembly) and finishing all edges, attaching points, etc. will also be needed.

For every thickness of the padding of a given garment of padded armor being made, the DV for assembling and finishing should be raised by 5.

To the base DV for the materials (above) should be added :

1 per point of STR,

1 per point of (raw) STA,

1 per 2 points of AGL, and/or

1 per 4 points of CND

by which the client’s score(s) is/are above OR below average for the craftsman’s race (as applicable).

Also, for every category (Lt.; M-Lt;, Med.; M-Hvy; Hvy) by which the Build of the maker’s and the client’s races are different, the DV is also increased by 5, so the DV for a craftsman whose race has a Light Build making armor or clothing for a client whose race has a Heavy Build will be greater by 20.

This describes how difficult the client is for the craftsman to fit.

To make various pieces of apparel, the GM is provided with the following list of fabric requirements for the various garments are all quoted in ells, to match the rates for the fabric prices, to make sure that the craftsman is given enough or purchases enough fabric to complete the garment desired.


Ells Req.



Cape, dueling cloak, hip- to knee-length


Cloak ankle-length, full circle


Cotehardie (fitted, w/sleeves, men’s)


Doublet (no sleeves)






Houpeland hip-length(men’s, High Gothic, early Renaissance)


knee-length (men’s)


full length, modest train


Jerkin (no sleeves)


Magister’s gown




Shift (undergarment, women’s) hip-length




Shirt (undergarment, men’s)


Sleeve, ea


Tabard or Surcoat (sleeveless)




These fabric quantities are all subject to the client’s (weight & cost) modifier for armor from Step 6. in Character Generation to make sure there is enough to accomplish the project.

In addition, NONE of the quantities quoted include fabric for linings, which will require an equal amount of fabric again, which for daily wear will commonly be linen of a grade appropriate to the station of the one to wear the garment, or even silk in the case of high nobles and royalty, and includes NO sundries or furs for embellishment that will be applied in the finishing phase of the garment.

IF an Armorer or Tailor is forced to take his client’s measure from a set of the client’s clothes (as was often the case in the period of the game with wealthy magnates, clergy, and noblemen rushing always hither and yon), the DV will be increased by 1/2-again (x 1.5).

For a garment of metal armor (mail, jazeraint, brigandine, laminated, etc.), half (1/2) the finished weight of the garment, as quoted in Appendix D.3, after applying the weight modifier supplied in Step 6. of Character Generation, should be added to the base DV for the steel according to its quality, as shown on the Materials table above.

For plate armor add the full weight in pounds, as quoted in Appendix D.3, after applying the weight modifier supplied in Step 6. of Character Generation, should be added to the base DV for the steel according to its quality.

Highly articulated pieces of plate armor such as gauntlets for the hands and sabatons for the feet will have a DV equal to the half the client’s AGL score instead of the I per 2 points of AGL over/under average for the maker’s race stated above, in addition to the base for materials and weight.

Jazeraint, laminated and brigandine are all rather complex, assembled from many small pieces, either rings or over-lapping plates, all meticulously riveted together, the latter to their bases and outer coverings. When making these sorts of armors the DV will be raised by 5, 10, or 15, respectively, due to the complexity inherent in the work. For the purposes of the DV, singlemail will be equivalent to laminated, and doublemail will be equivalent to jazeraint, the wire must be drawn before the lengthy process of weaving the rings into mail may commence.

For Bellmaker’s or Potter’s foundry work, the smelting of the metal to get the proper quality and the making of the mold in which it is to be cast will be encompassed by the main roll for the manufacture of the object, separate from the roll to finish the piece and/or assemble it if composed of a number of such pieces, as noted previously.

The number of component metals or minerals in the Bellmaker’s or Potter’s alloy will determine the base DV, progressive for every ingredient; ie., 1 for the first, 2 for the second for a total of 3; 3 for the third for a total of 6; 4 for the fourth for a total of 10, etc.

 The Size of the mold, ie., the sum in height, width, and depth of the object to be cast, rounding to the nearest foot, is added to the base. No matter how small the item cast, the minimum modifier for Size is 3.

Silver-/GoldSmiths will have knowledge of melting and casting, but not in the same manner as the Potter, while they may improve the purity of the metal somewhat in their own shops at their own discretion, should the raw metals taken in not meet their standards (no more than CRD or TR ounces at a time), they rely on the miners and smelters to extract the gold or silver from the ore for them and draw as pure a metal out of it as they can, first.

The base DV’s for working gold and silver or other metals, especially to melt and cast them by a Silver-/GoldSmith, will be the same shown on the Materials table above.

Since Silver-/GoldSmiths work small, especially making table-wares and the small adornments applied to them, jewelry, and the like, the Size modifier added to the base for casting metals in molds as described under Potters will be counted in inches, not feet.

Anytime a Tailor is working with fine materials to create a stylish social/civilian garment for a wealthy or noble patron, playing the part of the “couturier”, the client’s [(CHM att. mod.) + (HRT att. mod.)] will be added to the base DV for materials. The higher these scores the more definite the patron’s sense of style and idea of what they want and the more difficult to please and adamant they will be to get what they want.

IF the roll for manufacture is missed, the amount (%) by which it was missed will be the % amount of waste and additional cloth required to make good on the mistake, for every time the roll is failed.

Subtract the % by which the roll was missed from the original chance of success to determine the % chance to fix the mistake, ie., if the roll was missed by 20, and the original chance to manufacture the project successfully was 50%, a roll of 30 or less will fix it, although it will not erase the 20% of waste in materials that will have to be made up by the craftsman.

By successive mistakes it is possible for the craftsman to reduce his % chance of success to almost nothing and ruin a good deal of the materials, if not all – it is actually possible for the craftsman to ruin more materials (in accumulated %’s) than were actually required for the original project should he fail badly enough a sufficient number of times.

IF at any point the % chance of success drops to 1 or less, the craftsman will have to start the project over completely, with all new materials.

IF the craftsman is working on the client’s own cloth or materials, the client will have legal grounds to demand recompense for the waste should the craftsman be reluctant to pay.

The time required to manufacture any piece or garment of armor will be equal to the DV for the project, and should be read in days.

For cutting and stitching clothing, the time needed will be halved. IF the clothing is to be made parti-colored by halves, the time for initial cutting and stitching should be increased by 1/4th (x 1.25); if it is to be parti-colored in quarters, the time required should be increased by 1/2 (x 1.5) instead.

Once the initial roll to manufacture the item is completed successfully, the roll for the process(-es) of final assembly and finishing must be made. In the cases of garments and all armor, the client must try the item on as the prelude to final finishing to ensure proper fit. Until the client can be met with for this purpose, the project may not be completed.

The DV for finishing the project will be the same as for manufacture.

Where there is to be any sort of decorative embellishment, the DV for executing it (see Artisan trade) will be added to the DV for finishing. In regards to the enhanced treatments for padded armor, the DV for finishing will be increased by 5 for Studding or Ringed, Bezainted by 10; Trellised by 15.

