From: owner-scribes@castle.org (scribes digest) To: scribes-digest@castle.org Subject: scribes digest V1 #10 Reply-To: Sender: owner-scribes@castle.org Errors-To: owner-scribes@castle.org Precedence: bulk scribes digest Monday, January 26 1998 Volume 01 : Number 010 In this issue: [scribes]: Tumble-polished burnishers [scribes]: Russian callig and illum Re: [scribes]: Art on Here Re: [scribes]: Tumble-polished burnishers Re: [scribes]: beginner's questions [scribes]: Patent gold & burnishing [scribes]: Exemplars for New Scribes [scribes]: Burnisher solution [scribes]: Why Glassine [scribes]: Re: Pigment storage [scribes]: SCA Scribe Book Re: [scribes]: Exemplars for New Scribes [scribes]: Re: Exemplars for New Scribes Re: [scribes]: inexpensive gold/silver substitute RE: [scribes]: Exemplars for New Scribes [scribes]: Scribe's Handbooks Online Re: [scribes]: Scribe's Handbooks Online Re: [scribes]: Tumble-polished burnishers Re: [scribes]: Russian callig and illum RE: [scribes]: Russian callig and illum ---------------------------------------------------------------------- Date: Mon, 26 Jan 1998 10:50:22 EST From: Ariannawyn Subject: [scribes]: Tumble-polished burnishers In a message dated 98-01-25 19:19:09 EST, cperkins@nothinbut.net writes: << > Well, Ariannawyn and Neil, now it is my turn to get a little picky. The > main problem with a hand-held piece of whatever you chose to burnish with, > is that you will get hand oils on it...they in turn will pull your gold off > if you are doing direct burnishing (which you CAN do with hematite and > agate, by the way, I've done it). Thanks, Katarina. You have saved me some disappointment. I shallhave to figure out a way to keep hand oils off the stone. A handle makes sense. Hmmm... Nice little setting, decent wood.... could be pretty, actually. >> Actually, I've never had this problem, but then I usually keep a piece of glassine between the gold and the burnishing stone. I suppose you could wipe the stone off with a clean cloth before burnishing. Arianna ------------------------------ Date: Mon, 26 Jan 1998 09:24:23 -0700 From: Heather Whitesides Subject: [scribes]: Russian callig and illum Grettings I am Scia of the Outlands, and a newscribe, who is very interested in examples of Russian illumination, that is not icon painting. I would also love to know if anyone has an english alphabet version of cyrillic medieval script, in other words a Russian looking calligraphy hand. Thanks much, Scia ------------------------------ Date: Mon, 26 Jan 1998 08:31:27 -0800 (PST) From: Sara Friedemann Subject: Re: [scribes]: Art on Here > >the center of the state. So I'm kind of > inaccessable. > > > >Aryanhwy > Well, Aryanhwy, you are only kind of inaccessable to > SOME of us.... ;) I guess it only *feels* like I'm in the middle of nowhere! > I would be willing to give up some of my site space > if Ari will help me with the scanner; she might be a I will *gladly* donate the use of my scanner. It's even *somewhat* portable. I could (only possibly) bring it and my laptop someplace to do the scanning. Though it would be tons easier to do it here! Aryanhwy - --- Lady Aryanhwy Prytydes merch Catmael Caermyrdin Shire of Falcon's Keep Principality of Northshield Kingdom of the Middle _________________________________________________________ DO YOU YAHOO!? Get your free @yahoo.com address at http://mail.yahoo.com ------------------------------ Date: Mon, 26 Jan 1998 11:37:22 EST From: PTS21@aol.com Subject: Re: [scribes]: Tumble-polished burnishers <<...The main problem with a hand-held piece of whatever you chose to burnish with, is that you will get hand oils on it...they in turn will pull your gold off if you are doing direct burnishing (which you CAN do with hematite and agate, by the way, I've done it)...>> <<...I shall have to figure out a way to keep hand oils off the stone. A handle makes sense. Hmmm... Nice little setting, decent wood.... could be pretty...>> <<...I've never had this problem, but then I usually keep a piece of glassine between the gold and the burnishing stone. I suppose you could wipe the stone off with a clean cloth before burnishing...