From: owner-scribes@castle.org (scribes digest) To: scribes-digest@castle.org Subject: scribes digest V7 #70 Reply-To: Sender: owner-scribes@castle.org Errors-To: owner-scribes@castle.org Precedence: bulk scribes digest Sunday, January 27 2002 Volume 07 : Number 070 ======================================================================== 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]: A review - Calligraphic results of late night online shopping... Re: [scribes]: Unlurk...promissories (LONG) Re: [scribes]: Papyrus...was...Woodblock, and home-made papers... Re: [scribes]: Unlurk...promissories (LONG) Re: [scribes]: Unlurk...promissories (LONG) Re: [scribes]: Promissories and pre-prints [scribes]: Searching for assistance [scribes]: Lead White ? Re: [scribes]: Lead White ? Re: [scribes]: Lead White ? Re: [scribes]: Lead White ? Re: [scribes]: Lead White ? Re: [scribes]: Searching for assistance Re: [scribes]: Lead White ? Re: [scribes]: Searching for assistance & a new question Re: [scribes]: Searching for assistance & a new question [scribes]: Instructors are needed!!! ---------------------------------------------------------------------- Date: Fri, 25 Jan 2002 19:59:08 -0600 From: C Fearon Subject: [scribes]: A review - Calligraphic results of late night online shopping... This is a multi-part message in MIME format. - --Boundary_(ID_ungUlUMYmgZFimHP/XIPSg) Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: quoted-printable Greetings all! Well... the stuff I ordered from Amazon England in my late night daze = showed up this week, so I thought I might as well review the calligraphy = books. I'll save the history books for another list. Incidentally, I = have NEVER received books in the mail packed quite as thoroughly as this = lot! They (4 of them) seemed to have been shrink wrapped individually, = then in pairs, and then in a bundle. Then they were in two cardboard = boxes. It took me ages to get all that plastic and stuff off. I guess = someone at Amazon was worried about the ocean crossing... Illuminated Lettering - by Marie Lynskey=20 ISBN 1-903327-15-6=20 =A35.99 This book would be suitable for an advanced beginner - someone who has = some painting experience. It would also be an excellent resource for = anyone teaching illumination. Ms Lynskey analyzes letters from = different periods in history and shows how to duplicate them using both = traditional and modern techniques. As well, she discusses different = types of vellum, pigments and gold. She includes a gesso recipe,on for = glair, and goes into detail about various tools. Letterforms are shown in three to four stages, so you can see the step = by step process. I particularly like that any of these pictures are = greatly enlarged to show tiny details. She also lets you know from = which manuscript the letter has been copied, although I would have liked = to have more seen photos of the originals. =20 Calligraphy in touched upon, but only as an aside (such as deciding = which style would go with your letter). This book deals with = illuminated letters, not writing. She also covers scroll set-up, framing = and how to care for your artwork. The historical aspect is well done, = and her analysis of small details bring this book above the regular = "learn to illuminate" crop. Also included, a small section on modern uses of illumination, such as = greeting cards. One thing I really liked...virtually every picture of Ms Lynskey in the = act of painting, shows her with a piece of paper under her hand to = protect the artwork. Even on the front cover picture, half of the = letter is obscured by the paper towel. =20 _________ Illumination for Calligraphy - by Janet Mehigan ISBN 0-85532-843-6 =A310.95 While Ms. Mehigan does discuss some historical aspects of illumination, = these are mostly modern interpretations of medieval and Victorian = designs. There is a good section on colour, and a bit on tools. I = liked the section on the types of paper and vellum available. The = section on gilding is good for learning what tools, and types of gold = are available, and the actual process of gilding is shown with transfer = gold and loose leaf gold. She includes a gesso recipe, one for slaked = plaster, and gum ammoniac. There are only 4 "projects" in the book, but they are covered in great = detail. Two are medieval in origin, and she includes black and white = tracings of the original pieces. Sources, folios and dates of the = initials are given, along with physical location of the manuscript. Her = method of transferring the design from concept to page is very in depth. = The evolution of an initial from the Winchester Bible is shown in no = less than 13 steps, with the photos are enlarged to show detail. There is also a section on designing monograms (modern) and doing some = leafy Victorian Thingys. There is also a section on writing Versals. This is by no means a period reference book, but though many of the = techniques and applications are modern, they would be easy to adapt for = use in SCA scroll design.=20 Ms. Mehigan does not seem to protect her artwork when she paints, at = least not in these pictures...:) - --Boundary_(ID_ungUlUMYmgZFimHP/XIPSg) Content-type: text/html; charset=iso-8859-1 Content-transfer-encoding: quoted-printable
Greetings all!
 
