tag:blogger.com,1999:blog-12294449314214177032024-02-19T12:00:02.283-05:00The Pensive PenThe musings of a Scribe & Calligrapher in the East Kingdom of the SCA.Alexandre Saint Pierrehttp://www.blogger.com/profile/04762481896322212429noreply@blogger.comBlogger61125tag:blogger.com,1999:blog-1229444931421417703.post-68880372477385593792019-06-25T10:29:00.000-04:002019-06-25T16:00:13.773-04:00A 15th century kidney pouch<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuisBKFM7kTHKPft9QyYAkb8y8Hl3NMEf1d8jvU6bDA0IfMPMCk_sPbo5rphN0ZZs_zYxH87RtIDABlh4xBYq_ples9mgKH3R0nv1AhzysUVd52w4WgvbcpTjMqdIejWUYew2UB2tVXI8/s1600/05C5F2C1-090F-429C-A170-03C6A716CD53.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1493" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuisBKFM7kTHKPft9QyYAkb8y8Hl3NMEf1d8jvU6bDA0IfMPMCk_sPbo5rphN0ZZs_zYxH87RtIDABlh4xBYq_ples9mgKH3R0nv1AhzysUVd52w4WgvbcpTjMqdIejWUYew2UB2tVXI8/s640/05C5F2C1-090F-429C-A170-03C6A716CD53.jpeg" width="596" /></a></div>
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With my newfound goal of improving my kit, I decided it was time to upgrade my kidney pouch to a fancier and more period correct version. I was largely inspired by my friend Gregor von Medehem, who jumped right into leatherworking in the SCA and has made a few very nice pouches.<br />
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Since I recommend the "what, when, where, who, & how" approach for starting A&S documentation, I'll use it here to help summarize.<br />
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<ul>
<li>What did I make? A leather belt pouch.</li>
<li>What's it used for? Carrying stuff! For me, it's to carry my phone, money/checkbook, car keys, tokens, & business cards. Anything longer than a checkbook won't fit into the main pouch.</li>
<li>When & where was it used in history? Western Europe, 14th to 16th centuries.</li>
<li>Who would have had one in period? This style of pouch was only used by men. It shows up in lots of contemporary art and archaeological finds, so its use seems widespread. Due to the fittings and level of workmanship, this particular pouch would have been worn by someone who is fairly well off.</li>
<li>What sources did I use? "Purses in Pieces" by Olaf Goubitz, & <a href="https://wiki.eastkingdom.org/index.php?title=Gregor_von_Medehem" target="_blank">Gregor von Medehem</a>'s expertise and pattern.</li>
<li>What was my process? Read on...</li>
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My first step was to ask Gregor for recommendations, and make a copy of his pattern pieces as he has made a few of these pouches. I modified the pattern a little: I changed the profile of the flap edges to match the curve of the fittings I purchased; I lengthened the belt loops and enlarged the opening between them a little to more easily accommodate a larger dagger being worn behind the pouch. I scanned the pattern pieces into a PDF for any who are interested in trying this on their own.<br />
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<a href="https://drive.google.com/a/thesept.com/file/d/0B_8dJzEff320TWpmWU5sWEtqMXJoWGFEOFF1YnJFVkZ3VnUw/view?usp=drivesdk" target="_blank">GET THE PDF PATTERN HERE!</a> (Google Drive link)<br />
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Please note, the pattern doesn't include the buckled strap, the trim piece between the pouchlets, the decorative lacing that holds the flap to the back of the pouch, or the leather lacing for opening and closing the pouchlets.<br />
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<tr><td class="tr-caption" style="text-align: center;">Not pictured: Strap cutter, cutting board, leather finish.</td></tr>
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Tools & Materials</h3>
Leather: I used 4-5 ounce vegetable tanned leather for the large piece that makes up the back, belt loops and flap, as well as for the buckled strap and pouchlet cords. The front of the pouchlets, front of the main pouch, and reinforcement for the flap opening were all 1-2 ounce vegetable tanned.<br />
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Dyes: Fiebings Pro Chocolate & Fiebings Green. I used a lot more dye than I expected to.<br />
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Finish: Fiebings Eco Flow Satin Shene<br />
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Tools: Skiving tool, adjustable groover, craft knife, lacing chisels, hole punches, drill press, nail set, hammer, cutting board, needles, waxed linen thread.<br />
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With my pattern finished, and leather acquired, I started cutting out the pieces. I used the groover to add a decorative groove inset from the edges of the front flap and belt loops.<br />
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As you'll see in the upcoming construction shots, part of the pouch is sewn together inside out, then soaked in water and inverted. To allow for this, the thicker leather around the edge of the back panel was skived (shaved) from almost 3mm thick to less than 1mm at the edge.<br />
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Because I wanted my pouchlets and pouch body to be different colors, I dyed them first. It took 4-5 applications of the dye to get the colors to where I was happy with them. And the dye fumes are pretty nasty, so make sure you plan for that. Also, wear gloves! The dye is very hard to get off of skin.<br />
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I did learn that it's safer to work with different leather dyes in different areas. Luckily nothing was ruined.<br />
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Once the pieces were dyed to my satisfaction, I "washed" them in water with a tiny bit of dish soap in an attempt to flush any of the excess dye out. Since I'd be wetting them after sewing them together, I didn't want the dark brown dye to stain the green pouchlets.<br />
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One thing I'd do differently in the future: <b>Don't punch the lacing holes in the thin piece that makes the front of the main pouch before assembly!</b> After sewing together and inverting the layers, these holes didn't quite line up with the holes on the outside piece. This resulted in a slight pulling of the leather over the main pouch opening. It's not bad, but I may stitch or glue it down to the back of the pouch in the future.<br />
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<h3>
Assembly Time!</h3>
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First I attached the center of the pouchlets to the front of the main pouch with a narrow trim piece. All of my stitching is done with blunt leather needles through holes that are punched with an awl or lacing chisel. I used waxed linen thread and a saddle stitch. Note how the trim piece extends above the top of the pouchlet piece to the edge of the opening of the main pouch.<br />
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Next I folded the thin reinforcing piece over the bottom of the main pouch opening and stitched it on. I made the bottom row of holes first and stitched them before making the upper row of holes. You can see it covers the raw end of the divider trim between the two pouchlets.<br />
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Next it was time to sew together all the parts of the pouch, inside out. I started stitching in the middle, and slowly worked my way out. There were three layers to line up and stitch through. The back (inside facing out), the pouchlets (facing the outside of the back) and the front of the main pouch (inside facing out, already partially attached to the pouchlets). I probably could have punched the holes for sewing in each piece ahead of time, but I wanted to make sure everything lined up well, so I held all three layers together, punched a few holes, sewed them, then repeated the process.<br />
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Halfway done, the view into the main pouch with everything inside out. The pouchlet piece is wider than the body so the pouchlets can open up and have depth, so you can see folds of leather on the side where it's sewn.<br />
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I stitched up the other side, and the pouch is largely assembled at this point.<br />
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Next stop: the sink!?<br />
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Vegetable tanned leather can be quite stiff. It becomes much more pliable when wet. To make it easier to turn the pouch right side out, I soaked it in water for a few minutes.<br />
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Then, while wet, I turned the main compartment inside out. It almost looks like a pouch now! Waiting for it to dry afterward was tough to do! After it was dry, I applied some leather conditioner, and after that had soaked in I applied the leather finish/sealer.<br />
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If you know me, you know I have a hard time resisting being a bit "extra" in my garb. So based on information from Purses in Pieces I added a decorative & reinforcing spiral stitch around the top edge of the pouchlet leather. I used Buttonhole twist silk from Burnley & Trowbridge.<br />
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You can also see in this image how the lacing holes in the piece that makes up the front of the main pouch are not lined up with the holes on the body piece. If there's a next time I'll be leaving them off until this point.<br />
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Before I could lace the front to the back, I needed to make the center strap. I decided to make a buckle plate and strap end out of brass sheet, so I had to switch from leatherworking to metal working for a little bit.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQUFMxG_U1BSNzLwIj_FpKKT5bNof1uXISzFDGCRmUxXt9RnmIywx7Y0Tkc71ZiCu9AoVh8vgiFfPGpYlI5TqP_F24-dw7HpBLDtoRPU3EEvIDheAnZe73F5QHHwAtifjX3UeilsxKnJ4/s1600/BA7C40C6-A6B3-4A46-88F8-76FE72EE4F8D.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQUFMxG_U1BSNzLwIj_FpKKT5bNof1uXISzFDGCRmUxXt9RnmIywx7Y0Tkc71ZiCu9AoVh8vgiFfPGpYlI5TqP_F24-dw7HpBLDtoRPU3EEvIDheAnZe73F5QHHwAtifjX3UeilsxKnJ4/s640/BA7C40C6-A6B3-4A46-88F8-76FE72EE4F8D.jpeg" width="640" /></a></div>
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This also meant a little practice on scraps first. I mangled the first rivet. By the third, I had the technique good enough to use.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzKOZR90wucLSitabWOvVwknANsOYmxzAD2v098AjBlXwCkXJ3c-0TgjfsOCdpIcvfHFX0LYdAzAjbQoQvPqbC_i8tTDG4KEo4WpqgMjje9C52EZkoa0iKRN3_gqo4xTflCSD5bMx1i5c/s1600/77C3F719-B3E1-4E78-8C4F-CD55CC7CDF1F.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="204" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzKOZR90wucLSitabWOvVwknANsOYmxzAD2v098AjBlXwCkXJ3c-0TgjfsOCdpIcvfHFX0LYdAzAjbQoQvPqbC_i8tTDG4KEo4WpqgMjje9C52EZkoa0iKRN3_gqo4xTflCSD5bMx1i5c/s640/77C3F719-B3E1-4E78-8C4F-CD55CC7CDF1F.jpeg" width="640" /></a></div>
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I cut the straps, dyed and finished them, and attached the strap ends and buckle.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcAtE3jI9K3wjIa6CsCQAAjoxIaHaKW1YR-W2vOTtNWJ1Hz6PI_Px0lzX3iMYIcuxLIfFG2_R4WNy5gTvlBIj1SdcjHmwHKSbA7VmBZ2FHJLoOTMRVIrb6JHzJObEf_oqGmgmMqQJkwpQ/s1600/F810C7DF-1D60-4969-AC86-3676594BE08D.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1317" data-original-width="1284" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcAtE3jI9K3wjIa6CsCQAAjoxIaHaKW1YR-W2vOTtNWJ1Hz6PI_Px0lzX3iMYIcuxLIfFG2_R4WNy5gTvlBIj1SdcjHmwHKSbA7VmBZ2FHJLoOTMRVIrb6JHzJObEf_oqGmgmMqQJkwpQ/s640/F810C7DF-1D60-4969-AC86-3676594BE08D.jpeg" width="622" /></a></div>
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Next, I punched the holes needed for the pouchlet lacing. There are 10 holes in the pouchlet edge, and four holes through the front of the main pouch. Pulling on the metal end of the lacing opens the pouchlet, pulling on the two loose ends closes it.<br />
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Time for practice with the lacing. This is a single piece of leather that is threaded through itself. The cuts are made as the lacing is being done.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxdcIFDaVjSovKAAQEuAO9ASZh7O5rwAwoMk4_ntLMIAoZwuwadpDz2J9EajscYP0oWFZ6ZzZYOsccjOiI7c2gqP6qXlOE7QCcCHqD9qbSYh6o6Hz6SrfAAe3YxY_V52JWP94WeKCPUZg/s1600/D8100792-235D-4996-BFFA-FE5F815A642E.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxdcIFDaVjSovKAAQEuAO9ASZh7O5rwAwoMk4_ntLMIAoZwuwadpDz2J9EajscYP0oWFZ6ZzZYOsccjOiI7c2gqP6qXlOE7QCcCHqD9qbSYh6o6Hz6SrfAAe3YxY_V52JWP94WeKCPUZg/s640/D8100792-235D-4996-BFFA-FE5F815A642E.jpeg" width="640" /></a></div>
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I dyed the lacing green to match the pouchlets before I started for real.<br />
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All laced together! Note that the buckled strap is laced in place. It has two holes punched in it to allow for this.<br />
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The final step was to add the fleur-de-lys fittings to the front flap. These were sourced from peraperis.com and based on some early to mid-15th century art. I drilled three holes for the posts and hammered the caps on the back into place.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjki0qIUHeOPQR2OUulx4AzPd5a0VvOWuPi_7Maa1QEfky_AmkMosEOjJMokxMhrRsA0rjwg1LFWCxo3rUGKgTDvmezQmBATm0abvUyGg121WNIDFwPwwUmgZGUo_Ucrdant1OFib0pyJI/s1600/088643AB-3182-4D5F-85A6-E856FD344624.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjki0qIUHeOPQR2OUulx4AzPd5a0VvOWuPi_7Maa1QEfky_AmkMosEOjJMokxMhrRsA0rjwg1LFWCxo3rUGKgTDvmezQmBATm0abvUyGg121WNIDFwPwwUmgZGUo_Ucrdant1OFib0pyJI/s640/088643AB-3182-4D5F-85A6-E856FD344624.jpeg" width="480" /></a></div>
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Flap open to access the main pouch, pouchlets closed.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS_0CR0vdEMs3g6_0TQ261wBd2sGxJ898j-hEW51e0_xJMsDqS4l3OnEiF9W2exj8bYFMXQLkiNoZU0LWGO1lwzZBSrCHAF0HoqTyg7cRMCoPfLT1zPgjrlBtziXQcStS4B18VY7RJtwU/s1600/D235D19D-092F-486D-80BD-247CE18D3782.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS_0CR0vdEMs3g6_0TQ261wBd2sGxJ898j-hEW51e0_xJMsDqS4l3OnEiF9W2exj8bYFMXQLkiNoZU0LWGO1lwzZBSrCHAF0HoqTyg7cRMCoPfLT1zPgjrlBtziXQcStS4B18VY7RJtwU/s640/D235D19D-092F-486D-80BD-247CE18D3782.jpeg" width="480" /></a></div>
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One pouchlet open.<br />
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<h3>
Conclusion</h3>
<div>
<br /></div>
I'm <b>really</b> happy with how this came out. It's a huge upgrade from my first attempt at a kidney pouch:<br />
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<div style="text-align: center;">
<img alt="No photo description available." height="480" src="https://scontent-ort2-2.xx.fbcdn.net/v/t1.0-9/61763467_10211541940503597_3622540258291220480_o.jpg?_nc_cat=100&_nc_eui2=AeHrijYVf7I2TO4CuClA0-QbeAwl3zZbxfOtDj6YaXoPom-24iDbqwQD2YOKd1jq_DV-5SNvV7w2tTxnJaDv8ivpRb6cR4loCQI9Ee2Z4jJjJQ&_nc_oc=AQl9bHe-L2Hp4hNKO8P6N--KV5jE5PfLay0shEXnlPhuxqPzzGpyLLQzPJ8vxrjB-vk&_nc_ht=scontent-ort2-2.xx&oh=2578f1efaf2dbfc98872ee484cc0df37&oe=5D83F9FD" width="640" /></div>
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<img alt="Image may contain: shoes" height="480" src="https://scontent-ort2-2.xx.fbcdn.net/v/t1.0-9/61900980_10211541941423620_3048405930858250240_o.jpg?_nc_cat=104&_nc_eui2=AeHwBszFTvffHKblLZoFlZ1pKmvil2_kU184GtoR6AiQWFZvav1bhFmmHJYoGIxd-6kU-ppYCeA50EYVQEL8orjRjFZTKxeDfb4MpWGnFl8IAw&_nc_oc=AQkICPUehNjUHQkmU9KB8Ejjabn_Ml_QtfDecmmaZxX_MyQhjjxjtmgcihMNzG8Tjo8&_nc_ht=scontent-ort2-2.xx&oh=8136d9c81aefc39bf4108adec00a4177&oe=5D8ACE23" width="640" /></div>
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The shape and construction are much more typical of period pouches. The quality of my work has improved as well.<br />
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Here it is being worn for the first time at a lovely event in the Shire of Hadchester. The knife and pricker are from Todcutler.com and will be replaced with a ballock dagger set I have commissioned that should be done shortly.<br />
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<h3>
What would I do differently?</h3>
<div>
<br /></div>
There's really not much. Only some very small details.<br />
<ol>
<li>Wait to punch the lacing holes into the front piece for the main pouch.</li>
<li>Make the front flap about 1 cm longer. It just barely covers the top edges of the pouchlets when closed and with objects in the pouchlets. It looks great as is, and it's kind of nice to be able to see some of the silk stitching, but it means the pouchlets are unprotected from thieves! </li>
<li>Improve the appearance of my strapends. They are a little clunky as is.</li>
<li>Maybe simplify a little. As much as I love this pouch and the metal fittings, based on the evidence currently available to me, it's only period to someone from maybe 1430 or later. If I removed the fittings all together, or went with a number of metal studs on the flap, it would be a better choice for a 1415 kit.</li>
</ol>
Alexandre Saint Pierrehttp://www.blogger.com/profile/04762481896322212429noreply@blogger.com2tag:blogger.com,1999:blog-1229444931421417703.post-51959409209256645682019-06-12T20:48:00.000-04:002019-06-12T20:48:25.749-04:00Finding my joy again<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgODqJ5PJ9I3W2xsrcqv6HshL_o7iywlzwx_lhbOlTMIPEISzfmYQjvCjhqUn3GJepWzVqE-pzxua9zUY7013JVfCfNrVUgywS8EFS5oof_Ifn3yHnOH0emVZKKGnRhf68cNMbo35cWdZ0/s1600/27D40279-D709-47BC-9D6F-17F9E4F9609F.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1435" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgODqJ5PJ9I3W2xsrcqv6HshL_o7iywlzwx_lhbOlTMIPEISzfmYQjvCjhqUn3GJepWzVqE-pzxua9zUY7013JVfCfNrVUgywS8EFS5oof_Ifn3yHnOH0emVZKKGnRhf68cNMbo35cWdZ0/s640/27D40279-D709-47BC-9D6F-17F9E4F9609F.jpeg" width="572" /></a></div>
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Those of you who know me and have been reading my blog know that I've been struggling the last couple years with depression and other issues. In general, things are now a lot better thanks to medication, therapy, good communication with my lady, and more. But part of it being better is finding new things that bring me joy to work on.<br />
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In particular, my current SCA/reenactor focus is working toward as authentic a "kit" as possible, and I’m having a blast!<br />
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<a name='more'></a>I've been inspired by the work of Alexander Clarke, Johannes von Braunschweig, and others to put together reenactor/living history grade martial and civilian outfits, appropriate to a mercenary crossbowman from England in the early 1500s. This is a little different than my SCA persona, but not by much.<br />