>> Most of this can be avoided by carefully choosing your burnishing stone--Carl von Elfstien Shmuckmacker (PLEASE forgive my spelling here), the guy who made the new AEthelmearc crowns, just gave me a beautifully polished agate, quarter inch by half inch by three inhes, pointed on one end and blunt on the other--perfect for burnishing but not needing a handle as your hand never touches the burnishing surface. Check with you local jewelry and gem workers. Here's to cross-arts co-operation! Cori Ghora, AEthelmearc deputy Signet pts21@aol.com Clare Jackson, North Tonawanda, NY (just North of Buffalo) ------------------------------ Date: Mon, 26 Jan 1998 09:31:04 -0800 From: "Carolyn Richardson" Subject: Re: [scribes]: beginner's questions >>Ok, some little squares I have put gold composite and the others a lovely deep red gouache. The problem I have is that the gold composite seems to have `flakey'? edges and aren't crisp and clean. I don't want to damage the red or remove too much gold. I also do not want to damage the vellum by cutting it w/an exacto.<< On this one, line over the edges with black pen to hide them as someone else suggested. For future reference: When using compo gold, do the gilding first. To get really clean edges with compo gold, use 3M Removable Tape (tm) to mask off the areas that you *aren't* gilding. This is pretty easy for straight lines but for small areas or curvy designs you need to cover the area with tape completely first (use a burnisher to make sure it makes good contact with the paper), then using a single edge razor or an Xacto knife carefully cut away the tape from the areas you do want gilded. Gesso and apply size as normal, then apply the gold leaf WHILE THE TAPE IS STILL ON THE PAPER. Once the gold is set, carefully remove the tape (along with the excess gesso, size and leaf). One advantage of this method is that you don't need to apply the gesso carefully, providing you leave at least a 1/2 inch border around all areas to be gilded. YOu can just slop it on. It's like having a stencil on the paper. I also use this method for gilding very small areas or intricate designs where I want precision when I'm using real gold. I just haven't found a good way to paint on real gold - I tried JimBear's garlic juice method with limited success, so it's just easier to leave the painted areas ungilded. Zenobia, I did your Laurel scroll with this method. Tetchubah of Greenlake Kingdom of Caid ------------------------------ Date: Mon, 26 Jan 1998 09:36:41 -0800 From: "Carolyn Richardson" Subject: [scribes]: Patent gold & burnishing My understanding about burnishing patent gold is that you can't do it. Since patent gold is adhered to tissue, you need to have a size on the gesso to remove the gold from the tissue when gilding. The size is the problem - it's essentially a glue and in order to properly burnish gold to that shiny finish you see in the period manuscripts the gold has to move around when it is burnished. Size keeps the gold from moving, so all you wind up doing is scratching it off the size. I think you can only *truly* burnish gold when you are using a water gilding technique with real gesso (I haven't been able to get this to work with acrylic but I'd love to hear from someone who has) and nonpatent gold. Since real gesso will get sticky enough to have gold stick to it when you breath on it, the gold can then be burnished as the only thing holding it to the gesso is essentially the vacuum created when the moisture soaks into the gesso. Tetchubah of Greenlake Kingdom of Caid ------------------------------ Date: Mon, 26 Jan 1998 13:22:22 -0500 From: ab873@jepms4.jep.cummins.com Subject: [scribes]: Exemplars for New Scribes Does anyone out there have suggestions for exemplars for new scribes? We have a fair number of people who are just getting started, and by the time they buy all the paper and paints, they are hesitant to go out and purchase any books. So far I have suggested that they borrow something from the library or that they look for things like the Medieval Woman calendar or little books of days. Unfortunately, some of these sorts of things don't give a whole page view of a piece and the resulting scrolls look barely Medieval-ish. I would also be curious as to your opinion of what book to buy if you could only buy one. (I could never chose, so we are trying to buy them all! ;-) ) Thank you for your help. Dorinda Courtenay (Dorinda Courtine-White) Shire of Heronter, Kingdom of AEthelmearc (Jamestown, NY) ------------------------------ Date: Mon, 26 Jan 1998 15:10:14 -0500 From: randyaf@provide.net (Randy & Melody Asplund-Faith) Subject: [scribes]: Burnisher solution Wow, I had no idea that so many people needed burnishers. Instead of going into manufacturing business, let me describe how you can make an inexpensive burnisher. With some fine tuning, these can be your permanent and favorite burnishers, but for that you will need experience in chosing the very best materials. I suggest that you consider that using a stone without a handle is like using a kitchn knife which is all blade. Bad things happen because your hand