From: owner-scribes@castle.org (scribes digest) To: scribes-digest@castle.org Subject: scribes digest V7 #20 Reply-To: Sender: owner-scribes@castle.org Errors-To: owner-scribes@castle.org Precedence: bulk scribes digest Friday, October 5 2001 Volume 07 : Number 020 ======================================================================== To unsubscribe from this list, send email to with unsubscribe scribes-digets in the body of the message. Leave the subject line blank. Do not include any additional text. [scribes]: Just a note Re: [scribes]: Gouche Proportions Re: [scribes]: lighting Re: [scribes]: Gouche Proportions [scribes]: Okay, REALLY basic question... Re: [scribes]: Gouche Proportions Re: [scribes]: Okay, REALLY basic question... Re: [scribes]: Okay, REALLY basic question... Re: [scribes]:palettes- was: Gouche Proportions Re: [scribes]: Okay, REALLY basic question... RE: [scribes]: Okay, REALLY basic question... [scribes]: society of scribes classes Re: [scribes]:palettes- was: Gouche Proportions Re: [scribes]: Okay, REALLY basic question... Re: [scribes]: Okay, REALLY basic question... [scribes]: Faked documents in period. Re: [scribes]: lighting Re: [scribes]: Gouche Proportions ---------------------------------------------------------------------- Date: Thu, 4 Oct 2001 18:40:01 -0700 From: "Nicholas Mercier" Subject: [scribes]: Just a note This is a multi-part message in MIME format. - ------=_NextPart_000_005E_01C14D03.F9EE7700 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable When posting if you hit reply all you send two copies, one to the person = and one the list in effect giving the orginonal writer two copies. = Instead if you just hit reply you can avoid this problem. Nikolia - ------=_NextPart_000_005E_01C14D03.F9EE7700 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
When posting if you hit reply all you = send two=20 copies, one to the person and one the list in effect giving the = orginonal writer=20 two copies.  Instead if you just hit reply you can avoid this=20 problem.
 
Nikolia
- ------=_NextPart_000_005E_01C14D03.F9EE7700-- =================================================================== To unsubscribe from this list, send email to with a blank Subject: line and unsubscribe scribes in the body of the message. Do not include any additional text in the body. ------------------------------ Date: Thu, 4 Oct 2001 17:50:28 -0500 From: "Helen Schultz" Subject: Re: [scribes]: Gouche Proportions This is a multi-part message in MIME format. - ------=_NextPart_000_0031_01C14CFD.0DEC2060 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Nikolia: One other thing you should know (after the good info given so far) is = that you will need to add one drop (from the end of a brush is good = enough) of gum arabic to your paint when you mix it up for the first = time (or after about 5 rehydrations). W&N doesn't put enough into their = tubes of gouache when shipping, but usually add more glycerin (which you = don't particularly want to mix in if it has already separated). =20 I usually squeeze out about 1/4" of paint for each well in a 6-part = plastic paint palette. I then add the drop of gum arabic and then about = 10 to 15 drops (from an eyedropper) of DISTILLED water. It is strongly = recommended that if you are not on well water, that you use distilled, = as you probably don't want chlorine or fluoride in your paint mixture. = It is also recommended to use distilled water to clean out your brushes. Hope this all helps you out a bit. And, it is not a problem giving out = advice to new scribes... the more the merrier!! KHvS Meisterin Katarina Helene von Schoenborn, OL Shire of Narrental (Peru, Indiana) Middle Kingdom http://ww1.comteck.com/~meisterin - ----- Original Message -----=20 So I bit the bullet and bought my Windsor Newton Starter set. Only to = find that they have no suggestions at all on the insert as to = proportions of water to gouche. Rather then waste a drop and have a = head ache I figured I could ask here. It looks way to thick to use = straight from the tube, I'm assuming it is cut with water, about how = much is recommended? Hate to be a bother, I'm just new to this paint stuff. :) - ------=_NextPart_000_0031_01C14CFD.0DEC2060 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
Nikolia:
 
One other thing you should know (after the good info given so far) = is that=20 you will need to add one drop (from the end of a brush is good enough) = of gum=20 arabic to your paint when you mix it up for the first time (or after=20 about 5 rehydrations).  W&N doesn't put enough into their = tubes of=20 gouache when shipping, but usually add more glycerin (which you don't=20 particularly want to mix in if it has already separated). 
 