Well... the stuff I ordered from = Amazon=20 England in my late night daze showed up this week, so I thought I = might as=20 well review the calligraphy books.  I'll save the history books for = another=20 list.  Incidentally, I have NEVER received books in the mail = packed=20 quite as thoroughly as this lot!  They (4 of them) seemed to have = been=20 shrink wrapped individually, then in pairs, and then in a bundle.  = Then=20 they were in two cardboard boxes.   It took me ages to get all = that=20 plastic and stuff off.  I guess someone at Amazon was worried about = the=20 ocean crossing...
 
Illuminated Lettering = - - by Marie=20 Lynskey 
ISBN 1-903327-15-6 

=A35.99

 
This book would be suitable for an = advanced=20 beginner - someone who has some painting experience.  It would = also be=20 an excellent resource for anyone teaching illumination.  Ms=20 Lynskey analyzes letters from different periods in history and = shows how to=20 duplicate them using both traditional and modern techniques.  As = well, she=20 discusses different types of vellum,  pigments and gold.  She = includes=20 a gesso recipe,on for glair,  and goes into detail about = various=20 tools.
 
Letterforms are shown in three to four = stages, so=20 you can see the step by step process.  I particularly like that any = of=20 these pictures are greatly enlarged to show tiny details.  She also = lets=20 you know from which manuscript the letter has been copied, = although I=20 would have liked to have more seen photos of the originals.  =
 
Calligraphy in touched upon, but only = as an aside=20 (such as deciding which style would go with your letter).  This = book deals=20 with illuminated letters, not writing. She also covers scroll = set-up,=20 framing and how to care for your artwork.  The historical aspect is = well=20 done, and her analysis of small details bring this book above the = regular "learn=20 to illuminate" crop.
 
Also included, a small section on = modern uses of=20 illumination, such as greeting cards.
 
One thing I really=20 liked...virtually every picture of Ms Lynskey in the act of = painting,=20 shows her with a piece of paper under her hand to protect the = artwork. =20 Even on the front cover picture, half of the letter is obscured by the = paper=20 towel. 
 
_________
 
Illumination for Calligraphy = - - by=20 Janet Mehigan
ISBN 0-85532-843-6
=A310.95
 
While Ms. Mehigan does discuss some = historical=20 aspects of illumination, these are mostly modern interpretations of = medieval and=20 Victorian designs.  There is a good section on colour, and a bit on = tools.  I liked the section on the types of paper and vellum=20 available.  The section on gilding is good for learning what tools, = and=20 types of gold are available, and the actual process of gilding is = shown=20 with transfer gold and loose leaf gold.  She includes a gesso = recipe, one=20 for slaked plaster, and gum ammoniac.
 
There are only 4 "projects" in the = book, but=20 they are covered in great detail.  Two are medieval in origin, and = she=20 includes black and white tracings of the original=20 pieces.  Sources, folios and dates of the initials = are given,=20 along with physical location of the manuscript.  Her = method of=20 transferring the design from concept to page is very in depth.  The = evolution of an initial from the Winchester Bible is shown in no less = than 13=20 steps, with the photos are enlarged to show detail.
 
There is also a section on designing = monograms=20 (modern) and doing some leafy Victorian Thingys.  There is also a = section=20 on writing Versals.
 
This is by no means a period reference = book, but=20 though many of the techniques and applications are modern, they would be = easy to=20 adapt for use in SCA scroll design. 
 