is where it shouldn't be You need the handle to get good control and to pivot the tip without getting oil on the rock. A good medieval burnisher can be made in your home in an evening. You need a head, a ferrule, a handle, and some glue. You will also need some kind of grinder like a Dremel, and wood finishing tools to shape the handle. I use exactos, a file, and sandpaper. THE HEAD: I have made burnishers with heads from Dog tooth, hemetite, and agate. The dog tooth is not so easy to get. Yes, I have a casual friend who is a vet, but of all of the teeth she gave me, only one came close. The problem is you need a good sized canine which has a really smooth clean surface. They often have cracks which make them unsuitable. To mount a tooth, follow the carving instructions below. For a stone burnisher, I have bought tumbled stones and they seem to work ok, if you are very selective. Look really close and make sure there are no imperfections. Even color shift seams may become edges to scratch gold. There should be enough material there for a head and also more for where you will carve the mounting tab. The most useful shape I have found for SCA scroll gilding is about a half of an inch head which is shaped like a pointed shoe. The bend for the ankle rises up as the area where te mounting tab will be cut. The bottom, or sole will be almost flat like a shoe (err on the side of convexity) and will be the main burnishing surface. The outside, edge where the sole meets the topside of the shoe should be as acute an angle as you can find so you can get all the way down into the crevass where the gilding stops at the parchment. There shoud be a somewhat pointed toe so you can also dig into the inside corners. If you miss areas of your gilding when you burnish, the gold may not adhere there. You will find a pointed dog tooth style burnisher will get you pretty far, but it doesn't satisfy when used alone on a wide, flat surface. There should be about a 100 degree angle (or so) between the sole of the shoe and the direction of the handle. That is to say,dont make the handle fit going straight up or it will be more difficult to use. FERRULE: Now, with the head selected, lets make a ferrule to hold it. I use soup bone. Get a piece as thick as you can and saw out a one onch bar with a Dremel or ecaxto saw. You can use the Dremel to drill a hole through its length which is any diameter you choose. This hole recieves the tabs of the handle and the burnisher head. The walls need to be thick enough when you are done to not break under a lot od preasure. Try to make the finnished walls of the ferrule at least 5/32" thick. When the hole is drilled you can then shape the bone into a smooth sufaced tube with your Dremel and a file. You might even consider decorating with scrimshaw or carving! Now you can carve a tab on the end of the burnisher to fit tight and snug into the ferrule. Use the Dremel and grind down to create a dowel shaped shaft protruding about 3/16 or more in length. It ought to be at least 1/8 inch in diameter for strength. A medieval craftsman would cut close enough to make a very tight friction fit in the ferrule. Make the corner where the tab comes out of the stone as close to 90 degrees as possible! Do your best, but don't worry. We have a modern helper to get you through this job. Its called epoxy. Once the tab is shaped, test fit it into the ferrule. You will soon cut a tapper on this end of the ferrule so your ferrule end doesn't get in the way of burnishing due to its thickness near the head. Look at the shape and figure out an angle. I find a blunted curve near the hole preserves strength. You can now remove the stone andfile the bone down to shape. THE HANDLE: Get a hardwood dowel as big around as the ferrule. It should be cut to a length as long as a pencil. You can carve it if you like to have a little surface texture and make it pretty. Like the stone, yo will cut a tab to go into the other end of the ferrule. That is why we use hardwood. Otherwise the tab would be weak and may break under use. You should also give the handle a gentle taper to its back tip so it fits your hand well. MAKE IT SYMETRICAL! The burnisher will be rotated in your hand in use. The medieval craftsman could vanish now. t is a good idea because it keeps the wood from changing size in humidity, however, if you are adhereing the component parts with epoxy, consider this alternative: Putting the parts together with epoxy is easy. The only real danger is being careful about not getting any epoxy on the burnisher head. Mask it! I use 5 minte epoxy and I set up a clothespin clamp to grab the HEAD and