The time required for final assembly, fitting, and finishing work on the garment or armor will be equal to half the amount of time needed for original manufacture. In the assembling and finishing stage the craftsman puts the final stitching in place and trims the seam allowances according to the needs indicated by the fitting, liripipes or tippets, decorative buttons, tassels, contrasting lining, embroidery and appliqué, etc., installs any hinging, straps and buckles (field plate) and applies trim (roped edges, cuerbully), puts the final finish on the surfaces, and cuts and installs the lining which keeps the plates from chafing and wearing against one another (plate armors, as applicable).

Where there is to be any sort of decorative embellishment, the DV for executing it (see Artisan trade) will be added in days to the time required to complete this stage.

The GM will please note that these DV’s, checks, and time requirements do not include any special decorative contouring, fluting and ribbing (in the Gothic style), decorative bas-relief  (repoussé), or other similar sculptural decoration as was so popular in the Renaissance with the great nobles, princes and kings. Such structural treatments will require an additional amount of time to be determined by the degree of intricacy or DV chosen for the motif or style of decoration to apply, as described in the Artisan Trade, the DV he set himself in making the design, whether he is the craftsman who is to execute it or not. This DV will be read in days and will be added to the base amount of time determined for the original manufacturing.

So long as the embellishment is of the nature of gravure or tinting (red, blue, black) decorative metal trim-work or appliqué to be riveted on, or other strictly superficial surface work, silver-gilt or true gilt (gold) decorative banding, and including acid etching, it will be completed last, in the finishing phase. The DV set by the Artisan for the finish will be used in the same manner described for structural embellishments, read in days, and added to the amount of time needed to actually (assemble) finish and decorate, lacquer, seal, and polish the project (as appropriate).

In the case of separate pieces of embellishment to be riveted on as appliqués, they will require manufacture rolls of their own first to be produced before they can be included in the finishing roll when installed.

The GM will also note that any enchantments to be carried out over the armor are NOT included in any of these time requirements.

The time required for initial manufacture of any given piece of armor can be reduced by the employment an apprentice or Journeyman.

Each apprentice will allow the time requirement for the project on which they are helping to be reduced by 10% and will lower the DV for it by 1.

The craftsman may supervise and train no more than (1 per 4 TR’s earned after being granted Warden status in a guild) apprentices in his workshop at one time, regardless of whether they all work on the same project or different projects, to a maximum of (master’s AWA ÷ 4).

The number of Journeyman Improvers and/or Journeymen Proper working on a project will be added to a base of one (1) to divide the time required to complete it, ie., 5 Journeymen would reduce a project that should take 30 days down to 5 days (1 + 5 = 6; 30 ÷ 6 = 5).

Each Journeyman Improver will lower the DV by 2, and each Journeyman Proper employed on the same project will reduce the DV by 4.

Of Journeyman Improvers and Journeyman Proper the master is limited to over-seeing the work of no more than [(TR) – (TR at which Warden status was conferred)] and the space available in his workshop, to a maximum of (AWA) at one time, regardless of whether they all work on the same project or not.

On a single project, the number of helpers the craftsman may employ will be limited by the nature of the work, how large the project is.

In the cases of projects which are fitted to the body, a different helper may work on each BP area covered (plate armor).

In the case of clothing (inc. padded armors or enhanced padding and garments of metal armor) 1 helper for each limb (whole Arm, whole Leg) covered by the same garment, the Torso and Pelvis being counted together as one area for this purpose, the Head and Neck together as another.

Other sorts of projects will be up to the GM’s discretion to set limits on the number of helpers that may be employed, BUT the use of apprentice(s) and/or Journeymen of one sort or another will always be of benefit in shortening the time and lowering the DV for any given project.

For weapons, the base DV will be equal to the number of points by which the STR and (raw) STA of the client to be fitted is above or below average for the race of the weaponsmith himself (not the client) and every 1/2-inch of difference between the client’s height and the average for his raw STA score as noted in Step 4. of Part I.

To this, the weight of the finished piece (according to the rosters in Appendix D.2, after the modifier from Step 6. of Part l. has been applied, rounded to the nearest quarter pound), should be added.

Leaving out the weight modifier, the same procedure can be used to determine the DV for bowyers to make bows.

The effective weight for determining the DV for making the metal fittings of hafted weapons (axes, maces, flails, polearms, etc.) will be reduced because much of the weight is in the haft on which they are mounted.

For hafted melee (“horseman”) weapons (x 0.5) it should be cut by half.

For those specifically labeled as “footman” weapons it should be cut by 2/3rds (x 0.66), or

For all polearms it should be cut by 9/10th’s (x 0.1).

A separate check should be made for both the finishing of the metal part(s) of the weapon (as established in the description of the process for making armor) and for the making of any wooden handles or hafts, with a DV equal to the weapon length divided by 6 in., rounded to the nearest 6 in. The craftsman can always use hafts ready-made (to order) from a carpenter, whose DV to make weapon hafts will be measured in feet, rounded to the nearest foot.

In the same manner described for making armor, any fancy finishing work, gravure, silvering, gilding, bluing, blacking and the like, or variations in basic lines to make them more aesthetically pleasing will raise the DV for the finishing process.

The time required to make a weapon will be equal to the DV to make it, read in days.

The time required For finishing weapons will be determined in the same manner as that described for finishing armor.

will again be equal to the DV, read in days. Here again, these checks and time requirements do not include any special decorative tinting, contouring, gem settings, or other decoration.

The standards for determining the time requirements for decorative work on weapons will be the same as described previously under making armor.

The DV’s for the metal weapons or fittings are intended for use in making only common weapons.

The most highly prized weapons, however, will be the very beautiful pattern-welded blades, made by sandwiching better and poorer qualities of steel and beating them together for strength and resilience. These will no longer be widely made in general in the period of the game due to the great amount of time and skill required to make them. The craft in general will be a lost art and most examples come across will be valued as antiques as well as for their utility in war, no less than 100 years old and perhaps as old as 400 or 500 years. Even this old, as long as good care has been taken to keep them free of rust, they should still be serviceable in battle. When sharpened and polished, pattern-welded blades show a watery pattern of shadows that seem to dance and flow as the light runs over them giving the illusion of strange depths.

For those craftsmen schooled in this art, the Celtic Druid-Gowans in particular, the DV’s should be double that to make a weapon of the same size and weight, and the time required to make them will again be equal to the DV read in days.

No more than a total of 4 people (smith-colleagues, Journeymen Proper, Journeymen Improvers, and/or apprentices) should be allowed to work on forging the metal of any single weapon/fitting, three to beat in turn and one to hold the blank with the tongs and turn it as needed. This will cut the time needed to 1/3rd normal, but as explained earlier for those who make armor, this practice isn’t likely to be followed in NPC crafthalls.

Apprentices will subtract 1 each from the DV for the task, and for determining the amount of time required to complete the work Journeyman Improvers will subtract 2.