Ms. Mehigan does not seem to protect = her artwork=20 when she paints, at least not in these pictures...:)
 
- --Boundary_(ID_ungUlUMYmgZFimHP/XIPSg)-- =================================================================== 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, 25 Jan 2002 19:23:41 -0700 From: Kinga de la Roux Subject: Re: [scribes]: Unlurk...promissories (LONG) ALL copies I have done are on top grade parchment paper. I use Windsor/Newton gauoch (sp?) paints and I encourage my scribes to use them as well. I also teach "Illuminating for the Artistically Challenged", in honor of my dearly loved hubby, Lord Uluric Gilcrist, at almost every event I can. Kinga john j cash wrote: > Dear folks, > > This was a very interesting post! I am glad to see that pre-printed > scrolls have moved from the cheap xeroxes of my earlier day to a more > professional process. > > The post raises a few points I'd like to bring up: > > (1) Pre-prints are associated in many minds (like mine) with "the old > days" when we were, shall we say, naive, and "didn't know any better". The > approach followed by most of us today is to use acid-free paper and > light-fast pigments and gold leaf, as we have learned and gotten > "better." Etching at a professional shop, I find quite acceptable. But my > question is: how many of us who advocate and work with pre-printed > scrolls, pay attention to the quality of the paper? It makes no sense to > me, to put in a lot of work and decorate something with gold leaf, when > the selected paper is poor to begin with (pre-printed scroll or not). > > (2) I'm glad to hear the plates for the etched pre-prints were saved for > future use. I am disappointed to learn that they can't immediately be > found. (Have I read that right?) I wonder if other signets encounter the > problem of saving something important only to have it lost a few years > later, and what they are doing about it? Again, it makes no sense to me to > put in a lot of work and money on an ethced plate, when the system for > keeping it safe is poor to begin with. > > -- johannes v.n. > > "Those who don't read ... have no advantage over those who can't" > -- Mark Twain =================================================================== 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, 25 Jan 2002 21:27:34 +0000 From: Randy Asplund Subject: Re: [scribes]: Papyrus...was...Woodblock, and home-made papers... I am no authority on this material, but I have used it several times. I even did a book cover on it once. The ancient egyptians used a reed that was cut into a sort of football cross section at the tip and beaten so that the fibers came apart into what amounts to a brush. The natural quill and reed pen are both more gentle to a page than a modern metal nib, requiring a lighter touch. I have not had trouble getting ink to go onto papyrus, but I have noticed a tendency for it to bleed a bit along the layered reed slices where they mesh together. It can also abrade off rather easily. It is possible that your sample had extra size on it (for anyone unfamiliar with the term, "size" refers to the "glue" solution that is either part of the paper making process, or is a coating on the surface.) This might explain the non-absorbancy if that's what you had. However, my understanding of the process for making papyrus is that it is stuck together with the natural glues within the reed slices. I doubt they added any size. Someone can correct me if I'm wrong, but I imagine this might mean that your papyrus is just the way it ought to be. RanthulfR C Fearon wrote: > > Greetings Marit! > > The papyrus I had was a piece someone had picked up for me in Egypt.Probably > in the airport on the way back :) I admit to being clueless about > how it is made, so I don't know if the funny coating on it was natural or > something added. It wouldn't accept any form of ink, except a very black > India Ink, which I hate using. The surface was very slick to the touch, and > shredded if I put a Brause nib on it. I had to use acrylic gouache as the > regular stuff just pooled up and sat on the surface. I finally gave up on > the piece (as a scroll), and went through all of my art supplies to see what > would work on it. Coloured calligraphy markers had the most success! > > I remember taking a class from Master Sayf Al Qamar Tarik (Korsvag) who had > done several scrolls on papyrus, so I don't know if I just didn't have the > touch, or if I had a bad piece. It may have been too dry and brittle, but I > don't know if there is any remedy for this. If I had to try it again, I > would work with a brush, not a pen but the coloured markers would be very > very tempting...:) > > Regards > > Siobhan > > > Pardon my query good lady > > What happened with the papyrus? > > I remember hearing someone was doing a scroll in it many years ago, but > > heard no more than that > > M :-) > > > > Marit the Wanderer > > Shire of Agaricus > > Lochac > > > > =================================================================== > 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. - -- VISIT RandyAsplund.com To see a Universe of art ranging from Magic: The Gathering to Star Trek and Medieval Manuscripts Randy Asplund (734) 663-0954 Science Fiction and Fantasy Illustration 2101 S. Circle Dr., Ann Arbor, MI. 48103 =================================================================== 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, 25 Jan 2002 21:36:52 -0500 (EST) From: Todd Rich Subject: Re: [scribes]: Unlurk...promissories (LONG) On Fri, 25 Jan 2002, Kinga de la Roux wrote: > The previous files were, um....damaged beyond repair by something wet > and sticky > spilled on it, and no paper files were given to me. I have started with > absolutely nothing except the information give to me by Torin and a > small event > in Idaho were we actually met for the first time.....my primary job at > this > point is