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To be clear, the SCA only requires "an attempt at pre-17th century clothing" to attend events. I am <b><i>fully</i></b> in support of this, as it allows anyone to easily join the SCA to learn more. I'm trying to set a <b>much</b> higher bar for myself, because I find it to be fun.<br />
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I’m kind of enjoying the fact that it has no purpose inside the SCA other than being a period correct outfit. It doesn’t have to meet any SCA combat rules. It doesn’t help for better scores in archery. I’m not making it for an A & S competition (though I may enter some of it in one or two). It’s period reproduction for the sake of trying it and wearing it and creating a link from myself to the past.<br />
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I've accomplished some of this by buying the right things, some of it by making them myself.<br />
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One of my first projects was making myself a new belt pouch. Gregor von Medehem helped get me going by sharing his pattern pieces and method, and I spent some time reading through my copy of <i>Purses in Pieces</i>. Combine that with a bunch of time (~18 hours all together), and some fittings and a buckle from Pera Peris, and here's the result. Amazingly enough, there are only a couple <b>tiny</b> details I might change or do differently. The end result matched almost exactly with my intent. I will have a separate post about it sometime in the future for those who might want to try it themselves, including the pattern I used, process, tools, etc.<br />
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Then it was time for some new and <b>simpler</b> garb appropriate to the station I'm trying to portray. I love that the SCA allows us all to dress in finery. So in some ways it's a challenge for me to keep things a bit simpler. Since I really enjoy making hoods, I decided to make a "square hood" out of a single layer of wool. No buttons. Hand sewn,using linen thread. Square hoods are great in that they tie off under the arms, so the mantle of the hood doesn't flap or twist around if you are being active.<br />
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I also sewed a Bockstan Man style tunic in brown wool by hand. It's worn under the maille (eBay special) in the picture below.<br />
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That work, plus some of my existing garb and accessories (shirt, braies, chausses, shoes, thin belt, quiver, crossbow) and the addition of a kettle helm and wide belt from Lorifactor resulted in the full outfit above that I wore for the first time last weekend.<br />
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What I'm finding now is that my want-to-do list keeps growing, but in a way that seems like I can make progress, and gives me the energy to move forward.<br />
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Short term:<br />
<ul>
<li>I have pieces for a period-shaped crossbow bolt quiver cut out and basically ready to assemble.</li>
<li>I've got a ballock dagger being made to wear behind my snazzy new pouch.</li>
<li>I have a crossbow spanning hook to suspend from my belt (thanks Tim!) that I need to finish strapping up.</li>
<li>I'm working on obtaining an arming cotte to wear under the armor.</li>
<li>I've got plans for additional pairs of chausses, more tunics/cottes, etc.</li>
</ul>
<div>
Medium term:</div>
<ul>
<li>I'm thinking of making some more-period looking crossbow bolts for shooting with, and some fully period looking bolts mostly for display.</li>
<li>I'm thinking about designs for sleeveless martial surcottes to wear over the maille. Some with SCA arms on them, some with period appropriate arms/designs.</li>
</ul>
<div>
Long term:</div>
<ul>
<li>I want to make a pavise (large crossbowman's shield).</li>
<li>I'm considering getting arm and leg armor to be able to dress as a very well-off crossbowman, or one part of an organized crossbow mercenary group.</li>
<li>Making or obtaining a period-correct crossbow in design and function (but lower poundage so it can be used for target shooting).</li>
<li>Obtaining a pole axe appropriate for the period.</li>
</ul>
<div>
The end result is that I'm having fun working on some stuff for me, because it's what I want to work on. And as a bonus, I've had comments that my own quest for personal improvement in my appearance is inspiring others. And if that isn't what the SCA is supposed to be all about, I don't know what is.</div>
<div>
<br /></div>
<div>
-Alexandre</div>
Alexandre Saint Pierrehttp://www.blogger.com/profile/04762481896322212429noreply@blogger.com2tag:blogger.com,1999:blog-1229444931421417703.post-1904555954940878302019-05-30T13:30:00.003-04:002019-05-30T15:12:24.626-04:00SCA garb and the "10 foot rule"Greetings readers from your long absent author!<br />
<br />
I have a teeny tiny favor to ask you all, especially when speaking/writing anywhere someone new to the SCA is in the audience:<br />
<b></b><br />
<b></b>
<br />
<h2>
<b>Please stop using the phrase "the 10 foot rule" when talking about general SCA garb/clothing requirements</b>.</h2>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirIcJD4UAcophkOVqaG_FieJDioKflFLigcez1A-bcvb6b_LnrtpUcqvjfFMmT3IQP-DeWShEKiOKj-fC-vkkrrD1mvqiZ0NKw1k8c_3HOD6lt1g9wxeKeLcUeiXhrp2UxQKOb4CiTOi0/s1600/measurement-1476913_1920.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1066" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirIcJD4UAcophkOVqaG_FieJDioKflFLigcez1A-bcvb6b_LnrtpUcqvjfFMmT3IQP-DeWShEKiOKj-fC-vkkrrD1mvqiZ0NKw1k8c_3HOD6lt1g9wxeKeLcUeiXhrp2UxQKOb4CiTOi0/s320/measurement-1476913_1920.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">NO!</td></tr>
</tbody></table>
<a name='more'></a><br />
<br />
Why? Well, there are two main reasons:<br />
<br />
<ol>
<li>The <a href="https://sca.org/docs/pdf/govdocs.pdf" target="_blank">SCA Governing Docs</a> section II.B. layout our actual rule: "<i>Anyone may attend Society events provided he or she wears an attempt at pre-17th century clothing</i>".</li>
<li>When new people hear the phrase "the 10 foot rule", they often believe it's an actual <u style="font-weight: bold;">rule</u>. I've heard from a few people who were nervous they'd get in trouble for not meeting this particular rule.</li>
</ol>
<div>
<br /></div>
<div>
In addition, I worry that some established members actually believe it's a rule, and are using that misconception as a reason to call people out for not meeting it! </div>
<div>
<br /></div>
<div>
To be clear, there are some SCA Kingdoms (Atlantia for one) that <b>do</b> have a "10 foot rule" for participating in certain <i style="font-weight: bold;">martial activities</i>. But it's not a general requirement for attending an event.</div>
<div>
<br /></div>
<div>
Looking period correct from 10 feet away is an <i>excellent</i> personal goal to have. I wholeheartedly & enthusiastically encourage it. But if we can, let's call that usage the "<i style="font-weight: bold;">10 foot goal</i>" so it's clear to all that it's an <i>optional</i> goal to strive for.</div>
<div>
<br /></div>
<div>
So to reiterate, if you want to come to an SCA event, all that's required is "an attempt at pre-17th century clothing." Not "a good attempt". Not "an accurate attempt". Just "an attempt". You are certainly encouraged to go above and beyond, but it's not required.<br />
<br />
-Alexandre<br />
<br />
P.S. The content of my blog is going to be expanding to general SCA related content, personal projects, opinion pieces, and more. I do plan to get some more calligraphy content up as well, but I'm giving myself some slack and focusing on a few things that are inspiring me at the moment.</div>
Alexandre Saint Pierrehttp://www.blogger.com/profile/04762481896322212429noreply@blogger.com4tag:blogger.com,1999:blog-1229444931421417703.post-63704462336672983342019-04-01T12:18:00.000-04:002019-04-01T12:18:01.586-04:00Achievements & Depression<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmD0eh6j6_2XZgBG8SFR6ZIcLW4v4g_zWGv232fCQzqnGu3jQbH5fviNMrZNoqvPvlgT0hNdb1suAwHC8FCKz0qGBFQEAy7n5UmHXO3OpYJ8y084z7JZsbHERfcpTvOZ-E4rHd2NREa7k/s1600/Regalia.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmD0eh6j6_2XZgBG8SFR6ZIcLW4v4g_zWGv232fCQzqnGu3jQbH5fviNMrZNoqvPvlgT0hNdb1suAwHC8FCKz0qGBFQEAy7n5UmHXO3OpYJ8y084z7JZsbHERfcpTvOZ-E4rHd2NREa7k/s400/Regalia.JPG" width="395" /></a></div>
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<br />
Two years ago today, I was recognized as a Peer in the SCA, and elevated to the Order of the Laurel. It was a goal I had been working toward for around 10 years. The vigil and elevation were amazing experiences. The scroll, gifts, and regalia that were crafted by my friends & my lady are dear treasures that have <i>hundreds </i>of hours of labor and love poured into them. I'm still overwhelmed by the generosity that exists within the SCA, and proud to be a part of it.<br />
<br />
Despite achieving this recognition, I wasn't truly happy. I of course had happy moments. But overall, the last couple of years have been a struggle. I hit the bottom of a pretty deep depression about a year ago. With the help of therapy, medication, and a very understanding wife, I've slowly been creeping my way out of that hole.<br />
<br />
<br />
<a name='more'></a><br /><br />
Somewhere in my brain, the formula "accomplishments = happiness" exists, or at least <b>existed</b>. I don't know if it was actually being recognized as a Laurel that broke that equation, or more likely, such a large accomplishment without a lasting commensurate level of happiness showed me how that equation was already broken.<br /><br />I do still get some happiness from completing projects, but it has become fleeting. Which has totally destroyed my motivation. When I do get off my butt to try to get something done, any mistakes or flaws or challenges during the process really make me question myself and why I'm bothering spending my limited energy on this project. This doesn't just apply to SCA projects, but also to getting even routine things done at home, and sometimes even work!<br />
<br />
Add in all the other aspects of modern life - our current political climate, stress at work, all of the tasks one needs to accomplish as an adult in society, being out of shape and sore, etc. - and I understand <i>why</i> my motivation is lacking. What I don't yet know is how to get it back.<br />
<br />
I have a suspicion that new motivation might come from the feeling of helping others, but I'm not sure. The thought came from a couple recent situations, and it's one I'll surely explore further in my therapy sessions.<br />
<br />
I'm not sure exactly what my goals are in sharing this. I know I want other successful people in the SCA who struggle with depression to know that they are not alone. I know I want other people with depression and other mental health issues that I'm an ally and they are safe sharing their own struggles with me. I'd love to hear about others working through similar struggles, and what has worked for them.<br />
<br />
Thanks for reading. -AlexandreAlexandre Saint Pierrehttp://www.blogger.com/profile/04762481896322212429noreply@blogger.com11tag:blogger.com,1999:blog-1229444931421417703.post-49354240431751027242017-04-05T11:52:00.001-04:002017-04-05T11:52:28.439-04:00A Year of ChangesFirst things first: I want to apologize for not posting anything in the last ~year or so. There's still a ton I want to get to, but I haven't gotten to it.<br /><br />I have all sorts of valid excuses of course... In February of 2016 my lady and I started looking for a new home together, and started getting ready to put our old home on the market. In June we closed on a new home, and we moved in in the beginning of July. From July through September we worked on the old house, put it on the market, and sold it. Since July, we've been unpacking, making some improvements to the new home, doing more unpacking, etc.<br /><br />With the arrival of spring looming, it felt like we were <i>almost </i>done with the improvements and unpacking, and would be just about ready to get working in our new Scriptorium!<br /><br />Unbeknownst to me, their Majesties, Highnesses, my lady, and my friends were all conspiring on a large surprise for me...<br />
<a name='more'></a><br />On April 1st, at the event where my scribal apprentice-sister was being crowned Queen, I was sent on vigil and elevated to a Companion of the Order of the Laurel.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIAUakrtBVAPhuijK-bAh_8z5VFO5SW_mAYsvHPArBWuEA2pkHQgBbbXcagZNApvZtAQSwUXQBLZPOKTpxdjBTBfGCXpHf6ub967dLxklvtizXEves4qFuohet6Xq_jofzhYnNqrqyT_E/s1600/IMG_1790.JPG" imageanchor="1"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIAUakrtBVAPhuijK-bAh_8z5VFO5SW_mAYsvHPArBWuEA2pkHQgBbbXcagZNApvZtAQSwUXQBLZPOKTpxdjBTBfGCXpHf6ub967dLxklvtizXEves4qFuohet6Xq_jofzhYnNqrqyT_E/s640/IMG_1790.JPG" width="640" /></a></div>
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<br />
Words were written by Mistress Anastasia Guta based on <span><span><span data-ft="{"tn":"K"}"><span class="UFICommentBody"><span> the <a href="http://www.british-history.ac.uk/london-record-soc/vol4" target="_blank">Common Papers of the Worshipful Company of Scrivners of the City of London.</a></span></span></span></span></span><br />
<span><span><span data-ft="{"tn":"K"}"><span class="UFICommentBody"><span>Calligraphy by Duchess Thyra, using a new formulation of ink by Ian the Green that works a bit better on Pergamenata. Funny story, he sent me a bottle to test. Said bottle was then whisked away to Thyra to use...<br />Illumination by my lady Adrienne using some of the pigments she made, and my scribal sister Mistress Camille. Camille posted a <a href="https://photos.google.com/share/AF1QipND6cwxi4RjlfP-ytrGOeS-s5d_KmJPIR5EQI60skv896iU30mTCo7Li7JxB_IolA?key=QUlFdGo3ODEzN2pVMUZOcnhGUFZtd29iMkhqVHZ3" target="_blank">gallery of process photos</a>.</span><a class="" dir="ltr" href="https://l.facebook.com/l.php?u=http%3A%2F%2Fwww.british-history.ac.uk%2Flondon-record-soc%2Fvol4&h=ATPAfjY5RzO5WOWmBFjK9p0rdWvTjXuCBg8YQfQ1VvZvgGiV_Wev7l0d_n8IBAmSLhBGpSqgIA8FeXCyGwbOdB9GSilmdtO2_icW_bMHWivVd1wfzdgBUgANKPNcUozF1qs" rel="nofollow" target="_blank"></a></span></span></span></span><br />
<br />
If you aren't familiar with Peerages in the SCA, I wrote quite a bit about what it means to become a Peer in my post about the making of <a href="http://www.thepensivepen.com/2014/04/christian-woolfe-pelican.html">Master Christian Woolfe's Pelican Scroll</a>.<br /><br />The question for me now, and that you might be curious about is "what does this change?"<br /><br />Honestly, it shouldn't change anything. I share tips and tricks and images of what I work on in hopes that they help or inspire others. Whether or not my tips are helpful or good doesn't change because of how I've been recognized. Some people might give my opinion more weight, but I hope most don't. My methods work for me, and I hope they might help others as well. But they aren't the only way of doing things. If they don't work for you, please ignore them.<br /><br />On the other hand, being a Companion of the Order of the Laurel means I'm now automatically considered to be a role model, someone whose advice is worth listening to. That does put some pressure on me to perhaps be a bit more careful in how I put things. There's also an expectation that I will continue to share my knowledge and help people improve their art. So to that end, I do plan to get back to working on my "lesson" type articles in the hopes that they are useful to others.<br /><br />For now, thanks again for being patient and for honoring me this way. More calligraphy focused stuff is coming soon.Alexandre Saint Pierrehttp://www.blogger.com/profile/04762481896322212429noreply@blogger.com0tag:blogger.com,1999:blog-1229444931421417703.post-47281805568259842182016-05-31T20:34:00.000-04:002016-05-31T20:34:39.441-04:00Apprenticeship Indenture for Adrienne d'Evreus to Isabel Chamberlain<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBygQuu7OTpHflouVm3yqE_a5Q1YlIk3o2f35ukZukxthbdPzgD55VhCv20p91Nf7evigXJdQyGIh_cqjJHKKLZmfrpdw7gyQYBPK4YqL32TF-lsPadoxSYSOk9ExZatj3V4dVpcU17RI/s1600/Indenture+-+Cyrographum.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="436" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBygQuu7OTpHflouVm3yqE_a5Q1YlIk3o2f35ukZukxthbdPzgD55VhCv20p91Nf7evigXJdQyGIh_cqjJHKKLZmfrpdw7gyQYBPK4YqL32TF-lsPadoxSYSOk9ExZatj3V4dVpcU17RI/s640/Indenture+-+Cyrographum.jpg" width="640" /></a></div>
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<table border="0" class="centered-table" style="height: 196px; width: 544px;"><tbody>
<tr><td><b>Project:</b></td><td>Apprenticeship Indenture for Adrienne & Isabel</td></tr>
<tr><td><b>Words:</b></td><td>Mistress Alys Mackyntoich & Mistress Isabel Chamberlain</td></tr>
<tr><td><b>Calligraphy:</b></td><td>Lord Alexandre Saint Pierre</td></tr>
<tr><td><b>Paper:</b></td><td>9" x 12" Parchment by <a href="https://www.etsy.com/shop/asofa" target="_blank">David de Rosier-Blanc</a></td></tr>
<tr><td style="vertical-align: top;"><b>Script:</b></td><td>My own Secretary Hand</td></tr>
<tr><td style="vertical-align: top;"><b>Pens:</b></td><td>Mitchell #6 and #4</td></tr>
<tr><td style="vertical-align: top;"><b>Inks:</b></td><td><a href="https://www.etsy.com/shop/GreenManCalligSupply" target="_blank">Ian the Green's Iron Gall Ink</a></td></tr>
<tr><td style="vertical-align: top;"><b>Inspiration:</b></td><td>Multiple, see below</td></tr>
</tbody></table>
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<br />
Bureaucracy, red-tape and forms filled out in triplicate: not things most people think of when they think of beautiful documents. But in reality, almost as soon as humans invented writing, we started using it to record legal agreements between people. Medieval contracts are just as verbose as our modern day legalese. But in those days before carbon paper and ball point pens, they had a much more artistic way of handling the need for each party to a contract walking away with a copy: the Indentured Chirograph.<br />
<br />
<a name='more'></a><br />
Before I get into discussing the making of this document and sharing pretty pictures, I'm going to start with some lessons on the history of this type of document and apprenticeship within SCA culture.<br />
<br />
<h3>
<span style="font-size: large;"><b>What is a Chirograph or Indenture?</b></span></h3>
<br />
The Medieval Writing website gives an excellent overview of the <a href="http://medievalwriting.50megs.com/word/chirograph.htm" target="_blank">history of the Chirograph</a>, and Wikipedia has a pretty good <a href="https://en.wikipedia.org/wiki/Chirograph" target="_blank">summary</a>:<br />
<br />
<blockquote class="tr_bq">