hold the whole thing up from the table as it sets. After test fitting all three parts, mix up enough epoxy to fill the ferrule hole AND to coat the entire handle. You will use it instead of varnish. Next, go ahead and fill the ferrule with the epoxy and stuff the stone in. With a twisting motion, add the handle to the other side, but make sure that the epoxy can flow out. It needs to be full, but not under preasure. Now the epoxy has oozed out the joints, wipe it up onto your handle and smooth on a thin coat with the extra you made. JUST the handle. Keep the epoxy off the stone head (whish is masked). If you are quick enough go to the steps directly, the epoxy surface will be very smooth when it sets. Now you can place it in the clothes pin vertically (so it doesn't set drooping). If you used 5 minute epoxy and a thin surface application, it shouldn't run and drip. Let it cure overnight. Viola! These and other burnishers need to be 100% clean in order to work. Use a very soft cloth for cleaning off oils. Keep them in a clean, soft cloth and then guard them aginst any chipping. If you are extreme you might make a little bean-bag rest to lay the head on when you are laying it down during use. Good luck and happy gilding! Master Ranthulfr Asparlundr, KSCA PS. Next week I dare somebody to ask about wax tablets! Randy Asplund-Faith 2101 S. Circle Dr. Ann Arbor, MI. 48103 http://www.provide.net/~randyaf ------------------------------ Date: Mon, 26 Jan 1998 15:10:12 -0500 From: randyaf@provide.net (Randy & Melody Asplund-Faith) Subject: [scribes]: Why Glassine If you don't use glassine, here is an explanation of the benefit the rest of us percieve. Think of it as a substitute for powdered bladder sheets. The sheet is slick, and it resists adhesion to gold leaf like few things will. When you use water gilding (the technique involving re-moistening the gesso seat with BREATH as opposed to a wet brush), the leaf is laid, but often is too fragile to be tamped down onto the gesso without causing tiny cracks called faults. These cracks let the burnisher contact ungilded gesso, thus pulling sticky gesso material up unto the surface of the gold and causing your burnisher to rub off gold. By laying a layer of glassine onto the surface, your burnisher is actually laying the preasure straight down, and therefore doesn't carry sticky gesso around with it. This preassure allows you to get a good contact between gold and gesso. After the surface moisture dries more you can then burnish directly. I prefer to burnish through galssine as much as possible to get the gold as smooth as I can, but as any experienced gilder will tell you, there is no way t get that mirror finish on your gold if you stop here. The next step then is to burnish directly with your best burnisher. This one has a SLIGHT controlled surface texture which is used to actually polish the gold. You need a really smooth gilding job to pull this off. I've seen a lot of otherwise competent gilders in the sca still come up with bumpy surfaced gold. A lot of the responsibility for that is from using PVA glues for gesso. It's harder to re-work those surfaces to get the lumps from brushstrokes to disappear. The traditional gesso can be sanded, scraped, carved, or pressed to make it a flat surface. After it is dry, but before I moisten for gilding, I like to use a bone burnisher or the top of my fingernail to polish the gesso. This does a lot to get rid of minute texture which can also cause faults. Good luck with your gilding! Master Rathulfr Asparlundr, KSCA Randy Asplund-Faith 2101 S. Circle Dr. Ann Arbor, MI. 48103 http://www.provide.net/~randyaf ------------------------------ Date: Mon, 26 Jan 1998 15:10:07 -0500 From: randyaf@provide.net (Randy & Melody Asplund-Faith) Subject: [scribes]: Re: Pigment storage With respect to the message below, I stronly suggest NOT using rubber stoppers on glass tubes for storing DRY pigments. The problem is the dust which pops up when you open and close them. Even if it is only a little, some of that dust is highly toxic. It has two places to go when you do this. Either right into your lungs, or into you rhands and then to your mouth or eyes via the hands. Even if it doesn't land on your hands, it lands on the table and gets picked up by your hands. Gloves are not protection here. Instead, use screw cap jars. The little mustard/jelly sample jars are great for this. There are lots of sources for this type of thing. Seconds stores, or even pick up empties from room service trays on the holel hall floor at yournext SF convention. You'll figure it out! Another option is to store the colors wet. Hmm, sounds