I usually squeeze out about 1/4" of paint for each well in a 6-part = plastic=20 paint palette.  I then add the drop of gum arabic and then about 10 = to 15=20 drops (from an eyedropper) of DISTILLED water.  It is strongly = recommended=20 that if you are not on well water, that you use distilled, as you = probably don't=20 want chlorine or fluoride in your paint mixture.  It is also = recommended to=20 use distilled water to clean out your brushes.
 
Hope this all helps you out a bit.  And, it is not a problem = giving=20 out advice to new scribes... the more the merrier!! <grin>
 
KHvS
Meisterin Katarina Helene von Schoenborn, OL
Shire of Narrental = (Peru,=20 Indiana)
Middle Kingdom
http://ww1.comteck.com/~meiste= rin
 
----- Original Message -----
So I bit the bullet and bought my = Windsor Newton=20 Starter set.  Only to find that they have no suggestions at all = on the=20 insert as to proportions of water to gouche.  Rather then waste a = drop=20 and have a head ache I figured I could ask here.  It looks way to = thick=20 to use straight from the tube, I'm assuming it is cut with water, = about how=20 much is recommended?
 
Hate to be a bother, I'm just new to = this paint=20 stuff. :)
 
- ------=_NextPart_000_0031_01C14CFD.0DEC2060-- =================================================================== To unsubscribe from this list, send email to with a blank Subject: line and unsubscribe scribes in the body of the message. Do not include any additional text in the body. ------------------------------ Date: Thu, 4 Oct 2001 18:52:51 EDT From: KMcWhyte@aol.com Subject: Re: [scribes]: lighting We use these in the kitchen over here, if they're the same ones I think you're referring to... The sort that has a tube of the fluorescent variety, sometimes encased in a second shell of clear plastic. The 'extended life' variety do have a decent amount of light thrown off, and very little heat... My card table (the illustration desk has been used as a plant fixture, and now a computer desk upstairs, since moving to PA for 2 years and coming back in '98) sits under an older model flourescent lamp... the kind that hangs from chains on the ceiling like in schools or warehouses. I find that for those fine details, a good halogen lamp isn't too bad, but that's just my opinion.... Hope this helps. - --Lady Kayleigh McWhyte, Mercenary Scribe (East) E.Frank, Long Island NY =================================================================== To unsubscribe from this list, send email to with a blank Subject: line and unsubscribe scribes in the body of the message. Do not include any additional text in the body. ------------------------------ Date: Thu, 4 Oct 2001 19:02:30 -0500 From: "Corinna Taylor/Al Frank" Subject: Re: [scribes]: Gouche Proportions This is a multi-part message in MIME format. - ------=_NextPart_000_0028_01C14D07.1DD39580 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Greetings once again, Nikolia, I recommend a palette with wells about an inch or so across, the sort = that cost 50 cents or so with six wells. Start with about 1/4" of paint and add water a drop or two at a time. = If you add too much at once the blob of paint sloshes around at first = rather than mixing. Just how thick depends on whether you're writing or = painting with it. If writing, think "ink"- about a skim milk = consistency. For painting, approximately half-and-half or light coffee = cream. You can adjust it to your taste as you get the feel of it. Use = a cheap brush for mixing, preferably synthetic that won't absorb too = much of the paint. You might want several, one for each colour family, = to help keep the colours pure. If your mixing colours, make more than you think you'll need so you = don't have to worry about matching it if you run out. Don't clean your palette when you finish. Dry gouache can be = reconstituted by adding water, or else just used like cakes of paint. = If you reconstitute, mix the entire batch, especially if there are more = than one colour in the mix, because some parts are heavier and will have = sunk. Always use distilled water. =20 Corinna ----- Original Message -----=20 From: Nicholas Mercier=20 To: scribes@castle.org=20 Sent: Thursday, October 04, 2001 6:16 PM Subject: [scribes]: Gouche Proportions So I bit the bullet and bought my Windsor Newton Starter set. Only to = find that they have no suggestions at all on the insert as to = proportions of water to gouche. Rather then waste a drop and have a = head ache I figured I could ask here. It looks way to thick to use = straight from the tube, I'm assuming it is cut with water, about how = much is recommended? Hate to be a bother, I'm just new to this paint stuff. :) Nikolia East Kingdom - ------=_NextPart_000_0028_01C14D07.1DD39580 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
Greetings once again, = Nikolia,
 
I recommend a palette with wells about = an inch or=20 so across, the sort that cost 50 cents or so with six = wells.
 