A <b>chirograph</b> is a medieval document, which has been written in <a class="extiw" href="https://en.wiktionary.org/wiki/duplicate" title="wikt:duplicate">duplicate</a>, <a class="extiw" href="https://en.wiktionary.org/wiki/triplicate" title="wikt:triplicate">triplicate</a> or very occasionally <a class="new" href="https://en.wikipedia.org/w/index.php?title=Quadruplicate&action=edit&redlink=1" title="Quadruplicate (page does not exist)">quadruplicate</a> on a single piece of parchment, where the Latin word "chirographum" (or equivalent) has been written across the middle, and then cut through. By this means both parties to an agreement could possess a copy of its written record, and each copy could be verified as genuine through introduction to, and comparison with, the other. The cut itself would often be made to produce a wavy or serrated edge, to reduce the possibility of forgery. This practice gave rise to the document description "<a href="https://en.wikipedia.org/wiki/Indenture" title="Indenture">indenture</a>", since these edges would be said to be "indented".<sup class="reference" id="cite_ref-1"><a href="https://en.wikipedia.org/wiki/Chirograph#cite_note-1">[1]</a></sup> The earliest surviving portion of a chirograph in England dates from the middle of the ninth century.<sup class="reference" id="cite_ref-2"><a href="https://en.wikipedia.org/wiki/Chirograph#cite_note-2">[2]</a></sup></blockquote>
<br />
In period, a master taking on an apprentice was a business arrangement. The apprentice learned a valuable trade skill, while the master got an indentured servant to help them with their work. The apprentice or their family often paid for this privilege as well. Contracts were fairly common detailing exactly what was expected and required of both parties.<br />
<br />
In the SCA, apprenticeship is used to describe a "formal" relationship between a student and their Laurel. Crispin Sexi has put together a <a href="http://aelflaed.homemail.com.au/doco/indenture.html" target="_blank">wonderful page</a> that talks about the SCA culture of apprenticeships and has some examples of the language used in real period apprenticeship contracts. One thing to note is that some apprenticeships are very informal, while others are fairly well negotiated and documented.<br />
<br />
<h3>
<b>Adrienne and Isabel's Indenture</b></h3>
<br />
Toward the end of 2015, Isabel and Adrienne came to the mutual agreement that Adrienne would enter into a formal apprenticeship at the Market Day at Birka event held in January. Isabel asked if I would be willing to write up the contract for them. I of course said yes, wanting to make something special for my lady.<br />
<br />
Isabel and I immediately decided on using a period indenture format with the design specifics left mostly up to me, she worked with Mistress Alys Mackyntoich for the wording. After she and Adrienne adjusted the final wording, it reads:<br />
<br />
<blockquote class="tr_bq">
To fulfill the obligations and wishes of her late father, the arborist and artist, known as Scott Charles the son of Connor, all should know that this indenture bears witness that Andrienne d’Evreus has become apprentice to Isabel Chamberlaine, scribe of this Eastern Kingdom, to learn her art and serve her after the manner of an apprentice on this feast of Saint Adelgundis for a term of years to be determined, during which term the said Adrienne will serve the said Isabel in all things lawful and honest, well and faithfully, courteously and diligently, shall keep the said Isabel’s secrets, and shall obey her lawful and honest commandments; she shall not do damage to her said mistress within the said term; she shall not waste inordinately the goods of her said mistress nor lend them to anyone without her order or consent. The said Adrienne will not knowingly keep any secret that may be to the loss or prejudice of her said mistress, but shall well and faithfully, honestly and obediently bear and hold herself both in words and deeds towards her said mistress and all hers as a good and faithful apprentice ought to bear and hold herself during the said term. And the said Isabel will instruct the said Adrienne in her art which she uses by the best and most excellent means that she knows, and shall diligently teach and instruct the said Adrienne, or cause her to be instructed by others in all matters fit and appropriate. In witness whereof the aforesaid parties and the witnesses below-written pledge to these indentures interchangeably and have put their signatures.</blockquote>
<br />
While the wording was being written, I researched example documents to use as a basis for mine. One common feature of these contracts was that the word Chirograph or Cyrographum was penned in large, decorative letters in the border between copies of the text. After the contract was signed & sealed, this word was cut through in a random toothed pattern. This made it more difficult to forge a replacement contract-half with new words, as matching the uneven cut <b>and</b> fancy lettering would be extremely difficult.<br />
<br />
There are quite a number available online for inspiration, some that I looked at include:<br />
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<tr><td style="text-align: center;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfx5A0AmXuM3Cdf8nRyKjQfxIbZJVrNZHXufUWshhen_8915CS8DLWDdBqVNk9PRWWGntcaqSsWVNXvzQZLG1UMjujFetYAOTjfSWF28nJZ5VmlH3KKm3v4qpL7EW1BKQlCBEZmceuqkk/s640/Indenture+-+Carta_de_la_Clerec%25C3%25ADa_de_Ledesma._1252.jpg" style="margin-left: auto; margin-right: auto;" width="492" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Charter of the Clerecía de Ledesma, 1252<br />
From the Wikipedia page: <a href="https://en.wikipedia.org/wiki/Indenture" target="_blank">Indenture</a></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwECRFR54YaKAYDLLTs9d5SA5TJrJ2HMBPffYEkgWqEYyJ_lw8VYbdZ0CpVobVvkOGnQH7UHodcu5mjiT2mI6g-d5CjRTDdzrvAsm2T8yEmQJDcirGGEfSfCi937eLUG7C-pec2fCw_MQ/s1600/Indenture+-+bondJP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="326" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwECRFR54YaKAYDLLTs9d5SA5TJrJ2HMBPffYEkgWqEYyJ_lw8VYbdZ0CpVobVvkOGnQH7UHodcu5mjiT2mI6g-d5CjRTDdzrvAsm2T8yEmQJDcirGGEfSfCi937eLUG7C-pec2fCw_MQ/s640/Indenture+-+bondJP.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bond of John de Pappeworth, 1353<br />
From the <a href="http://www.medieval.yas.org.uk/content/manuscripts.html" target="_blank">archives of the Yorkshire Archaeological & Historical Society</a> </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGjvkuO_PJtSLcznqXz1C1CQ9cyU2t4_th9_UUZym5jhjKMLopdJkf8tl31-xWJIJ4MLyMfB9HdJ1Tb2iVfhPT_ma6_LUS4gaNGSRa8qICFA68zuUK-FC4rNQXGgM6lh4uI5rShqqeqU4/s1600/Indenture+-+John+Holme+-+1432.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="576" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGjvkuO_PJtSLcznqXz1C1CQ9cyU2t4_th9_UUZym5jhjKMLopdJkf8tl31-xWJIJ4MLyMfB9HdJ1Tb2iVfhPT_ma6_LUS4gaNGSRa8qICFA68zuUK-FC4rNQXGgM6lh4uI5rShqqeqU4/s640/Indenture+-+John+Holme+-+1432.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="SOBER">
Indenture of John Holme of Holme and Elizabeth, his wife, 1432</div>
<div class="SOBER">
From <a href="http://www.medievalgenealogy.org.uk/families/holme.shtml">http://www.medievalgenealogy.org.uk/families/holme.shtml</a> </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivLkb09UTJdwCWDPGWTdyIRKvdMpC9RRb5HuQ6763o6ufzpg-h6G9zajUE88uZH5_64FUzcLtgDemJzufZsLL9KiWNVpTl87UFLsO6tEf7658qkPLsIvugGHcnV9HO-trXhJ9aU6JH-IE/s1600/Indenture+-+kirograf_full_bredde.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivLkb09UTJdwCWDPGWTdyIRKvdMpC9RRb5HuQ6763o6ufzpg-h6G9zajUE88uZH5_64FUzcLtgDemJzufZsLL9KiWNVpTl87UFLsO6tEf7658qkPLsIvugGHcnV9HO-trXhJ9aU6JH-IE/s640/Indenture+-+kirograf_full_bredde.jpg" width="546" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Exchange of landed property between bishop Håkon and the chapter in Stavanger, 1319<br />
From the <a href="http://www.arkivverket.no/eng/Using-the-Archives/Online-Exhibitions/Retirement-pension-in-the-middle-ages/Literature-and-printed-sources" target="_blank">National Archives of Norway</a></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<br />
With words and inspiration in hand, it was time to start practicing. I knew I was going to use a piece of 9x12 parchment. With two copies of the text, I had a lot to fit in a fairly small space. I planned smaller borders than is usual for SCA scrolls: half an inch on the sides, and three-quarters of an inch on the bottom. The bottom space needed to be large enough for signatures, and to cut a strip for Isabel's wax seal to attach to.<br />
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I determined the size by practicing 2-3 lines of text with different line spacing and nib sizes. For each test, I adjusted the text in my word processor so the line-breaks matched my practice. Then I counted how many lines of text I would have, and calculated how much vertical space that would take from that AMES guide setting. I ended up using the 1:1 scale on the AMES guide at a setting of #5, with a Mitchell #6 nib. <br />
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With the size determined, I prepared and lined my parchment. For this piece, the hair side had such wonderful coloring I chose to use it instead of the whiter and smoother flesh side. I should have sanded and prepared the parchment a little bit more, as getting the ink to flow consistently was difficult as the surface was a bit too textured.<br />
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In order to ensure that the spacing of the word CYROGRAPHUM was nice and even, I measured the spacing and penciled the letter outlines in before starting.<br />
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Several hours of work later, the text was finished.<br />
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After the ink dried, I erased the pencil lines.<br />
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A few weeks later at Birka, Isabel added her seal to the bottom of each half the document. Then they held a ceremony where witnesses signed both halves of the document, it was read aloud, and then Isabel proceeded to cut all my hard work in half!<br />
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Adrienne's half is now safe at home. <br />
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If you'd like to see more of the ceremony or read more about apprenticeship, both <a href="http://scientistsscroll.blogspot.com/2016/03/adrienne-devreus-apprenticeship.html" target="_blank">Adrienne</a> and <a href="http://medieval-whimsies.blogspot.com/2016/02/a-reassessment-taking-of-dependants.html" target="_blank">Isabel</a> wrote blog posts about it.</div>
Alexandre Saint Pierrehttp://www.blogger.com/profile/04762481896322212429noreply@blogger.com0tag:blogger.com,1999:blog-1229444931421417703.post-74351267796793071702016-04-17T15:20:00.003-04:002016-04-18T10:34:24.347-04:00Tracing is Period & Good!Pardon folks, but I'm a little fired up over something, and need to rant about it.<br />
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I often see new scribes who have been told or feel they must create original art, or that tracing from period sources is frowned upon or not allowed. <i>Excuse me?</i> There are so many things wrong with this idea that I'm having a hard time figuring out where to start... Oh... I know! Let's start with the fact that:<br />
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<h3>
<b><i>Tracing is a period technique!</i></b></h3>
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Cennino Cennini provides methods for tracing and talks about why it is desired in his 15th century treatise, Il Libro dell'Arte.<br />
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<blockquote class="tr_bq">
"Chapter 27 - How you should contrive to copy and draw after as few masters as possible. </blockquote>
<blockquote class="tr_bq">
... strive and delight always to copy the best things that you can find, made by the hand of great masters. And if you are in a place where there have been many good masters, so much the better for you. But I give you this advice: be careful always to pick out the best and the one that has the best reputation. And if, day in and day out, you follow one like that it will be odd if nothing of his style and manner rubs off on you."</blockquote>
<blockquote class="tr_bq">
-Broecke, Lara. (2015) <i>Cennino Cennini's Il Libro dell'Arte: A new English translation and commentary with Italian transcription. </i>London England: Archetype Publications. p. 47</blockquote>
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As he points out, copying a particular style is a great way to learn it. This is particularly true for those of us copying medieval document styles, as we spend our days immersed in a modern aesthetic. Our sense of how elements on a page should look is based on our world of websites, laser printed documents, magazines, and printed books. The layout and shape of the elements on a medieval page is different from what we are used to. Copying directly from a period source is a fast track to getting the design correct, and it will teach you correct proportions as you go.<br />
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Cennini does continue on with some warnings:<br />
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<blockquote class="tr_bq">
"However, if you decide to copy this master today and that tomorrow you will get the style of neither the one nor the other, and you will not be able to avoid getting into a muddle because you have every style tugging at your sympathies: no you want to do it in the style of this artist, tomorrow in the style of some other, and as a result you will not get any of them properly. If you follow the path of one, by continuous practice your mind would be completely flabby not to get some fodder from it. You will then find, if nature has endowed you with a modicum of imagination, that you will end up taking on a style all of your own and it cannot but be good because, if your mind is used to picking only flowers, your hand would not know how to grasp a thorn." (Broeke, 2015, p. 47)</blockquote>
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To me, this only reinforces why tracing is a valuable technique. As SCAdian scribes we often pick a new exemplar for each scroll, often with very differing styles. By tracing elements from our exemplars, we are making sure we do them justice.<br />
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<h3>
<b><i>Not Everyone is a Master Artist... </i></b></h3>
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This was just as true hundreds of years ago as it is today. Not every artist has the skill to mimic a particular style by eye. I'm the first to admit that I'm not very good at it. This is why I trace a lot of the elements in my own Illumination. Being able to reproduce something by eye is an advanced skill. It can take years of practice. We should all recognize this and understand that tracing can help those without this skill achieve better results, which benefits us all.<br />
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<h3>
<b><i>This is a Hobby!</i></b></h3>
<b><br /></b>Finally, <b>this is a hobby we do for fun and to provide a service!</b> We spend hours creating works of art that we <i>give away</i> to recognize others for their hard work and accomplishments! Ask yourself this: is it preferred that these scrolls look better and are more period correct when done, despite using a "trick" like tracing? Or is it preferred that they look worse while we force a scribe to struggle with a technique they need a lot of practice with? If you were presented with two scrolls, and one looked like it came right out of a medieval book, and the other looked like the scribe struggled with it, which would you prefer to hang on your wall? (Yes, there are always exceptions, but in general?)<br />
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Even in period, production scribes (those whose job it was to churn out page after page as they copied books for students, monastic libraries, etc.) traced designs that were provided to them by their masters.<br />
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<blockquote class="tr_bq">
"Not enough is known about how this copying was done, and nothing about why it was done. One would have imagined that a competent miniaturist would have been capable of designing freehand. Yet there is good evidence that compositions of miniatures could be literally traced from one copy to another using transparent <i>carta lustra</i> or <i>carta lucida</i>, or could be duplicated by 'pouncing' in which outlines of the original were pricked with rows of holes and placed over the new page and dabbed with bags of colour, such as charcoal dust, to produce a dotted outline. This would provide a sketchy outline, like the metalpoint drawings described above, ready to be strengthened in ink in preparation for colouring." </blockquote>
<blockquote class="tr_bq">
de Hamel, Christopher. <i>Medieval Craftsmen: Scribes and Illuminators.</i> (1992) Toronto, Buffalo: University of Toronto Press. pp 51, 57.</blockquote>
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I maintain that the creation of award scrolls is quite similar in nature to working in an illuminators' shop, and highly advocate using tracing as a technique to improve the quality and speed of production.<br />
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<h3>
<b><i>On the other hand</i>... </b></h3>
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I'm going to contradict myself and agree that there are times tracing might not be the right approach.<br />
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<b><i>The SCA is about learning</i>.</b> Those who spend years as a scribe will find their skill improves over time. Once they have learned a medieval aesthetic through tracing, they may reach a point where they can create original artwork by eye that could be mistaken for period. It's a laudable goal for any SCA artist to strive to master a medieval skill to the point of being able to forego "shortcuts". Even then, be mindful of when a medieval artist would have used some tool, technique or trick to make their job easier, and don't be afraid to do the same.<br />
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<b><i>Some of our art is made to prove our skill and push ourselves.</i></b> Not all of our scribal art is made as a service. Some of it is made to enter in competitions, some of it is made to test a new technique or material, some might even be to test a hypothesis about how something was really done in period. Taking off the "training wheels" in these situations makes sense. Pushing ourselves as artists is natural and good.<br />
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<h3>
<i><b>To Conclude...</b></i></h3>
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If you are a new scribe, be aware of your own limitations. I recommend using whatever techniques, modern tools and shortcuts you need to allow you to make medieval-looking art. Do learn how it would have been done in period. Do push yourself to improve. Don't be afraid to break out the light box and a printout so you can copy from a period piece. If anyone tells you you shouldn't trace when making your scribal art, feel free to tell them Alexandre said it was okay. I'm willing to take the heat for you.<br />
