From: owner-scribes@castle.org (scribes digest) To: scribes-digest@castle.org Subject: scribes digest V1 #43 Reply-To: Sender: owner-scribes@castle.org Errors-To: owner-scribes@castle.org Precedence: bulk scribes digest Saturday, February 7 1998 Volume 01 : Number 043 In this issue: [scribes]: Broad gold borders Re: [scribes]: ink/paint/gold leaf, vs. ink/gold leaf/paint ? [scribes]: An introduction (somewhat lengthy) Re: [scribes]: Broad gold borders ---------------------------------------------------------------------- Date: Fri, 06 Feb 1998 21:44:18 -0400 From: wyverns Subject: [scribes]: Broad gold borders I wrote. . . My recent favorite is those borders with the solid gold backgrounds, and . . . The conversation that generated has been fascinating and informative but actually, I wasn't talking about the ones with the realistic flowers and bugs and drop shadows (as some people seemed to infer) (though I've tried those too - some colors of guache will paint on gold reasonably well). I've been doing a scroll with lots of the floppier sort of acanthus leaves and inside the loops formed by some of them are miniature pictures. The only shading is right on the leaves. The books (and post cards) make it fairly clear that it is raised leaf (that dark edge/highlights look of something very shiny over a surface distintly different from vellum). One of several things I am wondering about when it comes to the gold, is why some of it appears to have a checkered pattern either cut into it or under it, and some of it just looks like the stuff underneath is rather lumpy. I have succeeded in the lumpy look (my gesso was too dry or thick or both I think) but never square edged lumps. :-) - --Enid ------------------------------ Date: Fri, 06 Feb 1998 20:59:16 -0800 From: John Stracke Subject: Re: [scribes]: ink/paint/gold leaf, vs. ink/gold leaf/paint ? Linda Pancrazio forwarded: > Now, another question. Have others had trouble with Windsor Newton's > Spectrum Red shedding a powder that stains nearby colors? I think so, yes. For me it hasn't been a problem in practice, because the powder sheds onto the palette, and then the wet paint I put on the paper is fine. /================================================================\ |John Francis Stracke| http://www.thibault.org |S/MIME & HTML OK| |francis@thibault.org|===========================================| |Power Mac w/PPP | My strength is as the strength of ten | |My Mac, my opinions.| because my code is pure. | \================================================================/ ------------------------------ Date: Fri, 06 Feb 1998 23:57:53 EST From: castle.strongarm@juno.com (Terry & Andrea L Pruitt) Subject: [scribes]: An introduction (somewhat lengthy) Greetings to All Fellow Scribes, from Lady Marsali Sorcha na Liosa Moire, scribe in the Barony of Illiton! May I introduce myself as a Scottish Highland persona who specializes in Insular calligraphy and illumination, but whom also has an interest in learning about all other periods and styles of C & I. I have been in the SCA for seven years, a scribe for 6 1/2 of them. 8) I began working solely with illumination, with a friend doing the calligraphy for the scrolls, until I was comfortable enough with my ability to be responsible for both. (I am a southpaw. 8)) I have done extensive Kingdom work, ranging from AOA's to ODG's and ODH's, particularly through 1992-1994. I know Insular Majuscule, Insular Miniscule, and Gothic Textura Prescisus Vel Sine Pedibus hands with fair fluency, and have dabbled in Italic. Most of my scrolls' illuminations are Celtic in nature, though I have played with Gothic style designs. I am very interested in learning to create historiated letters. I am also interested in learning of any good sources for Non-European (non-traditional) illumination/scripts (ex. Middle-Eastern, Russian, Norse Runes)(my apologies to those gentles whom these listings may offend as "non-traditional." Such offense is truly not intended.) I received my AOA for C & I in 1992, and my OW for C & I in 1996. My two-year tenure as a Kingdom scribe was both exhilerating, and exhausting. 8) I felt at the end of 1994 it was time to turn my energies toward my local Barony, whose members kept me busy with scrolls for various event tournaments and other contests. I have been only minimally active within the Barony and SCA in general the past two years, but am seeking help in slowly entering back into the Game. 8) May your writing hand never cramp, and your inkwell never spill! In Service to the Dreame; Lady Marsali Sorcha mka Andrea Pruitt (who only uses her full, tongue-twisting Peoria, IL Celtic name during intros & on very formal occasions) 8) Barony of Illiton ^ ^ / \ / \ ll ll ll ll llllll llllll llllll ll ll ll ll ll ll llllll llllllllllllllllllllllllllllllllllllll lllllllllllllll llllllllllllllll lllllllllllllll llllllllllllllll _____________________________________________________________________ You don't need to buy Internet access to use free Internet e-mail. Get completely free e-mail from Juno at http://www.juno.com Or call Juno at (800) 654-JUNO [654-5866] ------------------------------ Date: Sat, 7 Feb 1998 02:27:12 -0500 From: randyaf@provide.net (Randy & Melody Asplund-Faith) Subject: Re: [scribes]: Broad gold borders > >One of several things I am wondering about when it comes to the gold, is >why some of it appears to have a checkered pattern either cut into it or >under it, and some of it just looks like the stuff underneath is rather >lumpy. I have succeeded in the lumpy look (my gesso was too dry or >thick or both I think) but never square edged lumps. :-) > >--Enid When you see gold fields with dlittle designs in the gold which look tooled, THEY ARE! After gilding is complete, the gesso remains a little soft for aeons. One can take a little stamping tool like a tandy Leather point or a small one with the six dots, or a blunt scribing tool or a specially made stamping tool and tou can actually tool those designs. To make lines along a straight edge you pull the scribing point at a VERY low angle so as not to dig the gold. Pull with a downward pressure. 10 to 15 degrees angle. I said low. Press straight down with stamping tools to make the dots and other designs. You can make a straight line grid and fill with stamped rosettes or fleurs. If you check my web site you will see a very small painting called Beatus Vir which has this treatment in the little medalions in the border. Stamping was also done on large panel paintings. I saw a set In the Chicago Arts Institute which had stampings almost 3/4 cm or so deep and around. They were puncched right through the gesso so far that the walls of the holes made were red of the bole. Ranthulfr Asparlundr OL, KSCA Randy Asplund-Faith 2101 S. Circle Dr. Ann Arbor, MI. 48103 http://www.provide.net/~randyaf ------------------------------ End of scribes digest V1 #43 ****************************