Journeymen Proper or co-worker of greater LoA will each subtract 4 from the DV for the work, and each employed on a project will be added to a base of 1 to divide the time required to complete it.

Adjustments for the participation of Apprentice(s) and Journeyman Improvers to the time required will be made after dividing for the assistance of Journeymen Proper and higher LoA co-workers.

To determine the DV’s for making furnishings and furniture, chests, armoires, tables, chairs, settles, palanquins, the GM should simply add up the length, width, and height of the piece in feet. This is only for those “people-sized” pieces intended to be used generally as furniture. For small decorative pieces, jewel boxes, portable shrines, and the like whose decorative elements and joinery are carried out on a small or miniature scale, these dimensions should be taken in inches to determine the DV.

To these, the intricacy of the basic design will add an appropriate amount, but the actual finishing (embellishment of the surfaces, the carving, gravure, settings and jewels, painting, gold or silver leafing, staining, or other finish) should be governed by a separate d100 check, as established in the discussion of the processes for making armor and weapons.

For those that collapse for easier storage for travel, each way or direction/axis in which it is designed to fold should add 10 to the DV, affecting the time required to make the object commensurately.

For running lengths of interior architectural finishing (trim), the GM should handle eccentric cuts and carving in yard-lengths according to the method described for the decorative arts, according to how much the craftsman wants to try to finish at one time without a break.

Actual structures are much more complicated. One cannot simply make a check to see if the thing stands or falls once it is completed. These projects should be broken down into stages so the GM will know how the work will progress. The checks should always start with the foundations, the footings on which walls are built, the solidity of the underpinnings of stone structures, vaulted cellars, etc. The AV of the designer of the structure, or the foreman, whoever is actually on hand from day to day to see that the work is properly executed, should always be used for these checks.

IF this foundation/footing check is failed, the amount by which it was failed should be noted and carried through to the DV’s for all subsequent stages. If at any later stage a check is failed, that section of the whole structure will collapse.

Each step of the construction should then be checked separately, each wall, each alcove, each tower, each chimney in common post-‘n-pan wood structures, and for each 10ft. (floor) of the structure if stone (not for wood structures unless the additional floors above are corbelled out overhanging the lower floor), and especially the roof.

IF any check is failed along the way, it will not show up immediately unless an AWA check is made for the foreman or (especially) the architect to discover the fact before construction continues. That is why the foreman is supposed to be there to supervise and why the architect is supposed to check the progress work against the plan regularly.

Failing the AWA  check to recognize faulty work, the structure will not collapse in that area where the check to build it properly was failed until the next stage (storey, roof, etc.) is laid on top of it.

IF a craftsman wants to give a piece he is making an aesthetically pleasing form that he will then embellish to make it more appealing and attractive, including scrollwork, decorative figures, or fittings for attaching decorative pieces of other materials, he must draw up a plan using his own skill as an Artisan, according to the descriptions and notes provided for that skill, or have a plan drawn up by an Artisan for him to follow. In either case, the DV for executing the design will be equal to the AV of the Artisan who drew the design. Needless to say, it will be nearly impossible for a smith who is no skill himself as an Artisan to mask or cover-up any mistake made in the execution. Only those with the Artisan skill will be granted a roll to fix a mistake, and then only once. Otherwise, the smith will have to call an Artisan in to advise him. If all allowed attempts to fix a botched job of embellishment are failed, the piece will have to be completely remade. The botched piece may be saved for scrap for patch-jobs or buffed out and the thinner piece of wood, ivory, metal etc. resulting then used for some sort of domestic project.

See also the description and notes for the Artisan skill.

The DV’s for the special abilities of dwarf characters will all have a base of (40 – character A WA). For detecting grades and slopes, the DV will be lowered by 2 for every degree of the slope’s angle. For discerning new stonework, the DV will be lowered by 1 for every 3 years by which the age of one piece or area of work is greater or less than the age of an adjacent area or piece. The DV for detecting the depth underground will be lowered by 1 for every 25ft. of depth. In addition, the dwarf character should also be allowed to attempt to discern the size of chambers, caverns, and other open spaces that are less than (AWA + SL) feet in dimension to within +/D 1 a feet, even in the dark, by the reflection of sound.

The time requirements for the uses of those crafts not specifically addressed here may be difficult to assign, due to the extreme variations in tasks that the skill can cover. As a general rule, the time requirement may be equal to the DV for the work and read in days, or divided down by 2, 3, 4, or even 10 (rounding to the nearest whole number). The (DV) days time requirement might be applied to Tinkers’ repair work, repairing armor or weapons.

Time requirements that are read in days assume the character is devoting a full work day to the project, keeping the same hours as the rest of the working classes with only the customary breaks, according to the standards discussed in Chapter 2. of Part II. if he should devote less time than this to the project, every 1/4 of the workday by which he is short will be add 1/4th to the time required to complete the project.

For projects to be completed in subsequent stages, for which a steadily increasing DV is provided until the character takes a break, the time required to complete the work should be determined using only the base DV for the first portion of the work addressed. These should generally be read in days. While this assumes that a part of the work has been completed and each new section done in turn, this does not preclude the craftsman or men from laying the whole project out at once and bringing the whole thing along at the same time until the total time required for the whole project is fulfilled. Finishing the woodwork of building interiors will likely be done this way, and all masonry structures, and any wooden structure tackled by a team of carpenters or a master and his apprentice(s) or journeymen.

For wooden structures, the DV for each stage should be the sum of the height in yards and length in yards of the section of the structure to be erected. The number of laborers and craftsmen employed on the project will be subtracted from the DV to reduce the time required, which should be divided by 2 and read in weeks (wood) or months (stone). The number of workers (common laborers) employed cannot exceed the perimeter of the structure in yards (wooden) or feet (stone). The number of skilled craftsmen that can be kept gainfully at work will be no more than 1/4th the number of laborers.

The DV’s for weaving cloth will start at 12 warp (vertical threads) per inch of cloth width by 12 woof (or weft, horizontal fill) threads per inch of warp thread or 10 warp by 12 woof will be about the coarsest ever produced, lying firmly in the “Piece of Cake” Degree of Difficulty;

30 warp threads per inch by 30 woof threads is considered fairly coarse and will lie within the “Easy” Degree of Difficulty;

Common cloth will be about 48 warp by 43 woof or 56 by 51 thread count, described by the “Moderate” Degree of Difficulty, or up to 70-80 threads at the “Difficult” Degree of Difficulty;

Fine cloth will run about 96 warp by 56 woof or 86 warp by 66 woof or even  101 warp by 35 woof

The best, finest cloth found, generally associated with royalty runs 127 warp threads per inch by 56 woof threads per inch at the “Complex” Degree of Difficulty, or as much as 152 warp threads per inch at the “Impossible” Degree of Difficulty.

To this will be added a modifier for type of materials – wool, linen, angora, silk, gold or silver, or combinations, according to the table above.