Start with about 1/4" of paint and add = water a drop=20 or two at a time.  If you add too much at once the blob of paint = sloshes=20 around at first rather than mixing.  Just how thick depends on = whether=20 you're writing or painting with it.  If writing, think "ink"- about = a skim=20 milk consistency.  For painting, approximately half-and-half or = light=20 coffee cream.  You can adjust it to your taste as you get the feel = of=20 it.   Use a cheap brush for mixing, preferably synthetic that = won't=20 absorb too much of the paint.  You might want several, one for each = colour=20 family, to help keep the colours pure.
 
If your mixing colours, make more than = you think=20 you'll need so you don't have to worry about matching it if you run=20 out.
 
Don't clean your palette when you = finish.  Dry=20 gouache can be reconstituted by adding water, or else just used like = cakes of=20 paint.  If you reconstitute, mix the entire batch, especially if = there are=20 more than one colour in the mix, because some parts are heavier and will = have=20 sunk.
 
Always use distilled water.  =
 
Corinna
----- Original Message -----
From:=20 Nicholas=20 Mercier
Sent: Thursday, October 04, = 2001 6:16=20 PM
Subject: [scribes]: Gouche=20 Proportions

So I bit the bullet and bought my = Windsor Newton=20 Starter set.  Only to find that they have no suggestions at all = on the=20 insert as to proportions of water to gouche.  Rather then waste a = drop=20 and have a head ache I figured I could ask here.  It looks way to = thick=20 to use straight from the tube, I'm assuming it is cut with water, = about how=20 much is recommended?
 
Hate to be a bother, I'm just new to = this paint=20 stuff. :)
 
Nikolia
East=20 Kingdom
- ------=_NextPart_000_0028_01C14D07.1DD39580-- =================================================================== To unsubscribe from this list, send email to with a blank Subject: line and unsubscribe scribes in the body of the message. Do not include any additional text in the body. ------------------------------ Date: Thu, 4 Oct 2001 22:06:16 EDT From: MESTECKLING@aol.com Subject: [scribes]: Okay, REALLY basic question... It seems that the scrolls I've seen have all been basic borders or very intricate ones designed around either the person recieving it or the award being given. I am not at the stage where I feel comfortable taking "commissions" from the group, and prefer to work my skills in doing blanks that can be used as the Crown wans to or as needed. My question has to do with subject matter. What's appropriate? I had no problem when I was working with Celtic themes, but when I branch out to other areas and starting looking in books for inspiration all I see is religious or straight portraiture. I realize this is a "where's the cookbook" sort of approach, but know from experience that eventually I'll figure stuff out on my own. Uh, does this question make sense? Thanks, all! Jeanne D =================================================================== To unsubscribe from this list, send email to with a blank Subject: line and unsubscribe scribes in the body of the message. Do not include any additional text in the body. ------------------------------ Date: Thu, 4 Oct 2001 19:14:26 -0500 From: "Corinna Taylor/Al Frank" Subject: Re: [scribes]: Gouche Proportions This is a multi-part message in MIME format. - ------=_NextPart_000_0068_01C14D08.C8B27420 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Katarina, thanks for mentioning the excessive glycerine. =20 Nikolia, when you first open a new tube, squeeze gently onto a paper = towel, and generally a lot of clear sticky stuff will ooze out. Get rid = of as much of it as you can before using the paint. Glycerine is a = drying retarder, and if there's too much in the paint it may never dry = properly, or dry with a nasty shine. Corinna ----- Original Message -----=20 From: Helen Schultz=20 To: scribes@castle.org=20 Sent: Thursday, October 04, 2001 5:50 PM Subject: Re: [scribes]: Gouche Proportions Nikolia: One other thing you should know (after the good info given so far) is = that you will need to add one drop (from the end of a brush is good = enough) of gum arabic to your paint when you mix it up for the first = time (or after about 5 rehydrations). W&N doesn't put enough into their = tubes of gouache when shipping, but usually add more glycerin (which you = don't particularly want to mix in if it has already separated). =20 KHvS Meisterin Katarina Helene von Schoenborn, OL Shire of Narrental (Peru, Indiana) Middle Kingdom http://ww1.comteck.com/~meisterin - ------=_NextPart_000_0068_01C14D08.C8B27420 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
Katarina, thanks for mentioning the = excessive=20 glycerine. 
 