detective work...lol. > Regards, > Kinga > Damn! I'm sorry. Now I wish I had gone ahead and made copies of everything, there was some interesting (in a historical sense) reading in those files. Had reports in there from the original Artemisian scribe. That was where I found out the office was originally the Sable Plume Pursuivant. They may not be of much use to you, but I'll e-mail you all the reports I have still on my computer. Can you handle work .doc files? Torin =================================================================== 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, 25 Jan 2002 20:22:02 -0700 From: Kinga de la Roux Subject: Re: [scribes]: Unlurk...promissories (LONG) ALL copies I have done are on top grade parchment paper. I use Windsor/Newton gauoch (sp?) paints and I encourage my scribes to use them as well. I also teach "Illuminating for the Artistically Challenged", in honor of my dearly loved hubby, Lord Uluric Gilcrist, at almost every event I can. Kinga john j cash wrote: > Dear folks, > > This was a very interesting post! I am glad to see that pre-printed > scrolls have moved from the cheap xeroxes of my earlier day to a more > professional process. > > The post raises a few points I'd like to bring up: > > (1) Pre-prints are associated in many minds (like mine) with "the old > days" when we were, shall we say, naive, and "didn't know any better". The > approach followed by most of us today is to use acid-free paper and > light-fast pigments and gold leaf, as we have learned and gotten > "better." Etching at a professional shop, I find quite acceptable. But my > question is: how many of us who advocate and work with pre-printed > scrolls, pay attention to the quality of the paper? It makes no sense to > me, to put in a lot of work and decorate something with gold leaf, when > the selected paper is poor to begin with (pre-printed scroll or not). > > (2) I'm glad to hear the plates for the etched pre-prints were saved for > future use. I am disappointed to learn that they can't immediately be > found. (Have I read that right?) I wonder if other signets encounter the > problem of saving something important only to have it lost a few years > later, and what they are doing about it? Again, it makes no sense to me to > put in a lot of work and money on an ethced plate, when the system for > keeping it safe is poor to begin with. > > -- johannes v.n. > > "Those who don't read ... have no advantage over those who can't" > -- Mark Twain =================================================================== 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, 25 Jan 2002 20:14:59 -0700 From: Kinga de la Roux Subject: Re: [scribes]: Promissories and pre-prints I will be glad to get you started with scrolls needed. We desperately need to get our backlog done. Not sure if any kingdom out there has there entire backlog caught up, but if not, I intend for the Kingdom of Artemisia to be the first (esp since we are still young). I can send you a couple of blanks (we usually do the art work, then let the calligrapher write around the design) and you may either paint the ones sent, and/or use them as examples of what we can use and start drawing them. Let me know what way you would like it done. After all, it is I who should work to YOUR guidelines since it is "I" who needs YOUR help. It is only courteous for me to be solicitous of your desires. Can you tell I really, really, could use the help? LOL Regards, Lady Kinga Sable Plume Clerk of the Signet Kingdom of Artemisia Valerie Scarbrough wrote: > Greetings to all on this list, > > I live in the Kingdom of Artemisia, mundanely, Ogden. > I am VERY new to the whole scroll and C & I process (having done only 2 scrolls) and right now I have far more enthusiasm than I have time (I work M-F an hour and a half from my house). I would, however be VERY interested in helping paint pre-prints and promissories if the help is needed. Also, since I am very much a "leftie" and have not gotten into the intricacies of left-handed calligraphy, I would also like to get either pre-prints of just the calligraphy that I could illuminate, or if someone is interested in working with me, could send me just the calligraphy for the same purposes. > In any case, I would like to help with whatever is needed. I can also help color/paint at events and attend most events from Arrow's Flight to One-Thousand Eyes and some beyond those areas. > Let me know how I can help with the backlog or new scrolls, please??? > > "Wanting to be in service to the Dream" :o) > > Bethany of Windermere > > > Valerie H. Scarbrough > Fairbanks Capital Corp (SLC) > #801-313-2224 > email: ValerieS@fairbankscapital.com > > =================================================================== > 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, 25 Jan 2002 23:50:13 EST From: Aengus1@aol.com Subject: [scribes]: Searching for assistance Greetings unto all from THL Aengus MacBain. Good gentles, I write you today to beg a boon. Several months ago I accepted a scroll assignment for a gentle with a Japanese persona. I searched out and found someone who was willing to do the wording for me in Japanese. Apparently life happened, and she is unable to assist me. I am wondering if anyone out there knows Japanese and if so, would they be willing and/or able to do an appropriate Japanese scroll wording as well as send me the actual written text so I might use it as an exemplar. Speed is of the essence, as I only have 5 weeks remaining until the scroll goes out and I need to practice the hand quite a bit before I attempt the piece. I really don't want to resort to a pseudo script, but if I can't locate anyone who can assist me, I may be looking for that information next. Thanks in advance, Aengus MacBain Ęthelmearc =================================================================== 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, 