medieval, doesn't it? Ranthulfr >I can't agree more, but Master John does put lot numbers on his products and >if you give him the lot number (provided that you didn't buy the original lot >years ago.....) he will get the same lot to you if he has it so you can get >some consistency. If I have a little bit left over of one colour I will put >that colour in a cigar tube (glass) and when I get a little bit of the same >colour from a different lot I mix the two and use it on a different scroll. >The small vials he sells will cover about 50-100 sq. inches (depending on >colour and technique used). Cousey up to your friendly cigar smoker and see if >he/she gets cigars in single glass humidors (looks like a test tube) clean it >with acetone (some tubes have a small-thin piece of cedar in them which will >impart some oil) and let air dry. I use them for different dilutions of sumi >for doing grisaille....NOTE: replace the cigar makers stopper with a rubber >stopper (available at home base or home depot in the hardware dept.) as the >ones from the cigar makers are inadequate.-JimBear Randy Asplund-Faith 2101 S. Circle Dr. Ann Arbor, MI. 48103 http://www.provide.net/~randyaf ------------------------------ Date: Mon, 26 Jan 1998 15:10:10 -0500 From: randyaf@provide.net (Randy & Melody Asplund-Faith) Subject: [scribes]: SCA Scribe Book The Middle KingdomScribe Handbook was created on Macintosh. The gentle who entered it and put together the pages for the beautiful product we got was Baron Daibhid Ruadh MacLachlan from Cynnabar. He worked his butt off on that part of the project. Unfortunatel, he is not on line, but I wall ask him if we can get the program document from him and see about getting it on-line. It is several years old now, and it could stand some serious editing, but maybe we can get a draft version out to you. Otherwise, Iwill have to get it scanned in from a paper version somehow. Darn, I wish I had more experience with these machines. I'll let you all know about any progress. Ranthulfr Randy Asplund-Faith 2101 S. Circle Dr. Ann Arbor, MI. 48103 http://www.provide.net/~randyaf ------------------------------ Date: Mon, 26 Jan 1998 15:30:23 -0500 From: randyaf@provide.net (Randy & Melody Asplund-Faith) Subject: Re: [scribes]: Exemplars for New Scribes Hi there! In response to the querry below, here's a shameless plug, I would suggest you contact the Middle Kingdom Information officer (go through the SCA site to Middle Kingdom, etc.) and ask for the Middle Kingdom Scribe's Handbook There are a bunch of exemplars there with associated capitols and instructions for SCA use. They are organized so that yo look them up on a tableby determining time and place of the scroll. There are instructions for learning to make letters in general so you learn a flexibility in yourcalligraphy and an imitate any letters by just looking at them. There are instructions which teach you how to choose your own papers and tools, and how to use them. There are also scroll layouts and more. I think it is a good how-to book. At around $3.00 how can you go wrong? Of corse you could buy Marc Drogin's MEDIEVAL CALLIGRAPHY: ITS HISTORY AND TECHNIQUE but you wouldn't get Visigothic miniscule, or early 14th c. German bookhand, etc. The Geore Braziller Pub. books on medieval illumination themes are a good set of examples at a reasonable low price. Christopher De Hammel's A HISTORY OF MEDIEVAL MANUSCRIPTS and Giulia Bologna's ILLUMINATED MANUSCRIPTS are two marvelous sources with lots of color pictures, and include the historical context, and scale of the dimensions. Why don't you ask Lady Merouda for a copy of her resource list? Ranthulfr > Does anyone out there have suggestions for exemplars for new scribes? >We have a fair number of people who are just getting started, and by the >time they buy all the paper and paints, they are hesitant to go out and >purchase any books. So far I have suggested that they borrow something >from the library or that they look for things like the Medieval Woman >calendar or little books of days. Unfortunately, some of these sorts of >things don't give a whole page view of a piece and the resulting scrolls >look barely Medieval-ish. I would also be curious as to your opinion of >what book to buy if you could only buy one. (I could never chose, so we >are trying to buy them all! ;-) ) > > Thank you for your help. > >Dorinda Courtenay >(Dorinda Courtine-White) > >Shire of Heronter, Kingdom of AEthelmearc >(Jamestown, NY) Randy Asplund-Faith 2101 S. Circle Dr. Ann Arbor, MI. 48103 http://www.provide.net/~randyaf ------------------------------ Date: Mon, 26 Jan 1998 