This translates into a base DV of 15 for the common materials (wool) and the c. 30 threads per inch of the “Cloth of Candlewick Street”.

Now to determine how long this will take. A “cloth of Candlewick Street” (London) was a common cloth used in great households for lesser servants. It was standard at 40 ells in length, and while the guild for a time decreed it could only be woven in 4 days time (12.5 yards per day), it could on occasion be done in 3 (16 & 2/3rds yards a day) or even 2 days (20 ells per day, or 25 yards). At this speed, it is highly unlikely that the weave had any sort of terribly complicated pattern, likewise it assumes a great measure of speed and skill. Assuming the same 9-hour workday in Spring & Fall described elsewhere in the rules for other trades, the weaver would be cranking out a little more than 1 ell per hour in the case of the cloth finished in 4 days, a bit less than 1.5 ells per hour for the cloth woven in 3 days, or a bit less than 2.25 yards per hour for the cloth completed in 2 days’ time.

To determine the time required to weave a “piece” of cloth of one of the common weaving patterns (as opposed to intricate and luxurious figured cloths), the DV to weave is added to the number of ells in the “piece” or bolt of cloth woven. The “Cloth of Candlewick Street” is unusual at 40 ells, the usual will be 22 ells for the finer cloths, 24 for some common cloths or the predominant 26 ells.

This is read in hours, using the basis of a 6-hour (winter), 9-hour (Spring & Fall) and 12-hour work day, the GM can determine how many days each “piece” of cloth will take to weave.

From this, the weaver’s AV is then subtracted to account for the benefit of speed arising from his skill and experience.

For “figured” fabrics, the DV of the design created by the Artisan who drew it will also be added to both the DV to weave and also the DV from which the time required to weave it is determined. The regular geometric patterns of “Diaspres” fabrics (see the description in the notes on cloth in Appendix D.1) will be assumed to lie within the “Easy” Degree of Difficulty (squares & diamonds) or in the “Moderate” Degree of Difficulty for the more complicated repeating geometrics of hexagons, or octagons and squares, or any other similar pattern of interlocking repeating shapes common to the work of the craftsmen of the Middle East.

By means of contrast, only 7.5 inches per day of work was average (Spring & Fall) for the weaver of velvet, which was generally woven completely of silk (and worth its weight in gold in trade), Summer more and Winter less. That comes to one English ell per week (45 in’s) with Sundays off, of course (not accounting for religious feast days and holidays). At an average of 24 ells to the “piece” (equivalent to the modern bolt), a weaver could produce only 2 “pieces” of cloth of velvet per year, or a bit more.

For this type of fabric, the time required will be determined by the DV to weave it plus the (22 ells in the “piece”, as above, but this will be read in (6-day) work-weeks. From this, the character’s AV to weave will be subtracted, but in days. Any religious festival days coinciding with the period during which the work is being done, during which the character is unable to continue the work, will be added on to the end of the time required to make up for the lost work time.

In the case of pile-on-pile figured velvets, the DV chosen for the design  by the Artisan responsible for it will be added to the DV from which the time required to weave it is determined.

For an even greater contrast, it will take a skilled father & son or master and assistant/apprentice team 2 months to weave just 1sq.ft. of true Gobelin-style tapestry work, that comes to only c. 2.5 sq. INCHES per day, on average (Spring & Fall), again more in Summer and in Winter less.

The oldest existing set of tapestries is the Apocalypse of St John, composed of 6 hangings that are 18 ft. high, and which total 471 ft. in length, woven in Paris over the course of the 4 year period between 1375 and 1379. At the above rate, the Apocalypse of St. John would have to have been worked on by no less than 353 weavers to complete them in 4 years, and likely more, as part of that 4 years would have been taken up in design and haggling over price and writing the work contracts, Sundays and religious holidays and feast days when no work was allowed, etc.

Tapestries are most commonly used not only for Luxurious or Sumptuous display, but for increasing the level of comfort that can be enjoyed in larger spaces, cutting down on drafts especially in inclement (winter) weather. As an example of one that might be found in a Great Hall, 15 ft. tall and one panel of a series each 10ft. wide, the first segment would be 150 sq.ft., a little more than 16.5 sq. yards. A tapestry DV to weave will always include a component for the design of the painter commissioned to render the cartoons (designs).

For determining the amount of time required to weave a tapestry, the DV to weave it, including that for the design itself, PLUS the number of square feet of the tapestry will be read in months, and from this should be subtracted the weaver’s AV in (6-day) work weeks.

The tapestry standard should be applied to the weaving of fine Middle Eastern-style carpets, as well.

The GM should pay attention to the stages involved in projects, whether or not they might be broken up and completed in stages, as noted for structures, each having its own time requirement to be fulfilled in turn. Those time requirements that are quoted in weeks and months assume a 6-day work week and the standard workday from morning to evening with only the customary breaks.

For simple exercises in-the-field, using rough materials catch-as-catch-can to make rafts, palisades, rope and/or split log bridges, and the like, the GM should require a separate time requirement to be met by the character(s) in these cases in order to harvest and prepare the materials for the project. The time requirement to actually complete the project should be equal to the DV and read in hours. Palisades should be assessed in DV for the purposes of determining time requirements as is stone, by the foot and according to height.

This is all the help that could feasibly be included here.

One last item that should be touched on briefly is the difference between Concealing and Masquing when working with objects and the crafts. The GM needs to understand how the Cache/Conceal and Masquer skills work in application to better govern their uses in play. Basically, to keep a mechanism in plain sight but change its form so that it appears as something other than it is Masquing it with the Masquer skill. To leave the mechanism in its native form but hide it away inside, under, or behind some other convenient object is Concealment with the Cache/Conceal skill.

For examplea tripwire is a tripwire. There is no way to Masque it, one can only try to Conceal it, making it so thin that perhaps it won’t be noticed at all might work, or by running it under or behind a ripple in a carpet, or through a pile of rushes, straw, grasses or other, similar, innocuous debris, alongside a piece of trim, etc. depending on the setting.

On the other hand, to enable the character to keep some sort of mechanism, trap, or lock out in the open without giving its presence away would be to Masque those parts that can be, using mops, buckets, window shutters, Dutch doors, drying lines for the wash, racks of tableware, and similar common (but unorthodox in this usage) household objects where their shapes and the places they stand or are commonly stored are appropriate. Like some great Rube Goldberg device, this can enable the craftsman to run the machine around or through any number of chambers, especially if already cluttered with other junk, without anyone really noticing that it is there, the perfect Masque. If necessary, any oddments too awkward to be so disguised can just as easily be Concealed behind arras’ and tapestries, drapes, aumbries, dressers, armoires, under settles and/or dormant tables and similar large furnishings at which people don’t often look too closely.


This skill is only available as a part of the Smith, Carpenter-Builder, or Mason-Builder specialties of the Craftsman Trade or Scholars having obtained the Licentia Docendi or higher degree.