25 Jan 2002 22:46:46 -0800 From: "Ken Stoner" Subject: [scribes]: Lead White ? So, I am experimenting with making pigments. I have been very lucky with Verdigris but I am striking out with Lead white. My first experiment involved covering up lead sinkers in vineger. The sinkers didn't change color or "skin" up at all. I expected that they would form lead-acetate, which was often mistaken for lead-white in the middle ages. No luck. I added some carbolic-acid (seltzer water) to see if the addition of CO2 would help... No luck though. So then I tried covering them up in some pure seltzer water and shaking it up alot, releasing a lot of C02 into the atmosphere... and then letting that sit for a while... no go. I suspect that the sinkers need to be in a CO2 atmosphere all by themselves without the buffer of water... but can think of no practical way to do this in my kitchen... Any one have any ideas? - - Cystennin sends... PS: Yes, I know lead is toxic. I am being careful to limit my exposure. =================================================================== 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: Sat, 26 Jan 2002 03:41:57 -0400 From: "Martin Higgins" Subject: Re: [scribes]: Lead White ? hmmm, I never played with lead but when I made verdigris I made a little fume chamber out of a plastic pop bottle :) Question to those who knows, since I am going to play with lead one of these days.... Should the lead be made into a litharge before fuming with acitic acid? If it should, does anyone here know just how to do that? Thanks :) 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: Sat, 26 Jan 2002 09:45:12 -0700 From: Catie Helm-Clark Subject: Re: [scribes]: Lead White ? The are two routes to lead white, neither of which I would recommend to anyone without a fume hood or, at a very minimum, a glove box. The first is easy and NOT recommended in your kitchen: take the lead and SUSPEND it over a small sealed bath of acetic acid (white vinegar). You'll have a nice coating of lead acetate in under a month. To get lead white, take the lead acetate and perform a controlled oxidation at ~100C on (but not mixed) a bed of pyrolytic carbon. Don't do this in your kitchen oven since you will release lead fumes (toxic & corrosive to the electric heating element) The dangers: the lead acetate you make will be amazingly fine and will dust up on the least provacation - and the dust hazard for inhalation is non-trivial. 50 mg will certainly kill or cripple (with CNS damage) your small children and pets. There is no way to transfer the lead acetate from the mother lead to the bed of carbon without releasing some lead dust. There is no way to heat or roast any lead compound without releasing lead fume. The roast (it takes several hours) must be watched continuously due to the fire hazard. You also need some way to control the strength and oxygen content of the Draft in the oven - muffle furnaces work best for this. Method two: take your lead over a bath of acetic acid, cap it loosely, and bury it either in your compost heap, or in a prepared pit (1 cubic foot will work if your acetic acid bath vessel is a 1 pint ceramic pot) filled with ground up oak galls. Do this in the fall or spring. In four months, you'll have lead white without needing a roasting step. The issues with dusting up the pigment are the same as with the lead acetiate. The CNS effects from lead poisoning are PERMANENT (just like mercury). As always in toxicology, children most susceptible; adult residence time in kidneys, 7 yrs; adult residence time in bones and liver, 32 yrs. The classic example of environmental poisoning of toddlers is from eating sweet-tasting lead white paint chips which are flaking off in an old building. (Blyth (1907) documents case of a man who died after working 4 days making lead white - which is really really fast for a lead- poisoning death) Before you ask: yes, I have made lead white by both methods. Please don't do this at home, especially if you have kids and/or pets. I did my grinding and prep work in an academtic geochem lab. Unless you have similar access to a real lab environment, please don't play - lead is no joke. ttfn, Therasia von Tux, OL etc mundanely Catherine M. Helm-Clark, Ph.D. Idaho State University Geology Dept. =================================================================== 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: Sat, 26 Jan 2002 13:18:01 -0400 From: "Martin Higgins" Subject: Re: [scribes]: Lead White ? > Unless you have similar access to a real lab environment, please > don't play - lead is no joke. Good advice, this is why I have not yet bothered to work with led right yet Griet (~who dreams of someday having her own little well equipped lab at home~) =================================================================== 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: Sat, 26 Jan 2002 12:17:52 +0000 From: Randy Asplund Subject: Re: [scribes]: Lead White ? Try suspending the lead above the vinegar like you did with the copper to make verdigris. The constant acid bath washes away whatever crust would otherwise form. The vinegar fumes should do the work. You also need a source of carbon dioxide. This is usually supplied by the heat source of fermenting dung or other organic material. Go back and re-read the white lead section in Thompson's Materials and Techniques of Medieval Painting. be really careful to take complete precaution against exposure to the residue. It is really toxic. RanthulfR Ken Stoner wrote: > > So, I am experimenting with making pigments. I have been very lucky with Verdigris but I am striking out with Lead white. > > My first experiment involved covering up lead sinkers in vineger. The sinkers didn't change color or "skin" up at all. I expected that they would form lead-acetate, which was often mistaken for lead-white in the middle ages. No luck. I added some carbolic-acid (seltzer