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If you are an experienced scribe who has been on the "no tracing" bandwagon, I am curious as to your reasons why? I have a very hard time understanding how a period technique like this that can help new scribes get going faster and make better art is frowned upon. We should be supporting and encouraging new scribes. Making it harder for them to make good looking art is not going to help.Alexandre Saint Pierrehttp://www.blogger.com/profile/04762481896322212429noreply@blogger.com0tag:blogger.com,1999:blog-1229444931421417703.post-70661572249331581422016-01-31T20:11:00.000-05:002016-09-26T15:55:55.405-04:00Anna Ophelia Holloway Tarragon - Tyger of the East - a.s. l<div class="separator" style="clear: both; text-align: center;">
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<tr><td><b>Project:</b></td><td>Tyger of the East for Duchess Anna Ophelia Holloway Tarragon</td></tr>
<tr><td><b>Words:</b></td><td>Lady Adrienne d'Evreus</td></tr>
<tr><td><b>Translation:</b></td><td>Master Steffan ap Kennydd</td></tr>
<tr><td><b>Calligraphy:</b></td><td>Lord Alexandre Saint Pierre</td></tr>
<tr><td><b>Illumination:</b></td><td>Lord Alexandre Saint Pierre</td></tr>
<tr><td><b>Paper:</b></td><td>9" x 12" Parchment by <a href="https://www.etsy.com/shop/asofa" target="_blank">David de Rosier-Blanc</a></td></tr>
<tr><td style="vertical-align: top;"><b>Script:</b></td><td>Gothic Quadrata main text, Gothic Secretary Interlinear gloss.</td></tr>
<tr><td style="vertical-align: top;"><b>Pens:</b></td><td>~1mm Goose Quill for primary text, pointed metal nib for gloss & outlines.</td></tr>
<tr><td style="vertical-align: top;"><b>Inks:</b></td><td>Ian the Green's Iron Gall and Brazilwood inks.</td></tr>
<tr><td style="vertical-align: top;"><b>Inspiration:</b></td><td><a href="http://ds.lib.berkeley.edu/MSTyp0193_2" target="_blank">folio 144v of MS Typ 0193 at the Houghton Library.</a></td></tr>
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Signet: "Hey Alexandre, would you be able to accept an assignment for a Tyger of the East scroll?"<br />
Me: "Sure! Any input for words or style?"<br />
Conspirator: "Something appropriate to her persona."<br />
Me: ...<br />
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The Tyger of the East is an award "given by the Crown to the individual who most embodies and personifies the ideals of the East Kingdom." It can only be given once per reign. To say it's a big deal would be a massive understatement. So, no pressure...<br />
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Without much to go one, I started browsing digital scriptoria for examples of late 13th/early 14th century examples that spoke to me. I finally found and settled on this page to use as an inspiration:<br />
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Leaving the last line blank for signatures meant I had a limit of about 45 words. How does one impart the gravitas of such an accolade? Latin!<br />
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Sadly, I am not fluent in medieval latin, so I reached out to Master Steffan to ask for his assistance. He replied that he would happily translate if I provided English words.<br />
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I turned to my lady and asked for her assistance. She came up with the original English wording:<br />
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<blockquote class="tr_bq">
An Eastern Tiger in Truth<br />
<br />
All hear tell of Anna Ophelia<br />
Halloway Tarragon.<br />
Mother, duchess, equestrian.<br />
She is a shining beacon,<br />
a paragon of virtue,<br />
an example for us all<br />
in either peace or war.<br />
Thus we, Brennan & Coailfhionn<br />
swiftly name her a Tyger of the East<br />
on this xxx of January, a.s. l.</blockquote>
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Steffan quickly returned a latin translation.<br />
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<blockquote class="tr_bq">
Omnes cognoscant Annam Opheliam Holloviam Tarragon.<br />
Matrem, ducissam, caballariam.<br />
Haec est ignis nitidus, specimen virtutis<br />
Exemplar pro nobis omnibus<br />
Et in pace et in bello<br />
Itaque Nos Brennan et Caolfhionn<br />
Eam dicimus velociter<br />
Tigrem Orientis<br />
Hoc die XXX [tricesimo] Januaris anno Societatis L [quinquagesimo].</blockquote>
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My challenge was to fit the text a fully and cleanly as possible into the available space. My goal was to achieve the same fullness of page of the original. That meant I could use period Latin abbreviations to help fit everything!<br />
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I used <a href="http://foundinantiquity.com/2014/07/22/how-to-read-an-ancient-manuscript-11th-century-vergils-aeneid-part-2/" target="_blank">this article</a> on common latin abbreviations. Some of the abbreviations I used include:</div>
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<ul>
<li>A little curlycue above the last letter of a word to indicate a missing -s or -us.</li>
<li>A tilde (~) above a letter in the middle of the word to indicate a missing m or n after it.</li>
<li>A tilde above the last letter of a word to indicate a missing -n or -m.</li>
<li>A tail on the left side of a p to indicate the word "pro".</li>
<li>A b followed by a semicolon to indicate the suffix -bus.</li>
<li>An h with a hyphen through the ascender to indicate the word "hoc" or "haec".</li>
</ul>
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Time to practice! I set my Ames Guide to match a printout of the original, at actual size. The pencil lines are just under a quarter of an inch apart. The darker lines show where the ink lines will be.</div>
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For my practice run, I ended up using more and different abbreviations than I did on the final version. I had two blank lines at the bottom, and only needed one.</div>
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The latin text was penned with a 1mm nib to match the original. Then I used a pointed metal nib to write the English text under the latin in a secretary hand a couple of millimeters tall. While the original didn't have this detail, it's common enough that I felt it was an appropriate way to allow Anna to be able to read the text.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjwWyEM9FZDptnfkzGgDrKaCjYtBD1yhzzMC-k0OKzuKlkqch-yG6zNlHVQ8h_iGfLl7svZKiPRlE7d4bEDZYLFz1KYMJOR7lIEtxp9Fg8j1LPcrGMRz-BGF29Yq7mI8800AYwpfljjCg/s1600/IMG_1076.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjwWyEM9FZDptnfkzGgDrKaCjYtBD1yhzzMC-k0OKzuKlkqch-yG6zNlHVQ8h_iGfLl7svZKiPRlE7d4bEDZYLFz1KYMJOR7lIEtxp9Fg8j1LPcrGMRz-BGF29Yq7mI8800AYwpfljjCg/s640/IMG_1076.jpg" width="640" /></a></div>
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First with a pencil and my Ames guide, then using a pointed quill and Ian's Brazilwood ink, I lined the parchment.<br />
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Then I started the calligraphy.<br />
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And continued. And oh [expletive]! <b>I skipped a line!</b><br />
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[Expletive] [expletive] [expletive]!<br />
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Deep breaths. One of the great benefits of working on parchment is that it's possible to "erase" mistakes.<br />
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I started by blotting up any still-wet ink with a paper towel.<br />
Then I used an X-acto knife to scrape off much of the ink.<br />
I used an abrasive nail buffing block - a sponge with a fine abrasive outer surface - to sand the area smooth and free from any remaining ink.<br />
Once ink free, I burnished the surface smooth with an agate burnisher I use for gold leaf.<br />
Finally, I pounced the surface (again) with dental pumice and gum sandarac.<br />
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I touched up the red ink lines, and finished the calligraphy, starting on the correct words this time... I mostly chose which abbreviations to use as I wrote, based on what I needed to fit on each line.<br />
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Using a light box, I traced from a printout of the original onto some tracing paper in pencil.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC54BEJN-6r9aPmgffUUY_87Df55GlMeZ1sf9HXCcPUBbrvoqgWCfiCs3s0VxgQ5PszFKAIgROMUinXns61gfXa2jeNVyqUpLbVBGmKBElq6e10VnbGToyUg9X0OTNrfUNbg41BntDfok/s1600/IMG_1079.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC54BEJN-6r9aPmgffUUY_87Df55GlMeZ1sf9HXCcPUBbrvoqgWCfiCs3s0VxgQ5PszFKAIgROMUinXns61gfXa2jeNVyqUpLbVBGmKBElq6e10VnbGToyUg9X0OTNrfUNbg41BntDfok/s640/IMG_1079.JPG" width="480" /></a></div>
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I attached the tracing to the back of the parchment and placed it back on the light box, and drew the ink lines on using a pointed metal nib and Ian's Iron Gall ink.<br />
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I opted to use the inside of the O for the symbol of the award. Once I was done with the ink work, I taped the parchment to a small piece of MDF to prevent it from curling.<br />
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Next, I applied several thin layers of Miniatum for the raised gilding, waiting at least 12 hours between each layer. I thin my miniatum with yellow ink and water so I can see where I'm painting it, and to allow me to apply it in thin enough layers. Too thick and the surface of the Miniatum will pucker or ripple as it dries.</div>
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The yellow coloring makes it fairly easy to put down the first layer. The real challenge when applying Miniatum is the subsequent layers. I position a light low and opposite the piece so it reflects off the miniatum. On the inside of the O, you can see how the wet Miniatum is shinier than the dry previous layer in the corners.<br />
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About 6 hours after the final layer of Miniatum is dry, it's time for gilding.<br />
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With the gilding done, it was time to figure out the color palette so I could start painting. The original uses darker base colors than I'm used to. I started by "painting" samples of several different colors of gouache I had available.<br />
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With Adrienne's help, I mixed up a dark green and blue that we felt matched closely enough. For red, I used straight Alizarin Crimson.<br />
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I started with the dark color as a base. Green went quickly, followed by red.</div>
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Then blue.<br />
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Then I started shading with the green and a few of the red that had a yellow/brown highlight, instead of the traditional white.<br />
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And red.<br />
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And blue.<br />
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Finally, I added the whitework, and the scroll was done.<br />
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<b><span style="font-size: large;">Final Thoughts</span></b><br />
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I feel like I need a lot more practice with shading, or at least to learn some technique instead of brute forcing it. Despite that, I managed to get results I was happy with.<br />
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Working with latin was great fun, even if I did have to correct a mistake by not paying close enough attention...</div>
Alexandre Saint Pierrehttp://www.blogger.com/profile/04762481896322212429noreply@blogger.com0tag:blogger.com,1999:blog-1229444931421417703.post-2463975514921123982016-01-31T17:06:00.001-05:002016-01-31T17:14:13.803-05:00Adrienne d'Evreus - Order of the Silver Brooch - a.s. l<div class="separator" style="clear: both; text-align: center;">
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<table border="0"><tbody>
<tr><td><b>Project:</b></td><td>Order of the Silver Brooch for Adrienne d'Evreus</td></tr>
<tr><td><b>Words:</b></td><td>Lord Alexandre Saint Pierre</td></tr>
<tr><td><b>Calligraphy:</b></td><td>Lord Alexandre Saint Pierre</td></tr>
<tr><td><b>Illumination:</b></td><td>Lord Alexandre Saint Pierre</td></tr>
<tr><td><b>Paper:</b></td><td>11" x 14" 230 GSM Natural Pergamenata</td></tr>
<tr><td style="vertical-align: top;"><b>Script:</b></td><td>Gothic Textura Prescisus</td></tr>
<tr><td style="vertical-align: top;"><b>Pens:</b></td><td>Mitchell #3.5 for the Calligraphy, Pointed for the outline.</td></tr>
<tr><td style="vertical-align: top;"><b>Inks:</b></td><td>Walnut ink for the calligraphy, and Ian the Green's Iron Gall for the outlines.</td></tr>
<tr><td style="vertical-align: top;"><b>Inspiration:</b></td><td><a href="http://www.bl.uk/manuscripts/Viewer.aspx?ref=add_ms_42130_f036v" target="_blank">f. 36v from the Luttrell Psalter</a></td></tr>
</tbody></table>
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My lovely lady Adrienne was to be recognized with the East's brand-new A&S award, the Silver Brooch. Of <i>course</i> I wanted to do the scroll for her! Luckily, we were both busy with our own projects leading up to the event it was to be awarded, so I was able to be sneaky and get it done without her seeing.<br />
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I knew I wanted to make something clean that I could execute well in a fairly short period of time. I ended up settling on the Luttrell Psalter as an inspiration as she enjoyed working from it in the past for <a href="http://alexandresaintpierre.blogspot.com/2014/11/deormund-wulfscyld-grand-master-bowman.html">Deormund's Grand Master Bowman</a>. It has a very clean gothic hand that is more legible than most, and extremely delicate whitework. I ultimately selected folio 36v because of her love of dragonflies.<br />
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Adrienne let me know in the past that she eventually would love a scroll on parchment, but I knew this was not the time. Rather than using paper, I chose to use Pergamenata to give it the look of parchment.<br />
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I started by writing the words. I wanted to keep the same number of lines of text as the original, and fill the space in a similar way as the original. I even estimated the number minim strokes+spaces needed to fill each line.<br />
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<blockquote class="tr_bq">
One and all hear these words of<br />
Brennan Ri and Caoilfhionn<br />
Banri.<br />
Discipline in the study of the arts<br />
brings us considerable joy.<br />
The dedication and attention that<br />
Adrienne d'Evreus gives to her<br />
art and research pleases us.<br />
Thus do we induct her into our<br />
Order of the Silver Brooch in<br />
recognition of her endeavors.<br />
Done this thirtieth of January,<br />
a.s. fifty at Birka. </blockquote>
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Words done, I started practicing to see what size nib I would need. My line spacing was set to match a printout of the original, so I needed to find the right pen to match.<br />
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I ended up choosing a Mitchell #3.5. A fairly large nib compared to what I usually use, but it gave the right weight. That short practice out of the way, I lined the page and started on the finished text. The little curlycue flourishes and flat feet were drawn by pulling wet ink with the corner of the nib. I drew in the capital letters as I went to ensure I left enough space for them.</div>
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In relatively short order, I completed the calligraphy. This is not a fast hand to pen, but there were very few words.<br />
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Using a light box, I traced the border from the original in pencil. Then I drew in the ink outlines using a pointed nib and Ian's Iron Gall ink. I replaced the grotesque from the original with the symbol for the Silver Brooch.<br />
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Then it was time for the Miniatum. Miniatum is a modern alternative to gesso that provides a raised surface for gilding. I used it colored with a few drops of yellow ink, and thinned with water. I get best results when I paint on 4 or 5 thin layers, and let it dry 12+ hours between coats.<br />
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Gilding large areas on Pergamenata is really difficult. The Miniatum goes on better if it's wet, but then the pergamenata buckles. I kept the page completely taped down to a drafting board while I worked to help keep it from curling too much.<br />
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Once all the coats of Miniatum had been applied, I waited 6 hours after the last coat and gilded. The symbol of the order is silver & blue, so I used Palladium leaf on it, and real gold leaf on the rest of the page.<br />
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Then it was time to add colors. First step, mix the colors to try to match the original. It's hard to tell in the pictures, but the border is a pinkish red and lighter than usual blue, while the leaves alternate between the same pinkish-red and an orange-red. The leaves are highlighted with lighter colors to help them pop as well.<br />
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Once I was happy with the colors, I started painting. Blue first.<br />
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Then the red and orange.<br />
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Then the lighter highlighting on the leaves.<br />
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Then the Whitework.<br />
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The whitework is a bit hard to see in the pictures, as it's extremely delicate in an attempt to match the style of the original as closely as possible. Here's a close up of one area. For reference the height of the letters in "us" is a quarter of an inch, or 7mm.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKXHYEHjvsxyfLQOdHKqGIIP8QDADrwhQtInLEQ_ZvtwxnLb7DYgc59rfOGresMnwLsqegVRa4Y9NxC-D5fthxAIiRkZl9YD_ZZf7DfWW2ScLxtk3bnvJsAtLQIhyoR7eklR05aurKRyM/s1600/IMG_1059.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKXHYEHjvsxyfLQOdHKqGIIP8QDADrwhQtInLEQ_ZvtwxnLb7DYgc59rfOGresMnwLsqegVRa4Y9NxC-D5fthxAIiRkZl9YD_ZZf7DfWW2ScLxtk3bnvJsAtLQIhyoR7eklR05aurKRyM/s640/IMG_1059.jpg" width="574" /></a></div>