Artificers are specialists in the way things work. They are the medieval equivalent to handymen, engineers, or gadgeteers, even inventors, all rolled into one. This specialty allows the character to build engines of all sorts, like cranes, mills, and other similar machines, and provides him with mechanical knowledge such as how best to deploy a rope or chain and pulley-tackle to support and lift a load for the labor available. While the arts of the artificer only really apply to smiths, especially in so far as it enables them to make mechanisms like mills and town clocks, water-drawing machines for wells, and the like, or even clock-work toys, as mentioned in the Artificer description (pg _), the knowledge of Traps, locks, Disguising, and Concealing them it also provides the opportunity to learn is also applicable to building, but only in the mason and carpenter specialties.

The animal-driven hoists, construction or freight cranes and elevators used in on construction sites in the period of the game will be the province of carpenter-craftsmen, along with other domestic craftsmen’s devices like potters’ kick-wheels, weavers’ spinning-wheels, and the like. This also includes siege weaponry, the proper methods of construction for siege towers, catapults, trebuchets, mangonels, bores, and so forth. The plain day-to-day usefulness of their skills will make this sort of Artificer-carpenters the most numerous. Those of the smithcraft specialty will be second in number, their skills allowing them to act as millwrights, making the water-driven or wind-driven works for hammer-mills, grinding mills, saw mills, or making the works for the large tower-housed town and cathedral clocks. The Artificer’s skills can only really be applied in mason craft through its specialties of trap-smithing, locksmithing, and concealing the presence and function of such things in other works. Despite the impression this may give, Artificers do receive a smattering of knowledge in working with all materials, for many of his gadgets are built of spare parts taken from all sorts of sources, and the parts he does have to commission will not always fit exactly, for the craftsmen may not quite understand the character’s designs in the first place. In this, however, the player must understand that the character will only have the knowledge and skill to alter or adjust fittings and pieces of his mechanisms if they are made of a material outside his specialty, and the greater part (no less than c. 75%, GM’s discretion) of the working parts of any machine he makes must be made of the material of his specialty (i.e., stone, wood, or metal).

The most simple of all machines the Artificer may find himself in need of to move a heavy object is the lever and fulcrum, the same principle on which the children’s see-saw is based. So long as the materials of which the fulcrum and lever are made can take the punishment of the weight moved and the force exerted against it, the number of times the long end of the lever is greater than the shorter end (used to shift the weight), as measured to the pivot point of the fulcrum, the effective weight of the load being shifted will be divided.

For example, to shift a boulder weighing a ton using a fulcrum of the same stone and a lever 2 feet from the fulcrum to the boulder and extending 7 feet beyond the fulcrum, the character would an advantage of 3.5. Since 2,000lbs divided by 3.5 is 571, even a character with a STR of 15 could shift it, though it would tax his “Extreme” ENC rate.

Where the Artificer can rig a winding wheel or crank, such as that used to raise a 60+ lb. bucketful of water from a well, the advantage in pulling force on the line attached to the axle depends on the relationship between the turning radius of the wheel or crank and that of the axle being turned.

For example, if the radius of the wheel or crank is 18in. and the axle’s is 6in. (a relationship of 3 : 1), the force with which the axle can be turned will be multiplied by 3; that is, the effective weight of the load depending from it will be cut down to 1/3rd normal

Using pulleys in block-and-tackle assemblies can be even more efficient. Attaching a pulley block with a hook to the load and then stringing the rope through the pulley block and through a similar block securely anchored, as on the apex of a tripod, faucon or other crane, to which the end of the rope may be secured. The number of times the rope is doubled through the pulleys is the number of times the effective weight of the load is divided (the first cutting the load in half, the second to 1/3rd, the third to J/4th, etc.), but the distance the load is moved requires a length of rope to be pulled through multiplied by the same number, so for very heavy weights a great deal of rope is needed.

For example, passing a rope through a collection of pulley-blocks eight times divides the weight of the load by eight, but multiplies the amount of rope that must be pulled through it by eight as well, so in order to move the load 1ft, fully 8ft. of rope would have to be pulled through. While it is much greater at cutting the weight of the load, it is usually reserved for truly heavy weights due to its inefficient use of rope, which is a fairly expensive commodity.

In the period, these assemblies were attached to tripods over holes and wells to lift and carry, or “faucons” (falcons, small “L”-shaped frames) sited on the tops of walls or towers, and especially affixed to the extended rooftrees of the most merchants’ houses (over the large doors to their attics, which they used as extra warehouse space) and wharf-side cranes.

From this description, the Artificer’s skill can obviously include such contrivances as mechanical traps, but this is a specialty. Being an Artificer makes the character eligible to take the mechanical Trapper skill as an additional skill under their Craftsman Trade. Traps will be rated in levels of Potence (POT), which will be determined by the complexity of the mechanism he designs (according to the parameters in the Trapper skill description, GM’s discretion), so it is largely up to the player to choose.

The higher the LoE, the harder the trap will be for others to evade and then disarm or disable. As long as the Artificer has the proper tools with him, this skill will enable him to dismantle any mechanism and/or disarm any trap he himself has made with guaranteed success. It will enable him to locate, identify, and disarm any traps he encounters, just as described in the text of that skill.

For characters of the construction specialty, the Traps skill may only be applied to making larger traps, man-catchers and killers encompassing whole rooms or passages on the order of siege weaponry built into the structure, large or smaller. This can only be applied to making smaller traps when designed to injure and debilitate in combination with structures like staircases, hallways, archways, doors and doorways, and the like, and they must be designed to affect a specific area of the body, according to the dimensions of the character’s own race, or the client’s, unless the player specifies otherwise. Regardless of type or specific effect, these traps must be constructed as part and parcel of either the stonework or structural timbers (mason or carpenter specialties, as applicable), within the walls, floor, and/or ceiling.

For characters of the smithy specialty, the Trapper specialty can be applied anywhere, but they may not be constructed as a part and parcel of either the stonework or structural timbers, rather they must have been added to them, attached to them, planned and made to work around them, generally made to work through false panels, pressure plates, trip wires, or other devices placed so as not to interfere with the structure. Those characters who have opted for a finer art such as silver-/goldsmithing will be restricted to miniature traps, needle traps, claw traps, etc., and clockwork mechanisms appropriate to their delicate art. The possibilities available to the character in making traps, the various devices and three basic methods that can be used, are detailed in the Traps skill.

As an alternate or addition to Trapper, the Artificer skill also makes the character eligible to learn the skills of the Locksmith. Locks will be rated in POT like traps, and the character’s ability will be reflected in the Locksmith skill, and the knowledge of lock construction will allow the character to pick them as well as any Draughlatch, just as the knowledge of building traps enables the character to disarm or disable them. As long as the Artificer has the proper tools with him, this skill will enable him to pick any lock and open any closure he himself has made with guaranteed success. The higher a lock’s POT, the more difficult it will be to make, but this will also be the difficulty with which it may be picked by Draughlatches.

