From: owner-scribes@castle.org (scribes digest) To: scribes-digest@castle.org Subject: scribes digest V2 #132 Reply-To: Sender: owner-scribes@castle.org Errors-To: owner-scribes@castle.org Precedence: bulk scribes digest Thursday, July 2 1998 Volume 02 : Number 132 In this issue: [scribes]: Another donation to the view Re: [scribes]: re: tracing Re: [scribes]: My doantion to the view(long too sorry) ---------------------------------------------------------------------- Date: Thu, 2 Jul 1998 10:53:32 -0400 (EDT) From: Eldred@concentric.net Subject: [scribes]: Another donation to the view Greetings from Eldred! I am relatively new to the mailing list, and inspired by THL Eibhlin, I finally "sub-scribed" (yes, hardly original 8^)). I am a scribe and Herald for the Kingdom of Atlantia. I've been at both jobs for over 6 years. You would think I'd have learned something by now 8^). I have an interest in both calligraphy and illumination, and at the moment I am focused on Anglo-Saxon and Early Gothic illuminations. After perusing some of the works that folks here have offered and based on my surfing, I think some of the Late Italian illuminations may have attracted my interest, too. My best hand at the moment seems to be Uncial (despite some of my early works). I still need to work on regular spacing of my letters and technique. Most of my illuminations tend to be simple, although my recent works have started to become more complex. I'm afraid that I do not use period materials. To be honest, I have been more interested in the look of the finished product rather than the materials--though this attitude is changing! As my work improves, I have become more interested in using period materials--I essentially consider my work to this point "training" so that I do not "waste" my more valuable materials. For instance, my first attempts at calligraphy and illumination were done on the calligraphy paper available in art stores, and colored with watercolor brush pens. In the last three years, I moved to Bristol (eek!) and gouache, and am just now starting to experiment with gold-leaf. Inspired by a class on making your own ink, I found a copy of Theophilus (wonderful book, BTW) and now have the urge to make my own paint for illuminations. Working with actual parchment is a long way off, if ever.... I have put a few different samples of my work out at my own website (with some self-critique). The main web page is: http://www.concentric.net/~Eldred/eldred_index.html The simplest way to view the scrolls is to go directly to the scriptorium page: http://www.concentric.net/~Eldred/scriptorium.html There is a mix of my recent and early work out there, and I've learned just a bit since doing that Shark's Tooth. 8^). The media used for most of the work is watercolor pen (with brush tip) and Schaffer cartridge ink. Most of the scans have been reduced in color depth to preserve disk space. Suggestions for improvement are welcome. In service, THL Eldred AElfwald Gordian Knot Herald Arms: Azure, three wheels, on a chief argent a dragon passant azure. Personal Badge: Argent, semy of pine trees couped vert, a mug gules foamed Or. Maker's Badge: Argent, a wheel, a bordure embattled azure ------------------------------ Date: Thu, 2 Jul 1998 14:36:37 EDT From: EBHarbord@aol.com Subject: Re: [scribes]: re: tracing In a message dated 7/1/98 7:05:37 PM Eastern Daylight Time, pearvert@apk.net writes: << There is a wonderful way to MAKE your own transfer paper which turns out better than anything you can buy on the markert. I learned this from one of my teachers in school. It requires a sheet of rag marker paper (or heavy tracing paper), a 2B pencil, some bestine rubber cement thinner, a cotton ball, and a pair of latex gloves. >> I learned pretty much the same technique, only we were taught to use a relatively heavy tracing paper. Just my 2 pence worth. Arrienna McPhearson ------------------------------ Date: Thu, 2 Jul 1998 18:46:48 EDT From: FITCHYBEAR@aol.com Subject: Re: [scribes]: My doantion to the view(long too sorry) In a message dated 98-07-01 15:20:15 EDT, jblankenbehler@yahoo.com writes: << Period pigments from Master John the Artificer. Osmiroid Pen & Ink. Based on Plate 40V. from the book of Kells (Circher). Attempted uncial hand, came out more .... what did she call that ..... insular majiscule. >> After having some trouble getting to the site, (my fault entirely) those of you who put up your sites to be commented on and didn't get any comments from me please don't feel slighted, I screwed up getting to the site so I never saw it...... As Thomas eloquently spoke of his specialty in calligraphy, I'll speak to the illumination and techniques with the period pigments. I am going to ask some questions and assume that don't have the equipment/materials, and some questions you'll have to answer directly, but for the time being I'll assume you're using egg yolk tempera as the binder. All that being said, here we go: First off, the design was simple but very nice; I would suggest totally enclosing the zoomorphics in the box, i.e. enclose the top half, as it sits now it looks as if you are preparing to turn the corner at the top of the page. I like the fact that the animals were individually drawn, and therefore had a character each unto its own self. That being the case, I would suggest expanding your palette and vary the colour of the animals, rather than varying the density of the same colour on each animal. When looking at most zoomorphs the colours of the animals varied because there was an internal compartment drawn into the figure to show musclature and the way the light hits it, fur and it's texture or a variance in the plumage in the case of birds. The change of colour also occurs when the zoomorphs are interlaced, so the viewer can visually pick out the differences between the two interlaced animals. The change of colour may be no colour at all (just an outline with the features drawn in) and a compartment of sorts where the colour begins. I like the malachite border band, and knowing how hard that colour is to use, I think you did a very nice job in application. I am assuming that the yellow backround colour is gamboge....nice colour but grainy (as is the malachite). I have found that when mixing gamboge, I have to use my muller far more than with other yellows, and I will mull it dry for a while, add a little distilled water and mull some more as the yellow is passed into the water I will mull it some, then let is sit, pour off the coloured water and save it then mull the gamboge "mud" some more add a little water and mull then let it sit I will then pour the water from the gamboge "mud pan" into the first pressing water, and discard the "mud", add whiting (also available from Master John) to give it body then add the egg yolk (equal part to the volume of the gamboge water/whiting combination) and mix together then apply in thin coats moving the brush in tiny "X"s (not infinity symbols) which will allow the paint to go on smoother and more uniformly. You will have to do more than one layer of the colour but it will give you a much cleaner effect (hint: turn the paper ninety degrees between coats) Make sure that you put in the backround colour first. My workhorse brushes are a OOO sable for small detail and a 1 for large backrounds..... I wash them between same colour coats with handsaop and at the end of each painting session, I wash them again, and then use some hair conditioner on them, let it sit for 5 mins. then rinse, point and store. You're doing great. Hope some of the techniques will help-JimBear ------------------------------ End of scribes digest V2 #132 *****************************