Nikolia, when you first open a new = tube, squeeze=20 gently onto a paper towel, and generally a lot of clear sticky stuff = will ooze=20 out.  Get rid of as much of it as you can before using the = paint. =20 Glycerine is a drying retarder, and if there's too much in the paint it = may=20 never dry properly, or dry with a nasty shine.
 
Corinna
----- Original Message -----
From:=20 Helen=20 Schultz
Sent: Thursday, October 04, = 2001 5:50=20 PM
Subject: Re: [scribes]: Gouche=20 Proportions

Nikolia:
 
One other thing you should know (after the good info given so = far) is=20 that you will need to add one drop (from the end of a brush is good = enough) of=20 gum arabic to your paint when you mix it up for the first time (or = after=20 about 5 rehydrations).  W&N doesn't put enough into = their tubes=20 of gouache when shipping, but usually add more glycerin (which you = don't=20 particularly want to mix in if it has already separated). 
 
 
KHvS
Meisterin Katarina Helene von Schoenborn, OL
Shire of = Narrental (Peru,=20 Indiana)
Middle Kingdom
http://ww1.comteck.com/~meiste= rin
 
- ------=_NextPart_000_0068_01C14D08.C8B27420-- =================================================================== To unsubscribe from this list, send email to with a blank Subject: line and unsubscribe scribes in the body of the message. Do not include any additional text in the body. ------------------------------ Date: Fri, 5 Oct 2001 00:13:59 -0300 From: "Martin Higgins" Subject: Re: [scribes]: Okay, REALLY basic question... Well you could choose letters to illuminate, These can get quite elaborate... also if you want to avoid religion which I certainly do, yet wan't something generic... why not stick to plants and animals, birds and bugs seem common in many styles.... all in all, try to look at as amny examples as you can to draw inspiration from. Personally, though I like to see other peoples work... I only look at midieval examples for my inspiration. Hope it helps Griet =================================================================== To unsubscribe from this list, send email to with a blank Subject: line and unsubscribe scribes in the body of the message. Do not include any additional text in the body. ------------------------------ Date: Thu, 4 Oct 2001 22:26:42 -0500 From: "Helen Schultz" Subject: Re: [scribes]: Okay, REALLY basic question... You could also look at some of the most wonderful diapered backgrounds (they are usually the ones with geometric layouts -- in a grid pattern)... they can be the entire inside of a large illuminated versal (that is a capital that starts the whole thing). Learn to do whitework along with the diapering and you have the type of illumination done in many manuscripts without being either religious or stylized. KHvS =================================================================== To unsubscribe from this list, send email to with a blank Subject: line and unsubscribe scribes in the body of the message. Do not include any additional text in the body. ------------------------------ Date: Thu, 04 Oct 2001 22:50:26 -0500 From: David Nolan/Kara Westfall Subject: Re: [scribes]:palettes- was: Gouche Proportions My preferred palette is clean mussel shells. Or clam shells, or whatever is handy. They stack up in a box compactly when the paint is dry, fit nicely in your hand when you're using that color, *and* they are period. Cheap, too if you live near an ocean, or eat a lot of seafood. Chiara da Ravenna Stonemarche, East (NH) =================================================================== To unsubscribe from this list, send email to with a blank Subject: line and unsubscribe scribes in the body of the message. Do not include any additional text in the body. ------------------------------ Date: Thu, 4 Oct 2001 23:51:05 EDT From: KMcWhyte@aol.com Subject: Re: [scribes]: Okay, REALLY basic question... One of the things I did when I was in my first year of scribing (I will still be doing this, for a while) is base the artwork off of things related to the barony. If you know the recipient's home barony, sneaking in or blatantly displaying the arms of the barony/shire/province doesn't hurt. Diapering (previously suggested) is another good generic one. So are acanthus leaves, if your kingdom permits it (I think there are some which do not?). Those are some examples of western borders.... Then when you get into other cultures' documents, you will find that in Middle Eastern art, there is a high trend of geometry involved. Very few displays of figures in scrolls, and the religion part -- not easy to get away from it if you want exact reproduction work done. Ld. Mahee could probably fill you in on this area better... Japanese scrolls from what I've seen seldom had art involved, but the items I have seen have had nature scenes involved. Watercolor trees & cherry blossoms, stuff like that. Russian.... I don't know. I've never actually seen a Russian scroll, though it would be pretty cool... Norse, I've seen -- I.E. the one carved and painted into a stone slab in Runic, by then-Queen Moruadh for someone at Academy of the Rapier 2 summers ago. When all else fails, there's always the calligraphy itself. I've found Batardic lends to some very interesting and pretty shapes in the decoration/uppers/lowers, and illuminated caps don't always have to be hugely elaborate blocks for large pictures. Some/Most manuscripts from the M.A. (middle ages) tended to be moreso