IF the character has the Hide and/or Masquer skills anywhere else, from any other source, he will also be able to use it here with his Artificer skill

IF he doesn’t and the player also wants his character to be able to deploy his Artificer mechanisms in this sort of covert manner will have to give him the Cache/Conceal and/or Masquer skills, like Locks and Traps. If either of these skills is taken under Artificer, the player will be unable to use it for any other purpose than to hide his mechanisms, locks, traps, etc.

Together, the Masquer/Hide, Locksmith, and Trapper specialties can be used to create subtle mechanical guards, connecting traps to locking mechanisms in any number of ways to prevent those who would trespass where they aren’t wanted from passing with impunity or tampering where they ought not.

For designing any mechanism, the att. mod. will be based on the character’s AWA score. The AV for actually making any mechanism designed will be governed by the character’s Craftsman skill, rather than this specialization.

GM’s Notes :

The DV’s for making traps are discussed in the description and appendant notes for the Trapper skill, along with their effects and capabilities. As shown there, the bases will largely be up to the players of the characters making them, plus any modifiers due to extraordinarily large or small size (as follows) which will also be in the player’s hands, and the POT by which their speed and damage are determined will be entirely up to the player.

The DV’s for making locks, their POT, will be entirely up to the player whose character is making them, plus any modifier for their size, if inordinately large or small (as follows).

Artificers can compose mechanisms in any scale suited to their specialty and in any material from ivory and wood to copper, tin, bronze, iron, silver, or gold, as their skills and purses allow and uses dictate.

Some of the facets of this skill involve true engineering, forces, loads, leverage. Levers and pulleys can decrease the effective weight of a load, increasing the Artificer’s effective STR for lifting.

In using a lever. the weight of the load in pounds multiplied by the distance of the load in feet from the fulcrum is balanced against the weight of the character (plus any helpers who may also have room to grab ahold) multiplied by his own distance on the other side from the fulcrum, also in feet. As long as the effective weight of the character is at least equal to that of the load, he will be able to shift it with the lever. To determine which ENC rate the weight falls under in these cases, the (adjusted) weight of the character should be divided by that of the load, a result of up to I being Extreme, up to 2 being Heavy, up to 4 being Semi-, and up to 8 being Light. Any result over 8 should be treated as “zero. “

Whether or not the fulcrum or lever can stand up to this sort of use will be determined by the materials of which they are made and their STP’s, according to the rules provided in the “Lifting, Bending, & Breaking” section of Chapter 3., in Part III. (pg _).

In the application of the Artificer’s knowledge of loads and mechanical means, the GM should try to remember that it is always easier to adjust (divide) the weight of the object moved according to the mechanical means (advantage) applied to it and compare the results (the reduced load the character will actually be handling) to the characters’ ENC rates, rather than applying the effects of the mechanism to the character and making up new rates over and over again during play, when changing the weights of the loads according to the means is so much easier.

The DV for putting together any basic engines to move great weights, tripods and pulley systems, will be half the advantage the Artificer will gain from any simple wheel or axle; and crank, or equal to the advantage of any pulley system, so a wheel or crank that provides an advantage of 4 : 1 would have a DV of 2 to make, and to put together a pulley system that would provide the same advantage and cut the weight of a load by the same number would have a DV of 4.

Levers should not require any sort of roll The hardest part there should be in finding a lever and fulcrum strong enough for the task and long enough for the task.

To make the parts or assemble and finish an engine or mechanism the base DV will be based on its size. The DV rate for size will vary with the character’s specialty, as follows.

Silver and goldsmith DV’s due to size will be equal to the sum of the height, width, and depth of the mechanism in inches.

Models of larger engines or mechanisms will commonly be used to show patrons what a project will look like and -how it will function, to gain approval for funding for the full-sized version. Those smaller than 1ft. in their largest dimension are too small and delicate for the blacksmiths or common smiths rough art. Blacksmiths who are. Artificers who make mechanical clocks do so on large scale, of the sort found in the towers of town halls on town squares and marketplaces, and also in the towers of castles of wealthy nobles and royal castles frequented as residences. Their DV’s based on size will be equal to the sum of the height, width, and depth of the engine/mechanism in feet.

Tinkers should have no constraints on size one way or the other. Their DV’s based on size should be determined in inches for those with two or more dimensions of 2ft. or less, or in feet for those with two or more dimensions greater than 2ft.

Carvers/woodworkers can make toy-scale projects like a goldsmith at their own discretion, as desired.

Carpenter-builders should be constrained in size in wood in the same manner as the blacksmith. Along with the smiths, such building-sized mechanisms as grist mills, iron mills, fulling mills, and the like driven by wind or water or brute strength are their province.

For actually making the parts, working the materials, the base DV due to the size of the project should be raised by the Hardness ratings (STP’s) for wood, or by the Failure ratings (STP’s) for metals, according to Appendix C, and E. (pg _).

To this, a bonus of 2 should be added equal to the number of actions that the mechanism will perform, if more than one. This does not necessarily mean the number of processes a machine is to perform, which would generally only be one, but applies to all the changes through which the force driving the mechanism is put.

This includes changes in speed (ratio of wheel to axle radii and/or radius of gears), but approximately. It is doubtful the player will be able to determine this with any exactness, so the CM should keep this casual. It also includes changes in the direction of the driving force, generally only one, horizontal (wind, water) to vertical for most mills except hammer mills for working metals and paper making, where they must be converted back into horizontal forces with a cam shaft to lift hammers. If a lever or other assemblage has been included to disengage the source of power from the mechanism, as is commonly done for water- and windmills to prevent strain in extraordinary circumstances from wrecking the machine, add 2 to the DV. Some mills will have a means of shutting off the source of power in addition to disengaging the mechanism, such as a sluice gate to shut off the flow of water to an over-shot wheel, especially from a tidal pool in a tidal mill, or reefing the sails of a windmill.

The DV’s for these aren’t very likely to get all that high. The DV due to size is likely to be higher, sometimes much more so.

The DV’s for mechanical objects, especially clockwork, music box-like toys which can be highly articulated, can start to get into some serious numbers. These will depend on the number of moving parts. The number of movement parts for purposes of play is most easily determined by the number of parts that move in the outward appearance of the engine (esp. mechanical or clockwork toys), number of figures/features to move. To this should be added the number of actions performed, per moving feature if each is to perform one or more actions separately and independently.

If all moving features are to perform the same action simultaneously, those actions should all be counted as one.

If each figure will rotate into the same place to then and there perform its action in turn, the rotating of the figures through that spot should count as one action, but the figures’ actions all to be counted only as one.

These will dictate the number of changes in direction of force, as mentioned above. This will also dictate the number of times the same driving force must split to drive different areas of movement and different types of movement. To this should be added escapements for staggered timing triggering of action sequences for staggered movement, delayed triggers for starting and stopping subsequent movements, and so on.