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Finally, I added the filigree around the capital letters using the same paint from a pointed nib, and painted the rest of the dragonfly.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKCS4cOzVwx0zY5f-3ys579H-F5xQmm2iIyoZ0X0fxeAjVc16dsmqYz8n2ksSRS53sigbpfjUrSiCLgz3xks2I6_BcdEkI_qoO93zGVhF8aGmRfNJDaMIgtr9O0zNf7gLa20J7X2sIMmg/s1600/IMG_1068.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKCS4cOzVwx0zY5f-3ys579H-F5xQmm2iIyoZ0X0fxeAjVc16dsmqYz8n2ksSRS53sigbpfjUrSiCLgz3xks2I6_BcdEkI_qoO93zGVhF8aGmRfNJDaMIgtr9O0zNf7gLa20J7X2sIMmg/s640/IMG_1068.jpg" width="480" /></a></div>
<br />Alexandre Saint Pierrehttp://www.blogger.com/profile/04762481896322212429noreply@blogger.com0tag:blogger.com,1999:blog-1229444931421417703.post-36364966766372720002016-01-31T15:45:00.000-05:002016-02-01T12:17:53.033-05:00Aneleda Falconbridge - Order of the Laurel - a.s. l<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0yCH2EpjgNenVOdMKWxcaBf9Rj0cuKR7qHxAgcHJ2LBwvoh5ZeZlvWw-G2pFulTt8Z6b4N1thO5ak2OZWB3NNTm4xcywO1XuoOYkDFEBQ76xxbw-B4eJTYMEEJ3Ds0gkLFGjVxSOCaO0/s1600/IMG_1070.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0yCH2EpjgNenVOdMKWxcaBf9Rj0cuKR7qHxAgcHJ2LBwvoh5ZeZlvWw-G2pFulTt8Z6b4N1thO5ak2OZWB3NNTm4xcywO1XuoOYkDFEBQ76xxbw-B4eJTYMEEJ3Ds0gkLFGjVxSOCaO0/s640/IMG_1070.jpg" width="514" /></a></div>
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<table border="0"><tbody>
<tr><td><b>Project:</b></td><td>Order of the Laurel for Aneleda Falconbridge</td></tr>
<tr><td><b>Words:</b></td><td>Mistress Aildreda de Tamworthe & Master Lucien de Pontivy</td></tr>
<tr><td><b>Calligraphy:</b></td><td>Lord Alexandre Saint Pierre</td></tr>
<tr><td><b>Illumination:</b></td><td>Doña Camille des Jardins - <a href="https://photos.google.com/share/AF1QipNQo850uAAhwV1aK96t3AF8P-x47-DlJ82VqmLaNDIc9fobyuj7efmMBYvw9PxJDA?key=eTY4VlRMbjRSWUhJNlZyNk5LN3JJVmZ4anZGQlp3" target="_blank">Her gallery of the painting process</a></td></tr>
<tr><td><b>Paper:</b></td><td>12" x 16" Parchment made by <a href="https://www.etsy.com/shop/asofa" target="_blank">David de Rosier-Blanc</a></td></tr>
<tr><td style="vertical-align: top;"><b>Script:</b></td><td>Gothic</td></tr>
<tr><td style="vertical-align: top;"><b>Pens:</b></td><td>Goose feather quills for text & lines, Mitchell #3 for the musical notes.</td></tr>
<tr><td style="vertical-align: top;"><b>Inks:</b></td><td>Ian the Green's Iron Gall & Brazilwood.</td></tr>
<tr><td style="vertical-align: top;"><b>Inspiration:</b></td><td>14th Century Chansonnier, dit Chansonnier Cangé, <a href="http://gallica.bnf.fr/ark:/12148/btv1b6000950p/f144.image" target="_blank">f. 144v</a></td></tr>
</tbody></table>
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This project started with a lot of back and forth between Camille, Lucien, Aildreda and me. We discussed various options to use for inspiration until finally deciding upon this page:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEiApMc9BCpuGQx1MwPz7_BzTcdI7tuWk3xgyneZ-QccHiJ_RWibvTDkk6tEMEUUrBOr7Tck96RSklYZMa4u9MJ8LJcco4nk2Vw9BFWjrKV1Flet51E6HU-zw5jzEkBBRqlFanVXBtXko/s1600/btv1b6000950p-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEiApMc9BCpuGQx1MwPz7_BzTcdI7tuWk3xgyneZ-QccHiJ_RWibvTDkk6tEMEUUrBOr7Tck96RSklYZMa4u9MJ8LJcco4nk2Vw9BFWjrKV1Flet51E6HU-zw5jzEkBBRqlFanVXBtXko/s640/btv1b6000950p-2.jpg" width="500" /></a></div>
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Inspiration decided upon, we continued discussing layout. Ultimately came to decisions on where Camille would place the laurel wreath and arms, as well as settling on the following dimensions:<br />
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Main text & Illumination area: 8x12"<br />
Column width: ~3"<br />
Illuminated "box": ~1x2.75"<br />
Space to the left of the music/text columns: 1.5"<br />
Total artwork & marginalia space: 10x14"<a href="http://www.pinterest.com/pin/create/extension/?url=https%3A%2F%2Fwww.blogger.com%2Fblogger.g%3FblogID%3D1229444931421417703%23editor%2Ftarget%3Dpost%3BpostID%3D3636496676637272000%3BonPublishedMenu%3Dallposts%3BonClosedMenu%3Dallposts%3BpostNum%3D0%3Bsrc%3Dpostname&media=https%3A%2F%2F2.bp.blogspot.com%2F-4BPGXXAO1vo%2FVq5p-WmuPRI%2FAAAAAAAACHE%2FQ2nxPAnuYZk%2Fs640%2Fbtv1b6000950p-2.jpg&xm=h&xv=sa1.37.01&xuid=23amF_XeAD_w&description=" style="background-color: transparent; background-image: url(data:image/png; border: none; cursor: pointer; display: none; height: 20px; left: 103px; opacity: 0.85; position: absolute; top: 1027px; width: 40px; z-index: 8675309;"></a><a href="http://www.pinterest.com/pin/create/extension/?url=https%3A%2F%2Fwww.blogger.com%2Fblogger.g%3FblogID%3D1229444931421417703%23editor%2Ftarget%3Dpost%3BpostID%3D3636496676637272000%3BonPublishedMenu%3Dallposts%3BonClosedMenu%3Dallposts%3BpostNum%3D0%3Bsrc%3Dpostname&media=https%3A%2F%2F2.bp.blogspot.com%2F-4BPGXXAO1vo%2FVq5p-WmuPRI%2FAAAAAAAACHE%2FQ2nxPAnuYZk%2Fs640%2Fbtv1b6000950p-2.jpg&xm=h&xv=sa1.37.01&xuid=23amF_XeAD_w&description=" style="background-color: transparent; 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With a plan in place, I ordered parchment while Dreda and Lucien wrote the words. A couple weeks laster I went to work. Dreda and Lucien gave me instructions on how to match the first stanza with the music.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT_zyzxGKcpPL5V9Sc1XJtJSdpXXcM9bBZIRomSmsZ9KeExz4vOWddbRYSztlFKcmUyEkBvug4-bcvfqreFRilrlawoZutAp5f8DH-H1gd5TDlUwJFkzVWbkvwYpxebY1LhFc_RNj1nqU/s1600/IMG_4789.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT_zyzxGKcpPL5V9Sc1XJtJSdpXXcM9bBZIRomSmsZ9KeExz4vOWddbRYSztlFKcmUyEkBvug4-bcvfqreFRilrlawoZutAp5f8DH-H1gd5TDlUwJFkzVWbkvwYpxebY1LhFc_RNj1nqU/s400/IMG_4789.JPG" width="300" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGjjGPcvz_Wvp5rRW1Vl12h0dO0xNxJc8srMw-mcMkYQOF-0xe2f0pQWD471Sw28uRZR2b50JUZclulvIUDDMXWNqD8Sj3_QX4kxEGqNi3ToAMo43vdnMiXUTvtZZyUCFHNtqgGkCtqQE/s1600/IMG_4791.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGjjGPcvz_Wvp5rRW1Vl12h0dO0xNxJc8srMw-mcMkYQOF-0xe2f0pQWD471Sw28uRZR2b50JUZclulvIUDDMXWNqD8Sj3_QX4kxEGqNi3ToAMo43vdnMiXUTvtZZyUCFHNtqgGkCtqQE/s320/IMG_4791.jpg" width="309" /></a></div>
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I started by figuring out the proper Ames Guide settings to fit the same number of lines of text as the original. Then I tested some of the text to ensure I could get it to fit in the narrow column widths.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXwQIpMEoec4Fv8-ObebxSbZUDRr9kdhXyCNJkqxfIHydi7bTN39k0vDYel9G6i2nQR516SMGjC-awyRq75zoOZI72fk2Ezh3ZMubahs7LQjI6kOj_nbbucpj_c8kqeifF1jbEd2gW414/s1600/IMG_0992.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXwQIpMEoec4Fv8-ObebxSbZUDRr9kdhXyCNJkqxfIHydi7bTN39k0vDYel9G6i2nQR516SMGjC-awyRq75zoOZI72fk2Ezh3ZMubahs7LQjI6kOj_nbbucpj_c8kqeifF1jbEd2gW414/s640/IMG_0992.jpg" width="436" /></a></div>
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Once confident the text would fit correctly, I lined the page with plummet & pencil.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDkwB5aYIHj0hyphenhyphenm0G_idzApHCDeVue_3NYuKnf4Lo80nqY7F1H9t_DuPoLx57beU61IlzXbIeDD2bjVVrKOCbS_KXKkrc1IcmdAe_KogjeQtEIOsUxKXXtCUSl-Ea3li0wSWyAxvURjaU/s1600/IMG_0993.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDkwB5aYIHj0hyphenhyphenm0G_idzApHCDeVue_3NYuKnf4Lo80nqY7F1H9t_DuPoLx57beU61IlzXbIeDD2bjVVrKOCbS_KXKkrc1IcmdAe_KogjeQtEIOsUxKXXtCUSl-Ea3li0wSWyAxvURjaU/s640/IMG_0993.jpg" width="640" /></a></div>
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<br />
Then, using a pointed quill, straightedge and Ian's Brazilwood ink, I added the staffs for the musical notation.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi34fh5hYqipS3xRz6I2gaMQYfjxdi6-fMZgfqzutu11M-tPIYlxzM8lkl4my-z8UP6IghQP34tMFtR8NhdEPJnhjOsmKHDsecnmMgpeNlZ9P1CYNWHtxwO2GLLQs8ynrhyphenhyphenLvxU4yRN41w/s1600/IMG_0995.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi34fh5hYqipS3xRz6I2gaMQYfjxdi6-fMZgfqzutu11M-tPIYlxzM8lkl4my-z8UP6IghQP34tMFtR8NhdEPJnhjOsmKHDsecnmMgpeNlZ9P1CYNWHtxwO2GLLQs8ynrhyphenhyphenLvxU4yRN41w/s640/IMG_0995.jpg" width="478" /></a></div>
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<br />
Then I started to add the text. I realized that the last line of text was not going to fit, so I used a period solution: I grabbed a smaller quill and wrote it in at a smaller size. This was totally unplanned, but resulted in a nice period touch.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrHIcq_hD7BU3AvIkuXFTfYANdIGoh845FQSrKBIEQGdtdCdu7m2W2mWtcKJzX6Lb_RHZkrZ-Kvyrw6vfrQHeB0BJrGnwEJoKYJQFqCimi1QIB9zm9KQ4mC4Lr3p2CdAGs_ZEiwWk9Lc8/s1600/IMG_0996.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrHIcq_hD7BU3AvIkuXFTfYANdIGoh845FQSrKBIEQGdtdCdu7m2W2mWtcKJzX6Lb_RHZkrZ-Kvyrw6vfrQHeB0BJrGnwEJoKYJQFqCimi1QIB9zm9KQ4mC4Lr3p2CdAGs_ZEiwWk9Lc8/s640/IMG_0996.jpg" width="466" /></a></div>
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I penned the remaining two verses, and then added marginal commentary to provide the required language of the scroll.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWMSWehvm60Oot73vFn0Rn8Ge-_1BAelFZBQ57p3AvtZRHi22ExyJ2zpHwDOMh2ZhDlLZe9h0LPO1_zr1vM7wLe9VCbdErZf1dl6i9KYDgcBS-wzbqB2AnM-Tk11An9aQ5DMaL6bFbrBA/s1600/IMG_1001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWMSWehvm60Oot73vFn0Rn8Ge-_1BAelFZBQ57p3AvtZRHi22ExyJ2zpHwDOMh2ZhDlLZe9h0LPO1_zr1vM7wLe9VCbdErZf1dl6i9KYDgcBS-wzbqB2AnM-Tk11An9aQ5DMaL6bFbrBA/s640/IMG_1001.jpg" width="474" /></a></div>
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<br />
My part done, I handed it off to Camille for her to do <a href="https://photos.google.com/share/AF1QipNQo850uAAhwV1aK96t3AF8P-x47-DlJ82VqmLaNDIc9fobyuj7efmMBYvw9PxJDA?key=eTY4VlRMbjRSWUhJNlZyNk5LN3JJVmZ4anZGQlp3" target="_blank">her magic with brush & gold</a>. This is the final result, see her gallery for the painting process.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI0m1R6X0J9zS2S629WoV2NIQQ2ue-5Z_UsU1iyiz4A3LnauAjm6z6uHPjbRRsS74uO3Az4uR-YcfFybF8l4yZift7_nE79TD5JnZnNe-Jm5cnGQVjhAYO_G4rCWA1cg3CHGnuFCOeNps/s1600/IMG_1070.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI0m1R6X0J9zS2S629WoV2NIQQ2ue-5Z_UsU1iyiz4A3LnauAjm6z6uHPjbRRsS74uO3Az4uR-YcfFybF8l4yZift7_nE79TD5JnZnNe-Jm5cnGQVjhAYO_G4rCWA1cg3CHGnuFCOeNps/s640/IMG_1070.jpg" width="514" /></a></div>
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<b><span style="font-size: large;">Words</span></b></div>
<br />
Jubilate Oriente <br />
Matra Tigrum <br />
To all here present today <br />
Sing we now as one <br />
Merrily loudly we say in many tongues <br />
A joyful deed is done today <br />
Sing we both all and some <br />
And tell how with humble joy <br />
Orient's own devoted voice <br />
Makes for us a joyful noise <br />
For she is rarely mum <br />
<br />
Drawing notes from wood and string <br />
By royal call <br />
Joining voices in a ring <br />
She leads both great and small <br />
Countless Eastern voices sing <br />
To fill a hall <br />
Instigating anything <br />
That will bring song to all <br />
An armored host becomes a choir <br />
Warriors' voices full of fire <br />
Battle music now inspires <br />
New singers to stand tall <br />
<br />
Weaving ties with harp and pen <br />
As we have seen <br />
Draws together kings and men <br />
To build what might have been <br />
As we hear, so shall we ken <br />
That nothing mean <br />
Nor sundered, but that she mends <br />
Hear then our King and Queen <br />
Draw our court of Laurels near <br />
And with heralds' voices clear <br />
Call we Aneleda peer <br />
This lady, wreathed in green <br />
<br />
With these words We, Brennan Ri and Caoilfhionn Banri, induct Mistress Aneleda Falconbridge into Our Order of the Laurel, bestowing upon her these Arms by Letters Patent. Argent, a winged snail contourny vert and on a chief embattled sable three mullets of four points argent. All is done on the occasion of Our Market Day at Birka, on the feast day of the blessed and queenly Saint Bathildis, Anno Societatis 50.<br />
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<b><span style="font-size: large;">Final Thoughts</span></b></div>
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I failed to really prepare this piece of parchment enough. The flesh side was a little ragged, and could have benefitted from some sanding and smoothing. I powered through it without enough thought about what Camille would have to deal with. Luckily, my Apprentice-Sister is awesome and was able to deal with the rough surface. That said, lesson learned, and I'll be more careful about preparing my parchment in the future.</div>
Alexandre Saint Pierrehttp://www.blogger.com/profile/04762481896322212429noreply@blogger.com0tag:blogger.com,1999:blog-1229444931421417703.post-19588509728362038922016-01-14T15:08:00.000-05:002016-01-14T15:08:09.962-05:00Working through a "Learning Plateau"<div class="tr_bq">
It's been a few months since I've posted anything, and one big reason why is that I hit the longest "learning plateau" so far of my scribal career. I'm working through it. After this post I plan keep the momentum going and get back to some more "lesson" posts.</div>
<a name='more'></a><br />
<span style="font-size: large;"><b>"What's a learning plateau?", </b></span><br />
<br />
As I'm not an expert on learning science, let me quote from <a href="http://the-knowledgesmart-blog.blogspot.com/2013/03/learning-plateaus.html" target="_blank">this post</a> on the KnowledgeSmart blog:<br />
<br />
<blockquote class="tr_bq">
<div class="MsoNormal">
"A learning plateau occurs when forward progress seems to have stopped
while engaged in learning a new skill. These
plateaus are normal and commonly experienced periodically when learning to play
a musical instrument, speak a new language, or learn some other complex
discipline.<br /><br />Dutch author, <span lang="EN-US">Lodewijk van den Broek, describes hitting the plateau as, ‘</span>the
experience where you feel that no matter how hard you try, there is no progress
in learning. And even though this is not entirely true, the feeling is very
real’."</div>
</blockquote>
<br />
Early in my scribal career, I was able to take a couple classes with my Great Great Grand Laurel, Master Robert Whitcomb of Brandywine. He described the learning process very similarly to how he writes about it on the <a href="http://www.mstbob.net/ppt/c100.html" target="_blank">Notes for Beginners</a> section of his website:<br />
<br />
<blockquote>
"In my experience the learning curve is actually a series of steps and not a continuous improvement. One starts, after reaching a new proficiency, with a fairly stable and reproducible set of skills. As time moves and one attempts to learn a new skill, one actually becomes more erratic and becomes worse before the next quantum jump of improvement occurs. <br />
<br />
<b>THIS IS NORMAL!</b> </blockquote>
<blockquote>
... It can be very frustrating to learn a skill and watch it deteriorate while one is working so hard to improve it. I now warn my students that this will happen and that it is very normal. <br />
<br />
The caveat to this is sometimes the steps occur so fast that you don't notice the pattern" </blockquote>
<br />
The other thing he explained was that your eye and your hand learn at different speeds, and that your ability to control the pen is limited to the level of detail you can see. He expands on this thought on his website:<br />
<br />
<blockquote class="tr_bq">
The biggest one is a simple fact that you hand can only do what your
eye can see, so, you will always see the shortcomings of your work.
This is an important point: <b class="red">You cannot draw what you
cannot see!</b> Your eye will always be ahead of the skill of your
hand. To counter this particular problem, once a week, write a simple
phrase on a piece of paper, date it and put it away. After a time,
when you feel you haven't made any progress, pull them all out and
look at them in chronological order. <br />
<br />
You will be surprised at what you've learned. </blockquote>
<br />
Over time, you learn to discern a greater level of detail with your eye. This happens before your skill at pen manipulation catches up, so there's a period of time where you feel like you are getting worse (the frustration zone)! I whipped up an awful little graph to show what I mean...<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGvY1wteDGG6OHRnPRGOO30SD8jx5lL0DBVtHQ0uAxp7oa4LU_k2ocOBTA1sgIPdv8QRTt9fvEZWySFl4keyZAG8Nqz6EDIxJwMgU3vqw-wiHBS7Xqci4EfPyQdCoyKJF6vQ_xuZvIGcs/s1600/Learning+Plateaus.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="459" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGvY1wteDGG6OHRnPRGOO30SD8jx5lL0DBVtHQ0uAxp7oa4LU_k2ocOBTA1sgIPdv8QRTt9fvEZWySFl4keyZAG8Nqz6EDIxJwMgU3vqw-wiHBS7Xqci4EfPyQdCoyKJF6vQ_xuZvIGcs/s640/Learning+Plateaus.jpg" width="640" /></a></div>
<br />
<br />
So learning plateaus are a thing. They are normal. They happen to everyone. Despite these facts, they can be very, <b>very</b>, frustrating. So frustrating that you may avoid the activity for a while to focus on something where you can see progress more quickly.<br />
<br />
<br />
<span style="font-size: large;"><b>How do I work through a plateau?</b></span><br />
<br />
I'm still working on figuring this one out myself... Feel free to share your techniques.<br />
<br />
One thing is for sure: you aren't going to get better without further practice. The trick seems to be practicing in a way that is enjoyable.<br />
<br />
The <a href="http://the-knowledgesmart-blog.blogspot.com/2013/03/learning-plateaus.html" target="_blank">KnowledgeSmart post</a> gives a few ideas, visit it to read them in detail:<br />
<br />
<blockquote class="tr_bq">
"Take risks. Growth comes
when we stretch past our comfort zone."<br />
<br />
"Embrace your failure. To
overcome your aversion to risk, you have to give yourself permission to fail
and be mediocre."<br />
<br />
"If you feel stuck in an
area of your life, seek out mentors who won’t pull any punches and will give
you the honest criticism you need to improve."<br />
<br />
"Practice deliberately."<br />
<br />
"Get back to basics."</blockquote>
<br />
It's taken me a little while to come to terms with this latest Plateau. I'm only just getting over it now. It helped me to know that others have this same issue, and I'm not alone. I pushed myself to get back into work by taking on a few scroll assignments, which I'll be able to share after Birka. I've also had a couple people asking me for my calligraphy advice, which has been huge. I've had to think more about my basics to help them.<br />
<br />
If it happens to you, know that you aren't alone. The feeling of being stuck or going backwards sucks, and robs you of confidence - no matter how skilled you might be. Take a breath, get back to basics, push yourself to practice something new or differently, surround yourself with others who inspire you.<br />
<br />
Happy scribing! -AlexandreAlexandre Saint Pierrehttp://www.blogger.com/profile/04762481896322212429noreply@blogger.com0tag:blogger.com,1999:blog-1229444931421417703.post-32203875701957440702015-08-27T13:08:00.000-04:002015-08-27T13:08:18.417-04:00Dürer's Gothic from "Of the Just Shaping of Letters"In 1525, Albrecht Dürer published <u><i>Of the Just Shaping of Letters</i></u> (<a href="http://www.gutenberg.org/ebooks/37103" target="_blank">available for free from Project Gutenberg</a>). Most of the book is instructions on how to make Roman Capitals. The last several pages contain "Directions for the Construction of the Text or Quadrate Letters". If you are looking for an authentic, later-period source for a full gothic alphabet, I present Dürer's own (translated) words and examples.<br />