14:44:45 EST From: RenScribe@aol.com Subject: [scribes]: Re: Exemplars for New Scribes In a message dated 1/26/98 1:32:51 PM, ab873@jepms4.jep.cummins.com wrote: > So far I have suggested that they borrow something >from the library or that they look for things like the Medieval Woman >calendar or little books of days. Unfortunately, some of these sorts of >things don't give a whole page view of a piece and the resulting scrolls >look barely Medieval-ish. I would also be curious as to your opinion of >what book to buy if you could only buy one. (I could never chose, so we >are trying to buy them all! ;-) ) > > Thank you for your help. > >Dorinda Courtenay We started our library with _A History of Illuminated Manuscripts_ by Christopher De Hamel. It is a very broad range book with lots of good reading as well as nice exemplars. However it may be a bit pricey for a novice. Around $50 US. For someone on a budget who is looking for layout ideas or inspiration I suggest _Books of Hours_ from Phaidon Press. I bought mine through Paper & Ink for $9 US. The book itself measures 4 x 4.75 inches, but is full of ideas. It has 160 pages, 100 full color illustrations of at or near their original size. Most of the pictures are complete pages, although two or three have been cropped to fit in and are missing leaf tips or calligraphic flourishes. There are a couple of Italian Renaissance exemplars, but for the most part the plates show a wide variety of Gothic styles. Hope this helps. Eibhlin ni Chaoimh AEthelmearc Butler PA ------------------------------ Date: Mon, 26 Jan 1998 15:00:36 -0600 From: Cornelius Perkins Subject: Re: [scribes]: inexpensive gold/silver substitute Kenneth Stoner wrote: > Whaaaa? According to my admittedly sketchy recollection of high school geology > and my Grandmothers seemingly excaustive knowledge that is common to all > rockhounds... Amethyst IS quartz but with a flouride contamination or > something... > Aren't Quartz and Amethyst like the exact same on Moes Hardness scale? Yes. I was being fairly loose in my terms (probably not the best choice while nitpicking, come to think of it). Amethyst is a variety of quartz, "contaminated" by traces of iron. Flouride is a good guess (it's what gives Flourite its color), but amethyst has iron. And yes, Quartz and Amethyst have identical hardnesses. For that matter, so does Quartzite, since it's formed (mostly) from grains of sand, which is (mostly) quartz. Agate is a variety of chalcedony, which is cryptocrystalline quartz. More detailed explanation? Sure. It's way off-topic, so I'll send it to you under separate post. Jost/Neil - -- // Cornelius Perkins cperkins@nothinbut.net // http://www.nothinbut.net/~cperkins // In girum imus nocte et consumimur igni ------------------------------ Date: Mon, 26 Jan 1998 14:16:53 -0700 From: Kim Archuleta Subject: RE: [scribes]: Exemplars for New Scribes =20 Of corse you could buy Marc Drogin's MEDIEVAL CALLIGRAPHY: ITS HISTORY AND TECHNIQUE but you wouldn't get Visigothic miniscule, or = early 14th c. German bookhand, etc. The Geore Braziller Pub. books on medieval illumination themes are a good set of examples at a reasonable low = price. Christopher De Hammel's A HISTORY OF MEDIEVAL MANUSCRIPTS and Giulia Bologna's ILLUMINATED MANUSCRIPTS are two marvelous sources with lots of color pictures, and include the historical context, and scale of the dimensions. Page One (in Albuquerque at least) has a new reprinting of Bologna's = *Illuminated Manuscripts* for only $10 (good quality full-size hardback- = what a deal!). Your local branch of a large book store may have a = similar price on it now. Elenfea of Starwood ------------------------------ Date: Mon, 26 Jan 1998 14:00:11 -0800 From: Trish Waldon Subject: [scribes]: Scribe's Handbooks Online Eibhlin ni Chaoimh wrote: "Perhaps a scribe...or other helpful individual...from each kingdom would volunteer to put their own kingdom's handbook online. I am planning on putting AEthelmearc's handbook online as soon as it finished...." The West Kingdom's College of Scribes Handbook is online at http://www.sca.org.au/lochac/scribes/handbook.html On another post, she mentioned the Knowne World Scriptorium and the Cyber Scriptorium sites. I have found (after about 20 tries - duh) that when I try to access the Cyber Scriptorium my computer freezes and I have to reboot. Does anyone have a any information on this, or is this a fluke for me (lucky). Rowan Oldway Barony of Darkwood, West **************************************************************** Trish Waldon voice: (408) 459-3857 Social Sciences Development fax: (408) 459-5900 310 Social Sciences