The amusing Tantalus cups, in which a figure seems to drain the cup of its contents which then fountain forth from other fixtures on it, the hand-pumped almost-flamethrowers used to spray Greek fire, and the sound bladders or bird whistles which can be used to add sound effects to a toy all work on air-flow, seals and suction, the principles of vacuum, suction, Archimedes principle and capillary action, and the like.

For each such function of the mechanism, the GM should add 5 to the DV.

A further discussion especially for the purposes of designing and executing mechanical traps is provided in the Notes of the Trapper skill, to follow (see pg _).

In the application of this Trade the GM will have to use his own best judgement. The player should probably be required to make some sort of diagram or rough sketch as to what the mechanism is to do and where, what it is to accomplish (esp. clockwork toy sorts). If he has the talent for it, a more precise drawing might be required; or if some other player in the group is agreeable, he might just as easily be drafted for that purpose. The better idea the GM can get of just what it is the Artificer is trying to achieve, the better able he will be to come up with an accurate DV for the engine/mechanism.

The GM should require a check to work the materials into the parts needed, and then to assemble and finish the engine, as described in the Notes for the Craftsman Secondary. These projects, too, should be broken up, but only to a certain extent. Separate checks should be required for making the mechanism by which the energy source to be used will be harnessed, for making the waterwheel, the arms and sails for the windmill, or the wheel or turn-style in which the men or around which the men or beasts will walk. The greater the number of men or beasts to be harnessed in the machine above two, the higher the DV. Two is usual, side by side inside a wheel much like those provided for mice, hamsters, and gerbils to run in (also making use of the men’s weights) or one at either end of an arm set across a vertical axle like a crank (with the same mechanical advantage). In this instance, again, the radius of the wheel, sails, or turn-style (crank) will determine part of the DV, as described for the mechanical advantage in making lifting engines.

For clockwork-driven mechanisms, those that are weight-driven, that make use of weighted pendulums, should have a much lower DV than those that have mainsprings which must be wound. The former should have a base DV of 20, and the latter should have a DV of 30.

To this should be added I per day the mechanism is meant to function without being reset or rewound.

In the same vein, resetting mechanisms for traps should be constructed separately, with a separate set of checks for design, working the materials, and assembly/finishing. This will not affect whether the mechanism on which it works will function, only whether or not it will allow the machine to which it is attached to work again.

In play, once a mechanism is completed, especially any given clockwork toy, trap, or other, similar machine, the GM should allow it to work without difficulty for (SL) times, or up to (SL) days of continuous work, before he makes a check to see if anything has gone wrong with it that might need repairing or fine-tuning. The DV for this check should start at one (1) and rise by 1 for every (SL) uses or days of continuous operation for every check made. Once the check is failed, the machine has failed. The GM should then make a roll to determine what part of the mechanism has failed, counting the harnessing of the energy, the various functions, resetting mechanisms, and the like all as separate areas that can malfunction. The amount of damage suffered in the failure (for purposes of repair) should be determined by rolling D5 per 4 points of the DV for which the check was failed. The longer it goes without difficulty, the worse the potential failure. If the machine sits idle, a DV will accumulate at u rate of 1 per (SL) years for some part of it to malfunction with the first use.

One point on which the GM will have to make a ruling early on is whether or not he will allow any characters to construct an object, tool or machine, that belongs to a period later than that of the game. In the GM’s own world there are a few exceptions, but they are confined to very small areas by the very natures of the people who have them. Specifically, the dwarfs have been allowed to develop such things as the printing press and moveable type, and large cumbersome steam engines to power public conveyances in their mountain cities. These dwarfs have not and will not take any steps towards adapting these machines to industry, their guilds would never allow it, and the export of their technology is also forbidden. Even so, it is not recommended that the GM allow any of the weapons that might be constructed to use an analogue of gunpowder in his world, or even allow an analogue of gunpowder to exist in his world.

These topics and others are addressed at length later on, under the heading “Taking the Long View: The Perpetually Medieval World”.

Artists & Artisans

This skill is only available as a part of a Craftsman Trade, embodying original artistic talent in regards to decorative motifs and ornamental design, for those whose interests lie in that direction. The fine thing about fantasy roleplay is that one’s character can do most things the player himself wishes he could do but either didn’t have any aptitude for or never had the time or opportunity to learn.

The Artisan skill can make a simple tailor character into a sought-after designer of flattering fashions or even a costumier, or turn his sewing skills to the remarkable embroidery of the broderer, turn a Scribe into a rubricator or limner or true illuminator, a dyer into a fine stainer of cloth and leather, for the glazier, the Artisan skill can raise him up to the finer arts of the stained-glass worker painting enamel on glass, and more importantly painting on the air with color and light. With a knowledge of Mathematics (geometry) and the Scrivener skill, the character can use the Artisan skill to be a cartographer. The Artisan skill can make. the character an aspiring painter on canvas and en fresco, or a sculptor in plaster, stone, metals and other hard materials, carver of fanciful shapes in wood and other soft materials, for both display as art for their own sake or as architectural ornaments, and so on and so forth.

For painter, dyer, and stainer artisans, this skill will include knowledge the various herbal and mineral pigments used in their trades, from lapis lazuli for the finest blue paints, woad or indigo for blue dyes, and iron sulphide to fortify the body of black hues, especially in inks, lamp soot for a good deep black hue called lampblack, to cinnabar for the finest red paints, and madder root for a good red dye, flakes of lead oxide for a good opaque white paint, or the goodly yellow and then red that can be obtained from heating the flake white to different degrees, the vibrant forest green pigment of ground malachite, the equal in depth to the blue of ground lapis, and the cool turquoise-green pigment that can be scraped from oxidized copper or brass, the full-bodied orange pigment of iron oxide (rust), or the deep golden yellow dyes that can be obtained from saffron or marigold petals, the delicate shades of ecru and beige dyes that can be taken from onion skins, or the brown dyes that can be gleaned from various nut hulls, and so on and so forth. If the character also has the Forager skill from some other source, he will be able to forage these materials on his own, saving the cost of buying them from the local herbal.

In crafts like those of the dyer and chandler, and especially the labor crafts there isn’t much room for creative expression, unfortunately, and the Artisan sub-skill won’t really apply except perhaps in an alchemist-type fashion, puttering with the standard formulæ of their arts, colors, and shapes. That sort of puttering about with formulae will be further aided if he is also an Alchemist.

Without also having developed the artistic skills embodied in this skill, those who practice the arts and crafts of the hand, from weaving to smithcraft, will be part of the common community of similar craftsmen who rely on the motifs and patterns handed down to them by their masters and those they can find about them. Except for simple and minor variations on the standard patterns inherited from his master, any new or different design or unusual piece a common craftsman may feel a drive to produce will always first require the services of an Artisan for design purposes.