<br />
Note that there is no W in the majuscule letters. The I can be used for J, and the V can be used for U. The j is also missing from the minuscule letters, though it's easy to make one based on the i.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXYYfMEefDt1Gs1G6xUuLD_0n_gYBrB-kzCahzOUW9uHJFvbIkSLOoEENi-pvhNbkobiIQZzbpmN7tFGmcVyFhjoY6mL1XnjxR0GKjXxFsyea-cQjpnUYpq-ysUv4ce6rkOr-PHfniSM4/s1600/Durer+Letters+p0043-image.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXYYfMEefDt1Gs1G6xUuLD_0n_gYBrB-kzCahzOUW9uHJFvbIkSLOoEENi-pvhNbkobiIQZzbpmN7tFGmcVyFhjoY6mL1XnjxR0GKjXxFsyea-cQjpnUYpq-ysUv4ce6rkOr-PHfniSM4/s640/Durer+Letters+p0043-image.jpg" width="578" /></a></div>
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<b>DIRECTIONS FOR THE CONSTRUCTION OF THE TEXT OR QUADRATE LETTERS</b><br />
<div class="drop-cap">
<br /></div>
<div class="drop-cap">
<span class="upper-case">The</span> letters which are usually called “text,” or quadrate, it was formerly
customary so to write, although they are now imitated by
the new art, as presently I shall show below. Although the alphabet
begins with the writing of A, yet shall I (not needlessly) in the first
place undertake to draw an I; because almost all the other letters are
formed after this letter, although always something has to be added to
it or taken away.</div>
<br />
First make your I of equal squares, of which three are properly set
one over the other; and the top of the top one, and the bottom of the
bottom one, divide in two points, that is to say, into three equal parts:
then set a square equal to the others in an oblique manner, so that its
diagonal be vertical, and its angle on the first point of the top square. In
this way, this oblique square shall extend with its angles more to the left
than the right. Then produce upwards on either side, after the width
of the superposed squares, right lines to meet the sides of the oblique
set square. Next do below precisely as you did above, except that you
must set the angle of the oblique square on the second point, that is, the
one farthest to the right in the bottom of the lowest square; and let fall
your lines on either side upon the transposed square: so will I be perfect;
only above it draw with a fine pen a tiny in-crescent.<br />
<br />
So shall you make N from two standards of this same I, set so that
their angles at top and bottom touch; and in this manner the space between
the two shall be narrower than the breadth of either: also, you
shall no longer put little crescents above them; you must make of the
same length all the short letters throughout the alphabet.<br />
<br />
In like manner make M of three standards, just as you made N of
two.<br />
<br />
R make as I, except only that at top you must set an equal square
diagonally, to the right, so that angle touch angle. R you may make also
in this fashion: below leave its foot as before, but above add two diagonal
squares, which shall touch each other with their angles in the
<a class="pagenum" href="https://www.blogger.com/null" name="Page_36" title="36"> </a>
middle point of the vertical limb, and then produce upwards both sides
of the latter to meet the diagonal square.<br />
<br />
V is made in three ways. First let it be made simply, as N; only that
in the farther limb, you shall omit at the top the diagonal square; and
instead shall draw an oblique line, so that it may make two angles in
this limb (produced) of which the farther shall be of the same height
as that of the topmost angle of the diagonal square, & the higher angle
of the same height as the angle nearest to it in the said square.<br />
<br />
The second V, which we use at the beginning of a sentence, make
thus: Draw the first limb as before for I; only, at the bottom, push the
diagonal square a little further to the right, so that its hither angle does
not project beyond the side of the vertical limb, but falls in the line of
its descent. Then set the second limb to the right of this, and cut it off
below by an oblique line, drawn from the lowest angle upwards to the
right, as far as the middle point of the lowest of the three superposed
squares.<br />
<br />
Next make W (i. e., double V) just as you made V-simplex; only you
shall set before it the standard limb of I.<br />
<br />
B make as the second V-simplex; but in the first upright omit the
diagonal square at the top, and set upon the three original squares three
others similar, but the seventh one you shall cut off diagonally from its
lower hither angle.<br />
<br />
Likewise when your B so made is turned upside down, then it will be
a Q.<br />
<br />
X you shall construct from I. Append from top angle to the right a
diagonally set square, as you did before in R; and at the bottom draw
an acute tail to the left from the diagonal, and at the middle of the vertical
limb describe a transverse, in such way that the former is cut before
and aft by the latter's diagonal; let the hither and lower angle be terminated
as far in front of the upright as would measure one-half of the
cutting diagonal, which at top shall just touch the upright; but to the
right let the transverse at top project to a point just below the angle of
the oblique square; from thence downwards let it be cut off by an oblique
line parallel to the anterior diagonal.<br />
<br />
C you shall construct from I after this fashion: Remove the top diagonal
square, & let lines be produced on either side to the proper height
of the letter, and cut off the hither angle by a diagonal; then draw at
<a class="pagenum" href="https://www.blogger.com/null" name="Page_37" title="37"> </a>
top a broad transverse, projecting beyond the vertical to the right the
width of the latter, and cut this off by a diagonal in such a way that it
project below only half as far as above.<br />
<br />
The vertical standard of E you shall make as for C; but from above
let there descend to the right a broad limb from the diagonal bisecting
the right angles of one square, and one-third again as long as broad; and
let there be drawn from its lower angle a small diagonal line to the vertical
limb.<br />
<br />
T shall be made like C, except that at top something is added to its
diagonal, so that its tip converges to a fine point, and the like to the left
on the hither side of the broad standard, just as at the top: and because
of this is T at top more elegant than C, and has not the same incurved
appearance.<br />
<br />
L you are to make below like I; only six squares are to be set on end;
then cut off the hither side of the seventh by a diagonal, and so the apex
of the letter shall remain to the right.<br />
<br />
The letter S you shall make as L; except that at top to the right must
be drawn a broad limb of the length of the diagonal, which afterwards
you are to cut off by a line parallel to the diagonal.<br />
<br />
F you shall make as S, just adding to it a transverse limb at the height
of the shorter letters and double as long as broad, so that the point on
the hither side & below shall project as far as half the limb's breadth, so
that the two diagonal abscissions may be equidistant from one another.<br />
<br />
The near limb of the letter H make like L, and to it join by its top, in
the proper place, the farther made like I; but below, for the diagonal
square, substitute a fourth square in line with the others, and the fifth
and lowest cut off on the far side by its diagonal.<br />
<br />
Of K make the near limb like L; and to the right of it append a diagonal
square, from the lowest angle of which let a line be obliquely
produced to meet the said vertical limb; and next from this line let a
broad limb be obliquely drawn, and this, at the bottom, you are to cut
off by a diagonal, in such fashion that the space below, between the two
tips shall not be more than the diagonal of a single square.<br />
<br />
D in its lower half make like B; but at top let the anterior limb
ascend upwards to the maximum height of the letters, and then cut off
the hither angle by its diagonal; next superpose to the same height half
a square upon the other three squares of the farther limb, & once more
<a class="pagenum" href="https://www.blogger.com/null" name="Page_38" title="38"> </a>
do here as you did below, and let this broken limb rest on the angle of
the near limb, and let it extend beyond it as far as the end of the upright
near limb; and so will it all but contain three conjunct squares;
for when it meets the near vertical limb, that fraction is to be cut off
at right angles.<br />
<br />
O you are to make below as D, and also the same at the top as the
bottom, only, as it were, turning it upside down.<br />
<br />
The anterior limb of P make like L inverted; but the posterior like
the standard of I: at bottom, however, you are not to add an oblique
square, but amputate the limb diagonally, & draw at the bottom a broad
transverse limb, which likewise is to be cut off diagonally, so that the
lower point shall project to the left, a distance of half the breadth of
the limb.<br />
<br />
Likewise A in the lower half you are to make like N; but of its anterior
vertical limb, you are to cut off the hither angle of the middle
square by its diagonal; of the posterior, however, allow three squares to
remain superposed, and incline the top part (the fourth square) rather
to the left, so that if at this side is joined to it the half of a square, then
it shall attain the height of the letter; and cut off the square obliquely,
yet so that the lower point shall project farther than the upper; then
describe to the left a circle, sweeping downwards, so that its contents
shall embrace the farthest limit of the anterior limb.<br />
<br />
Z is made in threefold fashion. First set a diagonal square which
shall touch the height of the letter; then add another like it, on the
right, joining their sides, & let these form a quadrangle sloping downwards
on the right: next set a diagonal square in straight line under the
top square, and distant from the lower one the length of its diameter:
then draw a diagonal line between the near angles of these two squares,
or make a rounded limb to reach the lower square; but from the said
lowest square of all you shall draw downwards and to the right, by the
aid of divers circles, a round extension, whose bottom shall mark the
length of the letter; and let its tip, sharp and tenuous, verge to the left.
Or construct Z of three oblique limbs, one above the other, & to connect
them draw the diagonal, which shall slope upwards to the right.<br />
<br />
Another Z you may make in this way: Let three diagonal squares
be set atop of one another; and let the lowest have a rounded extension,
as in the first Z.<br />
<br />
<a class="pagenum" href="https://www.blogger.com/null" name="Page_39" title="39"> </a>The first limb of G make below like I, and add at the bottom another
diagonal square, joining the two by their angles; but at top produce the
farther tip of this limb upwards to the height of the letter, & from this
point draw a diagonal downward to the left, as far as the hither angle of
the first right square of the three set one on other. Next draw the farther
vertical standard entire, of the same length as the hither standard, and
at the bottom draw a diagonal from the angle of the lowest oblique
square to touch the tip of the angle of the farther limb, & on the inner
side produce downwards the side of the limb, to meet the tip of the said
diagonal; to this also, by one line, join the lowest of the hither squares.
Now draw at top a transverse limb of the customary breadth, from the
back of the nearer vertical limb, passing through the farther one, and
reaching as far beyond this as its breadth; & this limb, finally, you shall
cut off by an oblique line parallel to that of the near limb.<br />
<br />
Y you shall make as N, only at bottom must be omitted the farther
diagonal square, & in its place is to be set a right square under the other
three superposed squares; then split the fifth square by a diagonal, so
that the tip shall be in front; from which let there be produced a diagonal
line, equal in length to a single side of the square.<br />
<br />
Curved, or short S, you shall make on this wise. At the middle height
of the letter, let there be set, close to one another, their angles touching,
two oblique squares; from the near square draw a broad vertical limb
to the height of the letter; and in the same fashion, from the farther
square let one fall downwards—just as you constructed I top & bottom.
Next cut off both these limbs, one at top and one at bottom, by diagonals,
in such fashion that the sharp tips of both may be on the side
near the middle. Then let there be drawn two broad limbs—namely,
from the upper, to the right, and downwards; and in like manner, from
the lower, upwards, and to the left; of the breadth of the limb, above
and below, but let them be produced no further than the breadth of
the distance between the limbs: then draw a diagonal downwards, from
right to left, which shall cut off both oblique limbs. To it also you must
produce the sides of the squares set in the midst.<br />
<br />
So, accordingly, have I set them down—in skeleton in rotation, and
in proper order in black. This (as I said above) is the antique form of
the letters; but in these days there is used a more elegant text, and a
diagonal square is substituted in the middle place for a right square, so
<a class="pagenum" href="https://www.blogger.com/null" name="Page_40" title="40"> </a>
that the lines of the letters are not so much curved; and there are made
certain limbs adjoined and cleft; and there are set one on another three
squares & a half; and spaces are left between two limbs as great as their
width. Letters of this sort also have I set forth on the third page following;
as also capital letters, which are called “versals,” because
they are customarily set at the beginning of a verse;
and these ought to be made one-third
higher than the remaining
shorter letters in
writing.<br />
<br />
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<br />Alexandre Saint Pierrehttp://www.blogger.com/profile/04762481896322212429noreply@blogger.com0tag:blogger.com,1999:blog-1229444931421417703.post-51741312993673287142015-07-31T17:13:00.001-04:002015-08-03T12:28:38.164-04:00Period Ink Guidelines - What were they drawn with?Recently I've been thinking about period calligraphy guidelines. Not so much as to how they are used, but how they were made. Specifically, I want to know what tool was used to draw the ink lines?<br />
<br />
This post details my findings so far. Read on if you are into geeky investigation.<br />
<br />
<a name='more'></a><br />
<br />
<br />
<b><span style="font-size: large;">Period Guidelines, a Background:</span></b><br />
<br />
It's easy to look at period examples to see visible guidelines around the calligraphy.<br />
<br />
Analysis of these examples has determined that there are three common methods for creating guidelines:<br />
<br />
<ol>
<li>With a stylus or other tool to indent an impression into the parchment. Almost never used on paper, because paper tends to cut or tear.</li>
<li>With a metal point drawing implement such as a lead & tin plummet. In this case, a softer metal is used with an abrasive preparation on top of the parchment such as gum sandarac. Small amounts of the metal are ground off and leave a mark on the page. Depending on the type of metal, the lines may tarnish and change color as the piece ages and is exposed to air.</li>
<li>With ink.</li>
</ol>
<br />
<b><span style="font-size: large;">The Tools:</span></b><br />
<br />
The mechanics of using a stylus or plummet against a straightedge are easy to understand and recreate. What I'm trying to determine is what type of pen or tool was used to draw the ink guidelines? <br />
<br />
<ul>
<li>It was able to be run against a straightedge to product perfectly straight lines.</li>
<li>It left a line of consistent width; sometimes as fine as a quill's hairline, sometimes thicker.</li>
</ul>
<br />
A reed or quill might be able to be used against a straightedge. Would they be able to leave a thin consistent line? <br />
<br />
My curiosity really became peaked when I was recommending the use of a ruling pen to a fellow scribe for its ability to draw an even-width line. If you aren't familiar with it, a draftsman's ruling pen consists of two spring loaded metal arms that come to rounded points. The distance between the arms can be adjusted. Using a brush, you load ink or paint into the gap between the arms. You can draw it against a ruler with both tips touching the paper and it will draw a clean, fixed width line.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM1DrspvqmEmO1RIyIOeWJ67I8zQ-EW2M7xPDeayB6jbaxlvmpr2TbE2GSEdxBRz8fhHwtplnOtGRqj9gxNquukZerGFYPklsH9-fBUcEODt6CWu0fB6nkYdEmSkfeen3XXhonrHzjW2k/s1600/IMG_0745.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="140" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM1DrspvqmEmO1RIyIOeWJ67I8zQ-EW2M7xPDeayB6jbaxlvmpr2TbE2GSEdxBRz8fhHwtplnOtGRqj9gxNquukZerGFYPklsH9-fBUcEODt6CWu0fB6nkYdEmSkfeen3XXhonrHzjW2k/s400/IMG_0745.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">This is my ruling pen.<br />
There are many like it, but this one is mine.</td></tr>
</tbody></table>
<br />
It's such a simple tool, I thought to myself, "I wonder if there are period ruling pens?"<br />
<br />
<br />
<b><span style="font-size: large;">My Research So Far</span></b><br />
<br />
I found the following quote & image in an article titled "The Undisciplined Drawing" by Alessandro Zambelli, in <a href="https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=2&ved=0CCQQFjABahUKEwie99a1_YXHAhXGGR4KHVaNDW0&url=http%3A%2F%2Fwww.mdpi.com%2F2075-5309%2F3%2F2%2F357%2Fpdf&ei=0ru7VZ7GMsazeNaatugG&usg=AFQjCNFpnw2scrCbh2XiViFhxnG-ro_-SQ&bvm=bv.99261572,d.dmo&cad=rja" target="_blank">Buildings 2013, 3, 357-379</a>; doi:10.3390/buildings3020357.<br />
<br />
<blockquote class="tr_bq">
<i>"For at least two thousand years the principal tool for making permanent lines in technical (and other) drawings has been the ruling pen (Figure 15). Essentially an exposed ink container, relying upon surface tension to retain the draughting fluid, ruling pens are formed by the folding of a single, or the clamping together of a pair of metal leaves, shaped to rest in the hand and gripped between fingers."</i></blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigs-imi-m5yGWgtaBsUbso88nIwlcuo-VH4WAXcGZz6EE3lbKRwoY_Hf52kg29FxInynnKYJF5UA5KXB8eG3jOvmjbFVWyv-7x3teSVpG99PuV9qpPTQktiBzJuTGQn7MXoy1ppQbfS7M/s1600/Roman+Ruling+Pens.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigs-imi-m5yGWgtaBsUbso88nIwlcuo-VH4WAXcGZz6EE3lbKRwoY_Hf52kg29FxInynnKYJF5UA5KXB8eG3jOvmjbFVWyv-7x3teSVpG99PuV9qpPTQktiBzJuTGQn7MXoy1ppQbfS7M/s400/Roman+Ruling+Pens.png" width="400" /></a></div>
<br />
<br />
The image in particular is very exciting to me.<br />
<br />