water) to see if the addition of CO2 would help... No luck though. > > So then I tried covering them up in some pure seltzer water and shaking it up alot, releasing a lot of C02 into the atmosphere... and then letting that sit for a while... no go. > > I suspect that the sinkers need to be in a CO2 atmosphere all by themselves without the buffer of water... but can think of no practical way to do this in my kitchen... > > Any one have any ideas? > > - Cystennin sends... > > > PS: Yes, I know lead is toxic. I am being careful to limit my exposure. > =================================================================== > 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. - -- VISIT RandyAsplund.com To see a Universe of art ranging from Magic: The Gathering to Star Trek and Medieval Manuscripts Randy Asplund (734) 663-0954 Science Fiction and Fantasy Illustration 2101 S. Circle Dr., Ann Arbor, MI. 48103 =================================================================== 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: Sat, 26 Jan 2002 17:45:23 -0500 (EST) From: john j cash Subject: Re: [scribes]: Searching for assistance Dear Aengus, Maybe a simpler solution than actually writing in Japanese would work. Let me propose one, that has worked for me a few times. Instead of writing in Japanese or pseudo-Japanese, I do the text in a simple Chancery hand on a square piece of thin smooth paper (hot press, 90 lb. or lighter if you can get it). Then, I fold the paper into a shape. Paper-folding is as traditional as anything we do, and very decorative. My favorite is the Samurai helmet, which I think would be very apt for a knight; but there are birds (even pelicans), and flowers, and different animals, even abstract designs. So I let the paper-folding be the decoration instead of the calligraphy or painting. The calligraphy is on the inside of the folds, and is revealed upon unfolding the thing ceremoniously at court. Recipients are always pleased. It does require practicing your chosen paper-fold shape on some scrap paper, and I recommend spraying the calligraphy with a fixative or sealer else it may smudge upon folding. Also, you shold be prepared to unfold it for the herald to read it, and refold it when the court is over. - -- johannes v.n. "Those who don't read ... have no advantage over those who can't" -- Mark Twain =================================================================== 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: Sat, 26 Jan 2002 21:23:54 -0800 (PST) From: Peter Steiner Subject: Re: [scribes]: Lead White ? - --- Ken Stoner wrote: > So then I tried covering them up in some pure seltzer water and > shaking it up alot, releasing a lot of C02 into the atmosphere... and > then letting that sit for a while... no go. > > I suspect that the sinkers need to be in a CO2 atmosphere all by > themselves without the buffer of water... but can think of no > practical way to do this in my kitchen... > > Any one have any ideas? Yes! Get out of the kitchen! Chances are good that you were releasing more than Carbon Dioxide into the atmosphere. As Randy says, the end product is quite toxic. The byproducts of these experiments (successful or not) can be equally toxic. You have to assume that your experiments will sometimes go awry, dispersing the poison around your work area. You really don't want that work area to be the same room in which you prepare food. :-/ Always wear long sleeves, latex gloves, polycarbonate goggles, and a good respirator when you're working with any poisonous material. My advice is not Period......but then neither are the improved health and extended lifespan I hope to encourage. :-) - -Peter- __________________________________________________ Do You Yahoo!? Great stuff seeking new owners in Yahoo! Auctions! http://auctions.yahoo.com =================================================================== 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, 10 Apr 1908 14:44:55 +1000 From: "Dani " Subject: Re: [scribes]: Searching for assistance & a new question HI all.... and especially to you Aengus! My significant other has something of a Japanese fetish and as such has done alot of research. He isn't fluent in japanese, but might be able to help you out with an appropriate wording. Also, if you want to include kanji symbols as part of the scroll, I know of a great website that lets you enter in words (in english or japanese) and it shows you the translations AND the symbols :) So, email me privately with exactly what you need, and I'll run it past him and see if he can help you out. On another note.... I'm getting ready to try my hand in preparing my first ever A&S comp. project in illumination... the theme is "chivalrous love"... I'd appreciate some ideas, as my mind is busy with university stuff and I haven't had loads of time to do research on anything but poststructural gobbeldeygook (groans and holds her head). Thanks in advance. Dani (society name not yet chosen due to a plethera of neat ones :) qqu =================================================================== 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: Sun, 27 Jan 2002 10:08:41 EST From: BRNDALSTON@aol.com Subject: Re: [scribes]: Searching for assistance & a new question - --part1_ae.2162ec8d.298571f9_boundary Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit My Lord, I do not know Japanese, but I did take a class this past Pennsic on pseudo Japanese script. I can send you a copy of that handout if you are interested. Email me privately at brndalston@aol.com if you want it. Brandy (in Atlantia) - --part1_ae.2162ec8d.298571f9_boundary Content-Type: text/html; charset="US-ASCII" Content-Transfer-Encoding: 7bit My Lord,
I do not know Japanese, but I did take a class this past Pennsic on pseudo Japanese script. I can send you a copy of that handout if you are interested. Email me privately at brndalston@aol.com if you want it.