I email: trishw@cats.ucsc.edu University of California Santa Cruz, CA 95064 ------------------------------ Date: Mon, 26 Jan 98 14:28:32 PST From: kwilliam@savi.com Subject: Re: [scribes]: Scribe's Handbooks Online Rowan Oldway writes: >On another post, she mentioned the Knowne World Scriptorium and the Cyber >Scriptorium sites. I have found (after about 20 tries - duh) that when I >try to access the Cyber Scriptorium my computer freezes and I have to >reboot. Does anyone have a any information on this, or is this a fluke for >me (lucky). The Cyber Scriptorium has two animated gifs on the main page. You are probably using a browser that isn't compatible. Branwen ferch Emrys ------------------------------ Date: Mon, 26 Jan 1998 18:11:24 -0500 From: "Helen Schultz" Subject: Re: [scribes]: Tumble-polished burnishers Arianna said: > > Actually, I've never had this problem, but then I usually keep a piece of > glassine between the gold and the burnishing stone. I suppose you could wipe > the > stone off with a clean cloth before burnishing. > > .... Well, actually, it would never bother you unless you tried to do direct burnishing. But, if you clean it off before the burnishing, it will be OK. Might I recommend a piece of silk to clean it off...for some reason, it leaves no fiber residue and is wonderful for polishing stuff again. Not only is it wonderful against your skin to wear, but it is invaluable to the illuminator -- wonder fabric!!! ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Meisterin Katarina Helene von Schoenborn, OL Shire of Narrental (Peru, Indiana) Middle Kingdom ~~ Vert, a unicorn head couped close Argent, crinned and armed Or, and in sinister, a gore Or ~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ------------------------------ Date: Mon, 26 Jan 1998 18:19:18 -0500 From: "Helen Schultz" Subject: Re: [scribes]: Russian callig and illum Greetings Scia, I just happened to have an extra copy of "The Gospels of Tsar Ivan Alexander" in my scriptorium (I plan to use it as a gift), published by the British Library. I'm not sure what I paid for it, but I think it was somewhere around $15. ISBN is: 0-7123-0349-9 It was published in 1994. It is a great resource for early Russian religious art of the book. You will have to make up your own hand to match the Cyrillic medieval script, but it isn't difficult. I have done a couple scrolls with it. One was for a Laurel that is actually done in Cyrillic with an English translation beside it. Another was done all in English made to look like Cyrillic. Good luck. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Meisterin Katarina Helene von Schoenborn, OL Shire of Narrental (Peru, Indiana) Middle Kingdom ~~ Vert, a unicorn head couped close Argent, crinned and armed Or, and in sinister, a gore Or ~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > Grettings I am Scia of the Outlands, and a newscribe, who is very > interested in examples of Russian illumination, that is not icon > painting. I would also love to know if anyone has an english alphabet > version of cyrillic medieval script, in other words a Russian looking > calligraphy hand. > > Thanks much, > > Scia ------------------------------ Date: Tue, 27 Jan 1998 10:40:57 +1100 From: Richard Krajewski Subject: RE: [scribes]: Russian callig and illum On Tuesday, January 27, 1998 10:19 AM, Helen Schultz [SMTP:meistern@iquest.net] wrote: > Greetings Scia, > > I just happened to have an extra copy of "The Gospels of Tsar Ivan > Alexander" in my scriptorium (I plan to use it as a gift), published by the > British Library. I'm not sure what I paid for it, but I think it was > somewhere around $15. ISBN is: 0-7123-0349-9 > It was published in 1994. It is a great resource for early Russian > religious art of the book. You will have to make up your own hand to match > the Cyrillic medieval script, but it isn't difficult. I have done a couple > scrolls with it. One was for a Laurel that is actually done in Cyrillic > with an English translation beside it. Another was done all in English > made to look like Cyrillic. Good luck. It is available from Amazon Books, details to follow: The Gospels of Tsar Ivan Alexander by Ekaterina Dimitrova List: $21.95 Our Price: $21.95 Availability: This title usually ships within 4-6 weeks. Please note that titles occasionally go out of print or publishers run out of stock. We will notify you within 2-3 weeks if we have trouble obtaining this title. Paperback Published by British Library Pubns Publication date: July 1995 ISBN: 0712303499 ------------------------------ End of scribes digest V1 #10 ****************************