The first example is a folded ruling pen, versions of which are favored by modern calligraphers as an expressive writing tool. Used with the pointed tip just touching the page, they can leave a controlled fine line. They are easy to manufacture as well, requiring only a small piece of flat metal to fold into shape and somehow adhere to a handle.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTfE_rjf_fKDagN8mtuJaqwKYA_wVYegEbIER6lt6FoA8crGgD2dau9FzdR5OguuwUJsDTJdP0dR3NFTPX1HtHT0HMnNp2RHUxyQldTMyk9JFRGLOQc7bHWK95oaalkRyb6Wlpn1eSHOI/s1600/IMG_1864_445x600.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="82" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTfE_rjf_fKDagN8mtuJaqwKYA_wVYegEbIER6lt6FoA8crGgD2dau9FzdR5OguuwUJsDTJdP0dR3NFTPX1HtHT0HMnNp2RHUxyQldTMyk9JFRGLOQc7bHWK95oaalkRyb6Wlpn1eSHOI/s320/IMG_1864_445x600.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Modern folded pen from <a href="http://timspens.com/">timspens.com</a></td></tr>
</tbody></table>
<br />
<span id="goog_469839523"></span>
The second example is similar to the modern technical ruling pen I pictured earlier, with a sliding adjuster instead of the screw. It would be a little more difficult to make, but allow the creation of lines of different widths.<br />
<br />
Zambelli's bibliography says that this image comes from <i>Hambly, M. Drawing Instruments 1580–1980; Sotheby’s: New York, NY, 1988; p. 58</i>. If the image is truly based on medieval extant Roman ruling pens, I have my answer. Unfortunately, I have yet to find this book. And one comment about it indicates that its Bibliography is lacking.<br />
<br />
As I continued to search, every single reference I found traced back to Hambly... I became worried that perhaps I wasn't going to find any other evidence, and that Hambly's image was based on conjecture, not extant pieces.<br />
<br />
In discussing my findings to this point, Sir Cedric of Thanet pointed me to this <a href="https://finds.org.uk/database/search/results/objecttype/pen/todate/1600" target="_blank">finds.org.uk search for object type=pen</a>. This introduced a new type I hadn't considered:<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDC5yngTMQOV8Epj8Qo5uot7eg_BUcqyotJON_ddt7l4U7J7Gyot6jsTARcvs-14vu-hKe_JzueeSlDshlHZ8Vi4nrY_KrUL8UKJEGMA-eVfcXht6aOSveB3bLv2VijXOryykJM-t_hMg/s1600/Period+Pen.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDC5yngTMQOV8Epj8Qo5uot7eg_BUcqyotJON_ddt7l4U7J7Gyot6jsTARcvs-14vu-hKe_JzueeSlDshlHZ8Vi4nrY_KrUL8UKJEGMA-eVfcXht6aOSveB3bLv2VijXOryykJM-t_hMg/s320/Period+Pen.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From Record ID: <a href="https://finds.org.uk/database/artefacts/record/id/180545" target="_blank">DOR-173638</a></td></tr>
</tbody></table>
<br />
This metal appears to work similarly to post-period Venetian Glass pens: flutes in the tip create crevasses for the ink to rest, held by surface tension. Ink can then flow down to the pointed writing tip. I wonder if this type of pen would be the correct tool for the job, as the ink would potentially rub off on the straightedge. It also doesn't appear to be able to leave an extremely fine line, though experimentation is needed.<br />
<br />
Still having no luck finding extant ruling pens, I wondered if perhaps they were incorrectly categorized? The two-pronged ruling pen looks an awful lot like a pair of tweezers.<br />
<br />
There are hundreds of examples of medieval tweezers on the finds.org.uk site, including this one:<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK8wKEElUiVvbxKNn7DmgjLci1BePJlEQUszP7Oz4AC15_jiI2oVilFhjTUxSzTpWSyyDkdjRJ-5va6_QLiE-5uNCBwaPhEDo6XeP-ovL202_D_bQD0MxzaG_Vuh7KJ8Mojf-FU2fWR0Q/s1600/Hamp+98+-+Tweezers.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="97" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK8wKEElUiVvbxKNn7DmgjLci1BePJlEQUszP7Oz4AC15_jiI2oVilFhjTUxSzTpWSyyDkdjRJ-5va6_QLiE-5uNCBwaPhEDo6XeP-ovL202_D_bQD0MxzaG_Vuh7KJ8Mojf-FU2fWR0Q/s320/Hamp+98+-+Tweezers.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From Record ID: <a href="https://finds.org.uk/database/artefacts/record/id/1626" target="_blank">HAMP98</a></td></tr>
</tbody></table>
<br />
The wide flat tip wouldn't be ideal compared to the rounded tip, but it does have a tension/width adjuster that is detailed in Hambly's image..<br />
<br />
Further searching has led me to the site <a href="https://www.mhs.ox.ac.uk/epact/" target="_blank">Epact: Scientific Instruments of Medieval and Renaissance Europe</a>. In an article on <a href="https://www.mhs.ox.ac.uk/epact/article.php?ArticleID=7" target="_blank">drawing instruments</a>, S. Johnson writes:<br />
<br />
<blockquote class="tr_bq">
<i>"The direct application of ink was achieved with the pen, whose principal feature was a blade which retained some ink. This could be achieved by bending a single piece of metal along its length; an alternative solution which remained current from antiquity to the Renaissance, was to have two blades whose separation was controlled by a ring sliding on the shaft of the pen."</i></blockquote>
<br />
References for this article still point back to Hambly: <i>S. Johnston,"Drawing instruments" in R. Bud and D. Warner (eds), Instruments of Science: An Historical Encyclopedia (New York and London, 1998); M. Hambly, Drawing Instruments, 1580-1980 (London, 1988)</i><br />
<br />
Epact also contains images of <a href="https://www.mhs.ox.ac.uk/epact/results.php?searchtext=&bottomdate=&topdate=&instrumentglossaryid=60&placename=All&makerid=All&museumid=All&sortby=InstrumentGlossaryID" target="_blank">two late period sets of drawing instruments</a>. They prohibit copying of their images, so please click through to view them. The <a href="https://www.mhs.ox.ac.uk/epact/picturel.php?ENumber=74145" target="_blank">first image</a> contains devices that could be two-pronged ruling pens, and the details of the record states it contains "<i>a pair of compasses with a small folded blade for ink</i>". The <a href="https://www.mhs.ox.ac.uk/epact/picturel.php?ENumber=86152" target="_blank">second image</a> contains a device that looks like a metal pointed quill. That is, a metal tube cut at the end at an angle so that it comes to a point. The inside of the tube appears ink stained, making me suspect it was used a a pointed pen. The details of the records states that among the tools are "<i>Compasses, 5 in. with pen-nib. Pen with fixed nib. Drawing pen.</i>" <br />
<br />
<br />
<b><span style="font-size: large;">Proof! Or is it?</span></b><br />
<br />
After posting my find of the Epact site, Sir Cedric pointed me to <a href="http://www.mhs.ox.ac.uk/epact/catalogue.php?ENumber=55801&Level=Detail" target="_blank">this image</a> of a 16th century italian compass set. It is clear to me that one of the attachments to the compass is a ruling pen with a sliding width adjuster. The description of the find calls them tweezers. I ask you: why would you need a set of tweezers attached to your mapping compass? I suppose they could clamp onto something like a piece of chalk to make a mark with, but the rounded shape of the tips and how they come together is that of a ruling pen to me.<br />
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<b><span style="font-size: large;">Conclusion?</span></b><br />
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My investigation is not complete. With Cedric's help, I now have evidence that lining pens existed in the 16th Century. I'd like to find some earlier examples to see what types of lining pen were in consistent use. I'd especially like to see an example of the folded type, as it seems like that ould be easier to manufacture.<br />
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I plan to experiment as well. I will be testing a quill, a reed pen, my modern lining pen, and maybe a variant of the flanged pen and a home made folded pen.<br />
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If anyone has read to this point and has links to any other primary source examples of medieval or Renaissance lining pens, please share them with me. Credit will be given!Alexandre Saint Pierrehttp://www.blogger.com/profile/04762481896322212429noreply@blogger.com0tag:blogger.com,1999:blog-1229444931421417703.post-9103515919094492552015-07-31T13:05:00.000-04:002015-08-03T19:08:29.249-04:00Astryda Borowska - Order of the Laurel - a.s. l<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYKQGdsn5zV7h_iEp_s43kjbQYNreWKIFeqjImFST3bMHU7FHbE_04zwbaCrP9sQYjvPvAHdNgs5kp-EZvMNd8rBaduY9q2BPnL1vvR1y4_aREFRTicMH8VeXBXp4-JqAAYXkPQtWybOM/s1600/_DSC9283.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYKQGdsn5zV7h_iEp_s43kjbQYNreWKIFeqjImFST3bMHU7FHbE_04zwbaCrP9sQYjvPvAHdNgs5kp-EZvMNd8rBaduY9q2BPnL1vvR1y4_aREFRTicMH8VeXBXp4-JqAAYXkPQtWybOM/s640/_DSC9283.jpg" width="512" /></a></div>
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<table border="0"><tbody>
<tr><td><b>Project:</b></td><td>Order of the Laurel for Astryda Borowska</td></tr>
<tr><td><b>Words:</b></td><td>Master Harold von Auerbach</td></tr>
<tr><td><b>Calligraphy & Layout:</b></td><td>Lord Alexandre Saint Pierre</td></tr>
<tr><td><b>Illumination:</b></td><td>Doña Camille des Jardins</td></tr>
<tr><td><b>Paper:</b></td><td>8x10" Parchment by <a href="https://www.etsy.com/shop/asofa" target="_blank">David de Rosier-Blanc</a></td></tr>
<tr><td style="vertical-align: top;"><b>Script:</b></td><td>A somewhat sloppy and condensed Gothic Bookhand</td></tr>
<tr><td style="vertical-align: top;"><b>Pens:</b></td><td>Goose feather quill</td></tr>
<tr><td style="vertical-align: top;"><b>Inks:</b></td><td>Ian the Green's Iron Gall, Kolner Miniatum Ink & Gold Leaf, Winsor & Newton Scarlet & Blue Calligraphy Ink.</td></tr>
<tr><td style="vertical-align: top;"><b>Inspiration:</b></td><td>The <a href="https://en.wikipedia.org/wiki/Sankt_Florian_Psalter" target="_blank">Sankt Florian Psalter</a>.</td></tr>
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Master Harold (my Great Grand Laurel) contacted me a few weeks before Great Northeastern War to ask if I could help with Astryda's scroll. Working with Astryda's husband, Stephen, we decided on the Sankt Florian Psalter as an inspiration to match her late 14th Century Polish/German persona. While the original was roughly 9x12", we decided to go a little smaller in scale and used 8x10" parchment with 1" borders for framing, resulting in a decorated area that is 6" wide by 8" tall.<br />
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The inspiration: The beginning of Psalm I from the Sankt Florian Psalter.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfIZFJbZ0spH7sprnb9a2gdQWUzwGfJDH7oPYYjfd-miMYbL1fEk8SeOcDMW1DplBVuQWtt6Rmh4WfOLb0_Xq65rSBIJk2vUxcheVQX7f-pGnoEs02xGgozj5E6eNW6-ZRJC2zUKdQOBI/s1600/Psa%25C5%2582terz_florianski1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfIZFJbZ0spH7sprnb9a2gdQWUzwGfJDH7oPYYjfd-miMYbL1fEk8SeOcDMW1DplBVuQWtt6Rmh4WfOLb0_Xq65rSBIJk2vUxcheVQX7f-pGnoEs02xGgozj5E6eNW6-ZRJC2zUKdQOBI/s400/Psa%25C5%2582terz_florianski1.jpg" width="291" /></a></div>
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I couldn't determine if the original used scored, metal-point, or inked guidelines. I decided to go with scored guidelines to keep them subtle in appearance. For the first time ever I was going to work without my beloved pencil guides! <br />
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I started by drawing widely spaced pencil lines on practice paper using my AMES guide. I practiced "floating" my lettering between the lines as they did in period instead of having my vertical strokes start and end at the pencil guides. As you can see in the final image, I managed to estimate the perfect size to have the text fill the page and still barely leave room for the signatures. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRnfHOyKb5ox-XZdc56E-5Nvp2F2QVcDLmcwhnuNe59CzVImnokHlmymRXVZyWfFE_Ubm9GUIqhQPue5yT93-Bm-P6TE6QEKIWHJ0gjqUwsPTzeCwMlfWbEXgPpnAvvuEe8LcBb14HMgQ/s1600/IMG_0744.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="143" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRnfHOyKb5ox-XZdc56E-5Nvp2F2QVcDLmcwhnuNe59CzVImnokHlmymRXVZyWfFE_Ubm9GUIqhQPue5yT93-Bm-P6TE6QEKIWHJ0gjqUwsPTzeCwMlfWbEXgPpnAvvuEe8LcBb14HMgQ/s400/IMG_0744.jpg" width="400" /></a></div>
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Once I was comfortable with the new technique and my size, it was time to line the parchment.<br />
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I did use a pencil and my AMES guide at first: on the edge of the paper I penciled a scale of evenly spaced lines to use for reference. I then used the tip of my quill knife and my T-Square to gently score the guidelines into the surface of the parchment. The knife tip was a little sharp and instead of just denting the surface, it cut in just slightly. In the future I'll try to find a stylus and remember to place a few sheets of paper underneath to allow the surface to give under the pressure.<br />
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Finally, I pounced the surface of the parchment with gum sandarac.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY1u3jBNPIfNu-mwyJ0d9xNU1XvqkNlGioXr6T5QQ4jo1GPSG6l6I2C9020EoxQpLvCJ7xv3vggiVA2z9ZOFJTpbEi3MBfHDwaw0j-DrZTypZQwKJ7AaSiOPsv8Xbfs1xyfYRc-tMc75E/s1600/IMG_0686.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="369" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY1u3jBNPIfNu-mwyJ0d9xNU1XvqkNlGioXr6T5QQ4jo1GPSG6l6I2C9020EoxQpLvCJ7xv3vggiVA2z9ZOFJTpbEi3MBfHDwaw0j-DrZTypZQwKJ7AaSiOPsv8Xbfs1xyfYRc-tMc75E/s640/IMG_0686.jpg" width="640" /></a></div>
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Each column was about 2" wide. Here's a shot of the finished first column, with the quill I used and a US Dime (0.7" in diameter) for comparison. Astryda's name and the Order of the Laurel on the next column were penned using Kolner Miniatum Ink and then gold leafed. I left space for rubricated capital letters at the start of each paragraph, and for the E in East.<br />
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Here's the finished calligraphy, with some of the rubricated letters added, as well as some of the flourished doodles that fill the space at the end of the paragraphs.<br />
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Camille asked me to assist with the layout before handing it off to her for gold leaf and paint. Once the rubrication was complete, I taped the parchment down to my light box over a printout of the inspiration, and penciled in the border elements. The versal B was changed to a D to match our wording. I left out the human figures so Camille could decide where & how to add them for personalization. I also added the Laurel Wreath and Astryda's arms. Some of the bottom border was made up as the original appears to have been trimmed.<br />
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This is what the scroll looked like before handing it off to Camille.<br />
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After Camille did her magic with Miniatum, gold leaf, and gouache, we have the completed scroll.<br />
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Overall, I'm very happy. I can see some places where my headlines and baselines varied a little bit, but overall I'm pleased with my consistency. I don't think I'll be trying this technique on every project; there will be times where pencil lines are going to help me work faster with better consistency. When a recipient will really appreciate knowing I used a period method, I'm glad to know I can pull it off.<br />
<a href="http://www.pinterest.com/pin/create/extension/?url=https%3A%2F%2Fwww.blogger.com%2Fblogger.g%3FblogID%3D1229444931421417703%26pli%3D1%26bpli%3D1%23editor%2Ftarget%3Dpost%3BpostID%3D910351591909449255%3BonPublishedMenu%3Dposts%3BonClosedMenu%3Dposts%3BpostNum%3D1%3Bsrc%3Dlink&media=https%3A%2F%2F2.bp.blogspot.com%2F-Y8ZKr6Rkxek%2FVbtqzRNdk3I%2FAAAAAAAAByg%2FBOCIMVnFe7U%2Fs640%2F_DSC9283.jpg&xm=h&xv=sa1.37.01&xuid=23amF_XeAD_w&description=" style="background-color: transparent; background-image: url(data:image/png; border: none; cursor: pointer; display: none; height: 20px; left: 97px; opacity: 0.85; position: absolute; top: 18px; width: 40px; z-index: 8675309;"></a><a href="http://www.pinterest.com/pin/create/extension/?url=https%3A%2F%2Fwww.blogger.com%2Fblogger.g%3FblogID%3D1229444931421417703%26pli%3D1%26bpli%3D1%23editor%2Ftarget%3Dpost%3BpostID%3D910351591909449255%3BonPublishedMenu%3Dposts%3BonClosedMenu%3Dposts%3BpostNum%3D1%3Bsrc%3Dlink&media=https%3A%2F%2F2.bp.blogspot.com%2F-Y8ZKr6Rkxek%2FVbtqzRNdk3I%2FAAAAAAAAByg%2FBOCIMVnFe7U%2Fs640%2F_DSC9283.jpg&xm=h&xv=sa1.37.01&xuid=23amF_XeAD_w&description=" style="background-color: transparent; background-image: url(data:image/png; border: none; cursor: pointer; display: none; height: 20px; left: 97px; opacity: 0.85; position: absolute; top: 18px; width: 40px; z-index: 8675309;"></a><a href="http://www.pinterest.com/pin/create/extension/?url=https%3A%2F%2Fwww.blogger.com%2Fblogger.g%3FblogID%3D1229444931421417703%26pli%3D1%26bpli%3D1%23editor%2Ftarget%3Dpost%3BpostID%3D910351591909449255%3BonPublishedMenu%3Dposts%3BonClosedMenu%3Dposts%3BpostNum%3D1%3Bsrc%3Dlink&media=https%3A%2F%2F2.bp.blogspot.com%2F-Y8ZKr6Rkxek%2FVbtqzRNdk3I%2FAAAAAAAAByg%2FBOCIMVnFe7U%2Fs640%2F_DSC9283.jpg&xm=h&xv=sa1.37.01&xuid=23amF_XeAD_w&description=" style="background-color: transparent; background-image: url(data:image/png; border: none; cursor: pointer; display: none; height: 20px; left: 97px; opacity: 0.85; position: absolute; top: 18px; width: 40px; z-index: 8675309;"></a><a href="http://www.pinterest.com/pin/create/extension/?url=https%3A%2F%2Fwww.blogger.com%2Fblogger.g%3FblogID%3D1229444931421417703%26pli%3D1%26bpli%3D1%23editor%2Ftarget%3Dpost%3BpostID%3D910351591909449255%3BonPublishedMenu%3Dposts%3BonClosedMenu%3Dposts%3BpostNum%3D1%3Bsrc%3Dlink&media=https%3A%2F%2F2.bp.blogspot.com%2F-Y8ZKr6Rkxek%2FVbtqzRNdk3I%2FAAAAAAAAByg%2FBOCIMVnFe7U%2Fs640%2F_DSC9283.jpg&xm=h&xv=sa1.37.01&xuid=23amF_XeAD_w&description=" style="background-color: transparent; background-image: url(data:image/png; border: none; cursor: pointer; display: none; height: 20px; left: 97px; opacity: 0.85; position: absolute; top: 18px; width: 40px; z-index: 8675309;"></a>Alexandre Saint Pierrehttp://www.blogger.com/profile/04762481896322212429noreply@blogger.com0tag:blogger.com,1999:blog-1229444931421417703.post-58145221659456805202015-07-31T11:14:00.000-04:002015-08-06T20:27:27.018-04:00Mercedes Vera de Calafia - Augmentation of Arms - a.s. xlix<div class="separator" style="clear: both; text-align: center;">
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<img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyTx4iIp4D-CERLVXUmlTtG4uhRxW3-lMdXsYY_xH6JVBGZivI_aHF8W-BcZMwXB6T_wTOZNVWsW8xpd624TKPqrYisz7YK8OuRE4ambt1RzztUD4-DWYkEJB4yvr85gEEfqLnUPM3jX0/s640/_DSC7096.jpg" width="504" /></a></div>
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<table border="0"><tbody>
<tr><td><b>Project:</b></td><td>Augmentation of Arms for Mercedes de Calafia</td></tr>
<tr><td><b>Words:</b></td><td>Mistress Alys Mackyntoich</td></tr>