Brandy
(in Atlantia)
- --part1_ae.2162ec8d.298571f9_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: Sun, 27 Jan 2002 10:37:47 EST From: BRNDALSTON@aol.com Subject: [scribes]: Instructors are needed!!! - --part1_124.ace08d6.298578cb_boundary Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Greetings Everyone! I am looking for instructors for The Pen or The Sword? event on April 20 in the Barony of Marinus, Atlantia (Chesapeake, Virginia). I have about 5 rooms we can use for classes. I would like to do at least three tracks of scribe classes in beginner, intermediate, and advanced categories. I am willing to use one room for other classes that people want to teach, as space allows. If you are interested in teaching, please contact me privately at brndalston@aol.com or (757) 488-3597. Send me the name of the class, class size limit (how many people), if any class fee (collected by instructor at beginning of class), if any duration of class (one hour or two hours, etc.) Supplies students need to bring with them (if any) Time of day you would like to teach (morning, afternoon) Thank you for your help! Brandy P.S., if you need a copy of the flyer, email me, and I can send it to you. - --part1_124.ace08d6.298578cb_boundary Content-Type: text/html; charset="US-ASCII" Content-Transfer-Encoding: 7bit Greetings Everyone!

I am looking for instructors for The Pen or The Sword? event on April 20 in the Barony of Marinus, Atlantia (Chesapeake, Virginia).

I have about 5 rooms we can use for classes. I would like to do at least three tracks of scribe classes in beginner, intermediate, and advanced categories. I am willing to use one room for other classes that people want to teach, as space allows.

If you are interested in teaching, please contact me privately at brndalston@aol.com or (757) 488-3597.

Send me the name of the class,
class size limit (how many people), if any
class fee (collected by instructor at beginning of class), if any
duration of class (one hour or two hours, etc.)
Supplies students need to bring with them (if any)
Time of day you would like to teach (morning, afternoon)

Thank you for your help!
Brandy

P.S., if you need a copy of the flyer, email me, and I can send it to you.
- --part1_124.ace08d6.298578cb_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 #70 ****************************