documents with fancy lettering describing landholding, or officiating something. It wasn't always religious, back then. Just try playing with one of these, and go with what you're comfy doing. :) - --Lady Kayleigh McWhyte, Mercenary Scribe (East) E.Frank, Long Island NY =================================================================== To unsubscribe from this list, send email to with a blank Subject: line and unsubscribe scribes in the body of the message. Do not include any additional text in the body. ------------------------------ Date: Thu, 4 Oct 2001 21:39:13 -0700 From: "Ken Stoner" Subject: RE: [scribes]: Okay, REALLY basic question... OR... you could do what "they" did. :-) i.e. Blatantly Plagarize. Cennini reccomends studying (he uses the word Copying, at least that's the word that Thompson uses in his translation) the work of a master that you admire. The evidence for copying as being a standard way to learn, as well as a mass production technique, is very solid as well. Numerous examples of books that have been procked through for copying, as well as outright model books with Versals, Foliage, Figures, Monsters and everything, laid out in such a manner as to make copying easy. THAT being said, I heartily endorse the reccomendation that you learn diapering and keywork. ANY charter/promisory SCA scroll with this style of illumination as a minimum will be well recieved by the recipient. it all looks gorgeous, even when it looks a little beginnerish... in fact, I think that beginners often make a piece more "medieval" than a practices artisan... just because the lines ARE wobbly, and paint DOES go outside of the lines. :-) It is tru that much of the portraiture will be somewhat religious, but that is OK; Use artistic liscence. I like using the scenes of the "Coronation of the Virgin" where Mary is kneeling before the Trinity recieving her crown is the basis for Portraiture in Duchy Scrolls, Barony Scrolls, etc. Pictures of people kneeling in prayer are always useful, because this is the same pose that we use when kneeling on the cushions in front of the thrones. Copy Copy Copy. Trace Trace Trace. This method has the singular advantage in that it will help you develope a "Medieval eye" a lot faster than trying to produce original work that is merely "inspired" by a particular piece. That is to say, that if you trace the drapery of persons garb, and then try to match the paining as closely as possible, you will understand the technique for doing that style of drapery MUCH better than if you merely eyeball the piece and try do it from scratch. I can't imagine trying to learn an Artificial drapery style, like that of the Master of the Leaping Figures from the Winchester Bible, without tracing and Copying, because his "style" is just to alien from what we are used to as modern people. Anyways, my $.02. Your mileage may vary. - -----Original Message----- From: MESTECKLING@aol.com [mailto:MESTECKLING@aol.com] Sent: Thursday, October 04, 2001 7:06 PM To: scribes@castle.org Subject: [scribes]: Okay, REALLY basic question... It seems that the scrolls I've seen have all been basic borders or very intricate ones designed around either the person recieving it or the award being given. I am not at the stage where I feel comfortable taking "commissions" from the group, and prefer to work my skills in doing blanks that can be used as the Crown wans to or as needed. My question has to do with subject matter. What's appropriate? I had no problem when I was working with Celtic themes, but when I branch out to other areas and starting looking in books for inspiration all I see is religious or straight portraiture. I realize this is a "where's the cookbook" sort of approach, but know from experience that eventually I'll figure stuff out on my own. Uh, does this question make sense? Thanks, all! Jeanne D =================================================================== To unsubscribe from this list, send email to with a blank Subject: line and unsubscribe scribes in the body of the message. Do not include any additional text in the body. =================================================================== To unsubscribe from this list, send email to with a blank Subject: line and unsubscribe scribes in the body of the message. Do not include any additional text in the body. ------------------------------ Date: Fri, 5 Oct 2001 07:55:10 EDT From: Kgscribes@cs.com Subject: [scribes]: society of scribes classes NY Society of Scribes Fall schedule Includes something that might be of interest to SCA Scribes For a full Fall Schedule go to WWW. Societyofscribes.org Analysis of Broad-Edged Calligraphy With Karen Gorst aka Sr. K of the Monastery of St. Gabriel 6 Thursdays starting Oct. 11, 6:30-8:30 PM at 210 Harrison Ave., Harrison, NY one block from the Metro North train station cost: $150 members/ $175 non-members go to our website for registration info Open your eyes and analyse! Each student will analyse a broad-edged lettering style of their choice. Using information from the initial analysis, studenst will develop a lettering chart that will become the basis for understanding the movements necesssary to capture the rhythm of the letters. The final step will be to write these beautiful letters. Different styles will be available to choose from depending on the ability of the student. Recommended for scribes wanting to learn how to learn. =================================================================== To