To enhance his versatility, whether the character is an Artisan or not, the character may keep a design and pattern book, a journal of sorts, in which he can copy down all of the designs and motifs he encounters in his adventures and travels. Many craftsmen in the period of the game toured not only their own realms but the lands abroad for just this purpose of finding new and lovely designs to record and take home to embellish their own work. For this activity the character need not even be able to read or write, and it provides an additional opportunity to gain a SP here and there.

Unlike Language skills, the various divisions of the Craftsman skill itself, Weapon skills, and the like, the Artisan skill need be taken only once. Regardless of which craft a character takes the Artisan skill under, it can then be applied to any and every other character skill to which the player can devise a way to apply it, to which the player can convince the GM it can have some real depth-enhancing, interpretive value (GM’s discretion).

As discussed in the Wizard trade description, the painter specialty of the Artisan skill is a must for those Wizard trade characters who practice the arts of Glamourie, for creating “Veils of Glamour,” and all other visual illusions.

No Shadow Weaver who doesn’t have the Artisan skill will be able to compose an illusion that has not first been staged and studied in its entirety first, as opposed to assembling illusions made up of images of items he may observed and studied separately, over the course of his career.

Those characters whose crafts produce a tangible product (potters, cobblers, hat-makers, tailors, stained-glass workers) must needs pay for the materials to exercise their skills. Since the range of crafts encompassed by this sub-skill is so varied and the costs of materials just as varied, the player will have to consult the GM to find the costs of the applicable materials, according to his needs. When the character is working for a client, especially in the English culture-base used in Realms of Myth, the player will please note that the client will usually (99%) supply the materials and require the character to account for their use, returning any unused materials remaining.

For coming up with a pleasing and usefu1 design for an exercise in his craft/art the att. mod. will be based on the character’s A W A and CRD score The A V for actually executing in the medium of his craft/art any design created will be governed by his Craftsman skill, rather than this sub-skill.

Regardless of whether the character designs or synthesizes a design on his own, anew, or copies another’s work, he must determine for himself the intricacy and quality of the design, according to the standards the GM will relate to him. This will stand as the DV for the task, so the player will effectively determine his own DV. He will have to challenge himself and test his skills and limits if he wants to gain any reputation for good work, or be able to fulfill the expectations of his clients. The better the clients, the better the work they will demand.

GM’s Notes :

The base DV for completing any artisan’s work will be set by the artist himself, or by his client. The definitions of the DV’s in quality and complexity should follow the general guidelines detailed in Chapter l. of Part Ill. (pg _), but the actual effects and applications for the purposes of interacting with the gameworld are explained as follows.

Snap degree of difficulty projects or pieces will be very simple, maybe even crude, using elements of design that are very simple and common to the culture. When well executed, the work will be considered quaint by the average person, suitable for their children, or nice to the average laborer or small village farmer. The appeal of these pieces may be enhanced by the use of fine materials, but they will not be accepted by any class higher than the wealthy tradesmen or non-noble lower aristocrats, and by these only for their young children or as gifts for their lesser servants.

Easy degree of difficulty projects or pieces may be a bit more innovative in design and application, contain a few more elements in composition, but will still follow popular trends learned in the workshops of other craftsmen while doing piece-work. When well executed, these works will rival those of the masters, the common craftsmen. These works will appeal to those of any station from the lesser nobility on down if properly rich materials are used, but among the lesser nobility and wealthy townsmen only for their young-adult children and their servants of moderate standing (or as true prizes to those younger or lesser in standing).

Moderate degree of difficulty projects or pieces will be acceptable to any social class at all, though to the upper nobility only as “common” objects for daily use (as opposed to ornamental objects for special occasions or prominent display) or for gifts to those of the lesser nobility or lower in social standing, provided no truly precious materials are used.

The Artisan’s peculiar style of craftsmanship will be apparent from this degree of difficulty upward, to an extent identifiable to connoisseurs of current artists’ works and the collectors in later ages (following the artisan’s death). To works of this quality/complexity the character will likely be able to get away with adding a special mark for identification to the local trademark or hallmark if he doesn’t have his own. Pieces of this quality/complexity will generally be considered beyond the means of poorer freemen and the landbound classes.

Difficult and Complicated degree of difficulty pieces or projects will be sought by the nobility from time to time, as their purses can afford. Pieces of this quality/complexity will generally be considered beyond the means of the common run of freemen.

Once the character develops a reputation for being able to consistently produce works of this degree of difficulty without undue delay, he should be in a position to cultivate the best clientele whose attention he can attract, the highest noble patronage. He will likely be able to work with the best in materials consistently as long as he maintains a high profile to further his reputation. One drawback to this benefit lies in the political factionalism that will also come into play in the character’s career at that point. The character will be judged by the company he keeps and particularly by those for whom he takes in work. Being skilled as a Courtier will be of great help to craftsmen who make it to this point.

Those able to consistently produce works of the Complicated or Impossible degree of difficulty without undue delay will be of note to the highest levels of nobility, even the Crown.

The character must be very careful at this point in his career, for his wealth, future work and income, even his life, may hinge upon whom he works for from time to time. The character will be expected to produce his most prominent works at this point, his most elaborate and/or large works, especially for high noble residences, large public areas in government buildings, and cathedrals or other large, rich, sacred buildings. Royal patronage and favor can be a very real force ‘for good or ill in the character’s fortunes at this point, for he will be able to hob-nob with the cream of the realm’s noble blood, particularly in a country with a Renaissance-type atmosphere in which artisans and craftsmen and their work are appreciated and valued.

In addition to the base according to the complexity of the designs and the fineness of the forms and care taken in finishing, chosen by the player, the GM should add a bonus based on the size of the object, according to the procedure already described in the Notes for the Craftsman, above.


Every master practicing a craft out of his own shop must mark his work that it may be identified and traced to its source. This is usually accomplished by means of a metal puncheon struck with a mallet to impress the mark. This is called a trade mark. This mark must be licensed by the local lord or guild and the craftsman either accepted as free of the lord’s demesne for trade or as a member of the corporation of the market borough or town or the craftsman will be subject to a great number of taxes and tolls to sell his wares. The mark may be the same for all the members of a given guild, and may be compound, containing a separate element or mark identifying the town and another the particular craftsman in the guild. Those licensed for use in lordships are usually singular in nature in toto. Registration to receive a trade mark, or hallmark (from craft-hall), will range from Is. to 2s., depending on the craftsman’s apparent means. Any character working as a journeyman in another master’s shop will have that master’s mark put on his work by that master once it has been completed to his satisfaction and approved. The mark attests to the quality of the work, not necessarily just the man who did it, but the man responsible for it should it later be judged below par by the master’s peers.

The GM should always assume that all characters who begin play with shops of their own (members of the appropriate guild, duly licensed by the local lord) will also start play with registered licensed trademarks to mark their wares. The penalty for setting up shop with another’s mark should be severe, involving responsibility for all shoddy works sold under that mark up to the discovery of the crime (whether truly responsible or not), damages to the craftsman whose mark was used, fines to be paid to the government at least equal to the damages paid, and a fine to the Church in the canon court in reparation for his sin.