unsubscribe from this list, send email to with a blank Subject: line and unsubscribe scribes in the body of the message. Do not include any additional text in the body. ------------------------------ Date: Fri, 05 Oct 2001 08:24:07 EDT From: SWRDBABE@aol.com Subject: Re: [scribes]:palettes- was: Gouche Proportions I never thought about the clam shells before! I love it! I am doing an illumination demo at the Walter's Art Gallery Grand Re-Opening and was trying to come up with a way to make my supplies look period. This is a great idea. I have a ton of shells from living in the waterfront area. Do you think you could send me some documentation on using the shells? Daniela =================================================================== To unsubscribe from this list, send email to with a blank Subject: line and unsubscribe scribes in the body of the message. Do not include any additional text in the body. ------------------------------ Date: Fri, 05 Oct 2001 08:29:22 EDT From: SWRDBABE@aol.com Subject: Re: [scribes]: Okay, REALLY basic question... >Russian.... I don't know. I've never actually seen a >Russian scroll, though it would be pretty cool... In the research I've done on Russian illumination it reminds me a great deal of folkwork tolepainting just with a lot more gold. One of the things I really like to do is look at some of the architecture borders you see in scrolls. Even if its a religious painting they usually have columns or arches or some other architectural building around it. I've used that to border the calligraphy and it went over beautifully. Daniela =================================================================== To unsubscribe from this list, send email to with a blank Subject: line and unsubscribe scribes in the body of the message. Do not include any additional text in the body. ------------------------------ Date: Fri, 5 Oct 2001 10:17:53 -0400 From: "Laura Peskett" <2rozakii@home.com> Subject: Re: [scribes]: Okay, REALLY basic question... My favorite borders when I started scribing were Byzantine (lots of columns and arches) and doing leaf and vine borders. (I'm also a person who likes to do blanks and hand them in to the Royalty.) My favorite book to recommend to people beginning illuminating is "The Illuminated Alphabet" Calligraphy by Timothy Noad, Text by Patricia Seligman. ISBN : 1-56138-458-5 Tons of great tips throughout the book, plus he does at least one project for different time periods - Celtic, Romanesque, Gothic, Renaissance and Modern Revival. A very helpful book. :-) Tzitzakion East Kingdom =================================================================== To unsubscribe from this list, send email to with a blank Subject: line and unsubscribe scribes in the body of the message. Do not include any additional text in the body. ------------------------------ Date: Fri, 05 Oct 2001 14:47:29 From: "Elyse Boucher" Subject: [scribes]: Faked documents in period. Was asked: I understand that *creating* documents in period that were of dubious veracity was a period practice, can anyone confirm or deny this absolutely? Reply: Oh, heavens, yes, this was done. I'm at work so I can't gaurentee that the example that comes to my mind is applied to the right family, but the gist of the example is correct--in a dispute between the Pastons and another family, the Paston family produced fake documents that supposedly proved that the Paston family was the family to the rights, presented them in court, got the rights declared as theirs. It was centuries before anyone realized that the documents were fakes. If you are not familiar with the family, they were 15th c. English gentry that left behind a treasure trove of correspondance. Web searchs on "Paston family letters" will usually bring up introductory information--I think a lot of the letters are online, too, but since I have them hardcopy, I don't know if that website is still up. :-) Merouda, having Real Life (tm) right now, but still lurking. - ------------ Merouda Pendray: Caer Anterth, Northshield, Middle. (Elyse C. Boucher: West Allis, Wisconsin, USA) Per pale sable and Or, a gryphon segreant countorney within an orle of feathers counterchanged. "Semper ubi sub ubi" http://ourworld.compuserve.com/homepages/merouda _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp =================================================================== To unsubscribe from this list, send email to with a blank Subject: line and unsubscribe scribes in the body of the message. Do not include any additional text in the body. ------------------------------ Date: Fri, 5 Oct 2001 11:14:29 EDT From: BRNDALSTON@aol.com Subject: Re: [scribes]: lighting - --part1_9a.1ac9ea73.28ef2855_boundary Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 10/4/2001 5:23:37 PM Eastern Daylight Time, pixel@hundred-acre-wood.com writes: > Does anyone have any experience with this sort of lightbulb, and > would it be worth replacing my architect's lamp's incandescent bulb with > the fluorescent one? > I am not sure if it would be better or not. Fluorescents are supposed to use less energy and create less heat, but they can also alter colors that may mess with your paint choices. Just something to consider, Brandy - --part1_9a.1ac9ea73.28ef2855_boundary Content-Type: text/html; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 10/4/2001 5:23:37 PM Eastern Daylight Time, pixel@hundred-acre-wood.com writes:


Does anyone have any experience with this sort of lightbulb, and
would it be worth replacing my architect's lamp's incandescent bulb with
the fluorescent one?


I am not sure if it would be better or not. Fluorescents are supposed to use less energy and create less heat, but they can also alter colors that may mess with your paint choices.

Just something to consider,
Brandy - --part1_9a.1ac9ea73.28ef2855_boundary-- =================================================================== To unsubscribe from this list, send email to with a blank Subject: line and unsubscribe scribes in the body of the message. Do not include any additional text in the body. ------------------------------ Date: Fri, 5 Oct 2001 11:25:40 EDT From: BRNDALSTON@aol.com Subject: Re: [scribes]: Gouche Proportions - --part1_a2.1a744472.28ef2af4_boundary Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 10/4/2001 6:43:01 PM Eastern Daylight Time, meisterin@comteck.com writes: > One other thing you should know (after the good info given so far) is that > you will need to add one drop (from the end of a brush is good enough) of > gum arabic to your paint when you mix it up for the first time (or after > about 5 rehydrations). W&N doesn't put enough into their tubes of gouache > when shipping, but usually add more glycerin (which you don't particularly > want to mix in if it has already separated). Does the gum arabic help to keep the paint from being powdery when it dries? I have some yellow that is very old and just seems to flake off. Will adding gum arabic to it help elminate that problem? Brandy - --part1_a2.1a744472.28ef2af4_boundary Content-Type: text/html; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 10/4/2001 6:43:01 PM Eastern Daylight Time, meisterin@comteck.com writes:


One other thing you should know (after the good info given so far) is that you will need to add one drop (from the end of a brush is good enough) of gum arabic to your paint when you mix it up for the first time (or after about 5 rehydrations).  W&N doesn't put enough into their tubes of gouache when shipping, but usually add more glycerin (which you don't particularly want to mix in if it has already separated).  
Does the gum arabic help to keep the paint from being powdery when it dries? I have some yellow that is very old and just seems to flake off. Will adding gum arabic to it help elminate that problem?

Brandy - --part1_a2.1a744472.28ef2af4_boundary-- =================================================================== To unsubscribe from this list, send email to with a blank Subject: line and unsubscribe scribes in the body of the message. Do not include any additional text in the body. ------------------------------ End of scribes digest V7 #20 ****************************