<tr><td><b>Illumination:</b></td><td>Doña Camille des Jardins (<a href="https://plus.google.com/photos/+CamilledesJardins/albums/6137387519225544049?banner=pwa" target="_blank">her album for this project</a>)</td></tr>
<tr><td><b>Paper:</b></td><td>9x12" Parchment by <a href="https://www.etsy.com/shop/asofa" target="_blank">David de Rosier-Blanc</a></td></tr>
<tr><td style="vertical-align: top;"><b>Script:</b></td><td>Spanish Rotunda</td></tr>
<tr><td style="vertical-align: top;"><b>Pens:</b></td><td>Wide metal & pointed nib for first line, goose quill for the smaller text.</td></tr>
<tr><td style="vertical-align: top;"><b>Inks:</b></td><td>Ian the Green's Iron Gall & Brazilwood inks</td></tr>
<tr><td style="vertical-align: top;"><b>Inspiration:</b></td><td><a href="http://viewer.spainisculture.com/viewer/viewer.html?id=4_miniatura_policromada_carlos_i_archivo_chancilleria_valladolid_m&lang=en&__utma=1.1007448176.1427112649.1428971260.1434407041.4&__utmb=1.1.10.1434407041&__utmc=1&__utmx=-&__utmz=1.1427112649.1.1.utmcsr=(direct)|utmccn=(direct)|utmcmd=(none)&__utmv=-&__utmk=93142685" target="_blank">Letters Patent by King Charles I, 1524</a></td></tr>
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Back in March, I was asked if I could help with an Augmentation of Arms for Mercedes. Time was short, so Camille and I selected a fairly simple document appropriate to Mercedes' persona. This is a period Spanish patent or grant, so the perfect style for both her persona and the award being given.<br />
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As usual, I started by attempting to copy some of the original text to get a feel for the hand.<br />
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Comfortable that I had my letter weight correct, I made a reference alphabet.<br />
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I lined the parchment with pencil, and then practiced the larger letters for the first line on paper.<br />
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I remember fighting with the metal nib and the parchment, but the first line was blessedly short. The first night I didn't get very far on the calligraphy. I was having problems getting into a rhythm.<br />
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The second night was a little better, but I still didn't get as far as I wanted.<br />
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The third night, everything came together and I finished the text and added the red lines. I used Ian the Green's Brazilwood ink in a Rapidograph technical pen.<br />
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Calligraphy and lining done, I erased the pencil marks and folded the bottom to accept a cord & seal.<br />
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Then I handed the scroll off to my apprentice-sister for her to add the Versal. She has a <a href="https://plus.google.com/photos/+CamilledesJardins/albums/6137387519225544049?banner=pwa" target="_blank">lovely album</a> of her painting process if you want to see more.<br />
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<b><span style="font-size: large;">Alys' Words:</span></b><br />
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Be it manifest and known to all who shall see this public instrument that, in the city of Bhakail on the eleventh day of the month of April, in the forty-ninth year of the Society, in the presence of witnesses, there being present many very exalted and powerful lords and ladies of the Realm, We, Edward and Thyra, by right of arms King and Queen of the East, did make and cause to be made certain gifts and endowments unto our very dear and well-beloved Mercedes Vera de Califia, the tenor of which, word for word, is as follows:<br /><br />Item. Finding the deeds and labors of the said Mercedes to be in all ways singular, preeminent, wonderful and remarkable, not the least of which being her diligence and travails as our Seneschale; and further wishing and desiring that the said Mercedes should know the esteem in which we hold her wise counsel and patient adjuvance in all matters touching upon the good weal of the Realm; and further wishing and desiring that the said Mercedes should enjoy all the honours, graces, concessions, prerogatives, immunities, and other things, which are due to her, we do therefore endow the said Mercedes with an Augmentation of Arms;<br /><br />Item. We do further command our heralds, having seen and understood the said endowment above-written, and every part and parcel of it, and being certain and assured of everything set forth therein, and desiring to observe and fulfill it, to advise and aid the said Mercedes in the fulfillment of our will;<br /><br />Item. We do further, for ourselves and our successors, and their kingdoms and lordships, forever and ever, affirm, avow and agree to keep, observe, fulfill, effectively, in good faith and without deception, renouncing all fraud, mental reservation, deception, fiction, and dissimulation whatsoever, all that is set forth above; and we will and desire and are content that the within decree shall be observed and fulfilled, just as it stands.<br /><br />In witness whereof we, Edward and Thyra, set our ensigns manual below.<br /><br />Based on the Treaty between Spain and Portugal, concluded at Vitoria; February 19, 1524<br />Alexandre Saint Pierrehttp://www.blogger.com/profile/04762481896322212429noreply@blogger.com0tag:blogger.com,1999:blog-1229444931421417703.post-89192444063006050952015-06-21T19:02:00.000-04:002015-06-21T19:11:44.609-04:00Master of Defence - Frasier MacLeod - a.s. l<div class="separator" style="clear: both; text-align: center;">
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<table border="0"><tbody>
<tr><td><b>Project:</b></td><td>Master of Defense for Frasier MacLeod</td></tr>
<tr><td><b>Words:</b></td><td>Mistress Alys Mackyntoich</td></tr>
<tr><td><b>Paper:</b></td><td>17 x 14" Parchment by <a href="https://www.etsy.com/shop/asofa" target="_blank">David de Rosier-Blanc</a></td></tr>
<tr><td style="vertical-align: top;"><b>Script:</b></td><td>German Fraktur</td></tr>
<tr><td style="vertical-align: top;"><b>Pens:</b></td><td>Turkey & Goose feather quills</td></tr>
<tr><td style="vertical-align: top;"><b>Ink:</b></td><td>Ian the Green's Iron Gall</td></tr>
<tr><td style="vertical-align: top;"><b>Paints:</b></td><td>Holbein Artist's Gouache & Finetec metallic</td></tr>
<tr><td style="vertical-align: top;"><b>Inspirations:</b></td><td>W and general layout from <a href="https://www2.landesarchiv-bw.de/ofs21/olf/struktur.php?bestand=5584&sprungId=2577508&letztesLimit=suchen" target="_blank">Landesarchiv Baden-Württemberg, Abt. Hauptstaatsarchiv Stuttgart, J 250 Nr. 14</a> and <a href="http://commons.wikimedia.org/wiki/File:2._Wappenbrief_Blindenmarkt.jpg" target="_blank">Wappenbrief der Gemeinde Blindenmarkt</a>.<br />
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The Fraktur hand for the text is from various pages in <a href="http://www.nbn-resolving.de/urn:nbn:de:bvb:22-dtl-0000002942" target="_blank">Werke der Schönschreibmeister - Staatsbibliothek Bamberg JH.Msc.Art.88</a>. This book also inspired the shell gold highlights on the text, gold margin lines, and flourishes.<br />
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The central image is based on the October Calendar page from the <a href="https://en.wikipedia.org/wiki/Tr%C3%A8s_Riches_Heures_du_Duc_de_Berry" target="_blank">Très Riches Heures du Duc de Berry</a>.</td></tr>
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<span style="font-size: large;"><b>Inspiration & Planning</b></span><br />
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In February I was asked if I wanted to take on one of the three premier Master of Defense scrolls for the East Kingdom. I was told then that it would be awarded at Crown Tournament on May 2nd, but the name of the recipient wouldn't be known until some time later.<br />
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On March 23rd I received confirmation that Frasier was going to be one of the three premier members, and I would get to do his scroll! Mercedes and Alys worked to get ideas from Frasier about what he liked and wanted. He indicated liked document style scrolls, but he also really fell in love with the Calendar pages from the Très Riches Heures du Duc de Berry during an art class. Given this information, I decided to combine a few elements that weren't from the same time period or place to give him something beautiful. This is why the scroll consists of 16th Century Scots words written in a 16th Century German hand decorated with a 15th Century illumination.<br />
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I started by finding a couple examples for the flourished lettering to start the scroll and decorate the border.<br />
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Then I found a source to draw from for the text and other flourishing details.<br />
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Finally, the calendar page:<br />
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<span style="font-size: large;"><b>Practice</b></span></div>
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I started by learning the hand...</div>
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And practiced penning the flourished W.</div>
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<b><span style="font-size: large;">The scroll</span></b><br />
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When I felt I had practiced enough, I very carefully drew pencil lines out on the buttery smooth parchment. The color and depth of the hair side of this skin was just stunning.<br />
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I started by free hand penning the major strokes of the W.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHk4w0uY0eDkxH7LZBLLHOxzoIBWFQVtTfn2bhWL3tPL8NssRDTw90HRjNPwf31yMLQIsVkIzruHwcz4xsc7Tl_l6NWR-yJWCioqgnV6fNTugAyGp0MQ9b9dJmimfJ-R8sBD90aReWYAk/s1600/IMG_0564.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="322" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHk4w0uY0eDkxH7LZBLLHOxzoIBWFQVtTfn2bhWL3tPL8NssRDTw90HRjNPwf31yMLQIsVkIzruHwcz4xsc7Tl_l6NWR-yJWCioqgnV6fNTugAyGp0MQ9b9dJmimfJ-R8sBD90aReWYAk/s400/IMG_0564.jpg" width="400" /></a></div>
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Then added thinner strokes.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ8oCAbrDv4qTyr1HnrcnITcm92KeGohx8QjxAfZc4x2YeQfKD7Tlxra9h8XVq11W0YeLUZpS74Sr6dWhhVMpI3ZRXOLTBqZt4Q9O-nDbQPBowS4_c9VcubUwnSK9H6Ch49K5o41H6nsk/s1600/IMG_0566.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="385" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ8oCAbrDv4qTyr1HnrcnITcm92KeGohx8QjxAfZc4x2YeQfKD7Tlxra9h8XVq11W0YeLUZpS74Sr6dWhhVMpI3ZRXOLTBqZt4Q9O-nDbQPBowS4_c9VcubUwnSK9H6Ch49K5o41H6nsk/s400/IMG_0566.jpg" width="400" /></a></div>
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With most of the W in place, I started in on the calligraphy, and the flourish in the top border.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgADeg0pmD_ZSYQ8Y5AJIrZ6gedLMwdjZzEofwLP256qmKDLlGypLxKj-PY-_aB1XgtNEH3ZWIf4OY18BteKcrQUoCaE1XfXHIqIuqDr534SUUP_89VxUq-fBFKFWzMRXQGY0WaFwhdkmg/s1600/IMG_0567.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgADeg0pmD_ZSYQ8Y5AJIrZ6gedLMwdjZzEofwLP256qmKDLlGypLxKj-PY-_aB1XgtNEH3ZWIf4OY18BteKcrQUoCaE1XfXHIqIuqDr534SUUP_89VxUq-fBFKFWzMRXQGY0WaFwhdkmg/s400/IMG_0567.jpg" width="400" /></a></div>
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I continued with the calligraphy, and added more flourishing.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSjvwZ9zripNND4nJ23WpQl9UcS22mWyqyfziD-lyYjjNZ4QMGzRy5aGV8lkb1MojGTAXvTtqwQ17wBXfyiCgAnFhgramnaPynu20ueRFx6TCPphr52FDeEQuChn5YJ2WsEYK8nc4ZU1E/s1600/IMG_0568.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="141" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSjvwZ9zripNND4nJ23WpQl9UcS22mWyqyfziD-lyYjjNZ4QMGzRy5aGV8lkb1MojGTAXvTtqwQ17wBXfyiCgAnFhgramnaPynu20ueRFx6TCPphr52FDeEQuChn5YJ2WsEYK8nc4ZU1E/s400/IMG_0568.jpg" width="400" /></a></div>
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I'm very happy with the quality of line I was able to get from my quill, especially the hairlines.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLy4ZJaCw5F-favkhv-nUmOCguKgr2WHU-wItuLq6BmJcKU8gpVVgkjzoHvCSzgyl48Rorjsu_MZwhDE2_ZAsgaCNSSdaJEP-LhtoxfbwW5gMnBaJniPugXAXGyc654B8fQ1Kn8BshyPE/s1600/IMG_0569.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLy4ZJaCw5F-favkhv-nUmOCguKgr2WHU-wItuLq6BmJcKU8gpVVgkjzoHvCSzgyl48Rorjsu_MZwhDE2_ZAsgaCNSSdaJEP-LhtoxfbwW5gMnBaJniPugXAXGyc654B8fQ1Kn8BshyPE/s400/IMG_0569.jpg" width="400" /></a></div>
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Finally, I completed both the calligraphy and flourishing!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd0ayELt9pDh-MyiehjnvV-aOlftffaQQvF_QGtcEDKOkzlicERAkGAJJs6D9L7tdCTlZFoG10Ti1nmFctYzjVx56heT_3KWzXGeZ-KQZqQygBUIyncgnL0suIwztBwrQK6C3N0HKY7-A/s1600/IMG_0571.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd0ayELt9pDh-MyiehjnvV-aOlftffaQQvF_QGtcEDKOkzlicERAkGAJJs6D9L7tdCTlZFoG10Ti1nmFctYzjVx56heT_3KWzXGeZ-KQZqQygBUIyncgnL0suIwztBwrQK6C3N0HKY7-A/s640/IMG_0571.jpg" width="640" /></a></div>
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Next I used a ruler, compass, bow-pen and Finetec gold paint to add the gold margin lines and calendar borders. I painted gold highlights on the flourishing & capital letters.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1KSaZuEQcUGhfiTxgOfpIx3lpuT1Ar483fvcv8xQc1oBAMgC3w4dlQUCot8A327vYRbG9yZ079PMg9bJ-yYWCo7Jon3Gfdw1UNIygn_4WscROl-6P4Elt533S08HY12wJzB1NggxY4sU/s1600/IMG_0573.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1KSaZuEQcUGhfiTxgOfpIx3lpuT1Ar483fvcv8xQc1oBAMgC3w4dlQUCot8A327vYRbG9yZ079PMg9bJ-yYWCo7Jon3Gfdw1UNIygn_4WscROl-6P4Elt533S08HY12wJzB1NggxY4sU/s400/IMG_0573.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgq6nSLYDjvPQYIDOuEXpNzxUqZUv_B6gJXcyx4O4IIonSwq6EZ1DR66rxscUjVGmJd_WqOmKyerfrAqSlwuN3taz5b6XPzAvVoQQ1Cnk7uR-h6X20J3rU3gDob85SkuTdquE2PkpKmeQ/s1600/IMG_0576.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgq6nSLYDjvPQYIDOuEXpNzxUqZUv_B6gJXcyx4O4IIonSwq6EZ1DR66rxscUjVGmJd_WqOmKyerfrAqSlwuN3taz5b6XPzAvVoQQ1Cnk7uR-h6X20J3rU3gDob85SkuTdquE2PkpKmeQ/s400/IMG_0576.jpg" width="400" /></a></div>
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It was time to start the Calendar image. This text was penned with a very small quill using red and blue gouache.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrqaBo3r5NJ8YnOsKh6avC7sLiNplnjSL3XhRgEeN9ytAs6PI-7P-8OFMnz2BOc5uoZ0ETkO7rmRyWwOGXE9kJ4miNcGe4CznvCu0GunmqaXZapcxE-VHBvBkrEEdxQoFT8didkbLH0Xw/s1600/IMG_0581.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrqaBo3r5NJ8YnOsKh6avC7sLiNplnjSL3XhRgEeN9ytAs6PI-7P-8OFMnz2BOc5uoZ0ETkO7rmRyWwOGXE9kJ4miNcGe4CznvCu0GunmqaXZapcxE-VHBvBkrEEdxQoFT8didkbLH0Xw/s400/IMG_0581.jpg" width="400" /></a></div>
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Then I painted in the blue backgrounds.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5Xg_70XMiILpUyqXU2WH4Z0qHu71s7pamYokmLjyQ6slY33i6rOuFEzj9LW-0fl8hfT840wn7vr4fDJacSneoPvVzMqTlFAwcD4KmvndxUetUd2-y66K6MyAB7ImHXTT-POIeA8q8MRo/s1600/IMG_0583.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5Xg_70XMiILpUyqXU2WH4Z0qHu71s7pamYokmLjyQ6slY33i6rOuFEzj9LW-0fl8hfT840wn7vr4fDJacSneoPvVzMqTlFAwcD4KmvndxUetUd2-y66K6MyAB7ImHXTT-POIeA8q8MRo/s400/IMG_0583.JPG" width="400" /></a></div>
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I was a bit rushed for time, so don't have step by step images of my painting. But here is how I incorporated the Masters of Defense symbol into the scroll.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWdxk6bRpEhtAFrPbXLB_ZIC8JC0eYmdjObozdWjoLKJDBwDGAqOyAoFgm6MUKk2vyyK7D_MNZVcubN1xoFvln1fFO3OXfynV7nVuc4pjXMIpAJA0blGGL8OJ3YhVuQLSA_PNVJVInsjQ/s1600/IMG_0586.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWdxk6bRpEhtAFrPbXLB_ZIC8JC0eYmdjObozdWjoLKJDBwDGAqOyAoFgm6MUKk2vyyK7D_MNZVcubN1xoFvln1fFO3OXfynV7nVuc4pjXMIpAJA0blGGL8OJ3YhVuQLSA_PNVJVInsjQ/s400/IMG_0586.JPG" width="400" /></a></div>
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And done!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsLDOoU62z4HoPr-q_Q1t_tTMUxAAx59Twtv9m6nX-cFZuGPtHc2FtMSKUdv5Lcl5sKvpeBM8J4gzjbqmp0dZxc8FGP3N1xw8sA2Fr7j6sF9uCH5mK54V7jlpJyuMn9UuTMze5tEphHVM/s1600/IMG_0591.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsLDOoU62z4HoPr-q_Q1t_tTMUxAAx59Twtv9m6nX-cFZuGPtHc2FtMSKUdv5Lcl5sKvpeBM8J4gzjbqmp0dZxc8FGP3N1xw8sA2Fr7j6sF9uCH5mK54V7jlpJyuMn9UuTMze5tEphHVM/s640/IMG_0591.jpg" width="640" /></a></div>
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<span style="font-size: large;"><b>Final Thoughts</b></span></div>
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I'm thrilled with the calligraphy on this piece. This particular combination of smooth parchment, quill and iron gall ink worked perfectly together. I was able to get hairlines so thin that I could barely see them. I'm also quite happy with the W and pen flourishing along the top and left border, especially since almost none of it was pencilled out in advance.</div>
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That said, I didn't quite get the level of detail in the painted elements that I was trying for in this scroll. It was a too ambitious, at least for the amount of time I had to get it done. </div>
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It was a real honor to be a small part of the premier of this Peerage in the East. Congratulations again Frasier!</div>
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<a href="http://www.pinterest.com/pin/create/extension/?url=https%3A%2F%2Fwww.blogger.com%2Fblogger.g%3FblogID%3D1229444931421417703%26pli%3D1%26bpli%3D1%23editor%2Ftarget%3Dpost%3BpostID%3D8919244406300605095%3BonPublishedMenu%3Dposts%3BonClosedMenu%3Dposts%3BpostNum%3D1%3Bsrc%3Dlink&media=https%3A%2F%2F4.bp.blogspot.com%2F-5GdjLbjtqrE%2FVX9zrp-1qDI%2FAAAAAAAABvQ%2FEDH2JVbHpDM%2Fs640%2FIMG_0591.jpg&xm=h&xv=sa1.36&xuid=23amF_XeAD_w&description=" style="background-color: transparent; background-image: url(data:image/png; border: none; cursor: pointer; display: none; height: 20px; left: 42px; opacity: 0.85; position: absolute; top: 8299px; width: 40px; z-index: 8675309;"></a><a href="http://www.pinterest.com/pin/create/extension/?url=https%3A%2F%2Fwww.blogger.com%2Fblogger.g%3FblogID%3D1229444931421417703%26pli%3D1%26bpli%3D1%23editor%2Ftarget%3Dpost%3BpostID%3D8919244406300605095%3BonPublishedMenu%3Dposts%3BonClosedMenu%3Dposts%3BpostNum%3D1%3Bsrc%3Dlink&media=https%3A%2F%2F4.bp.blogspot.com%2F-5GdjLbjtqrE%2FVX9zrp-1qDI%2FAAAAAAAABvQ%2FEDH2JVbHpDM%2Fs640%2FIMG_0591.jpg&xm=h&xv=sa1.36&xuid=23amF_XeAD_w&description=" style="background-color: transparent; background-image: url(data:image/png; border: none; cursor: pointer; display: none; height: 20px; left: 42px; opacity: 0.85; position: absolute; top: 8299px; width: 40px; z-index: 8675309;"></a>Alexandre Saint Pierrehttp://www.blogger.com/profile/04762481896322212429noreply@blogger.com1tag:blogger.com,1999:blog-1229444931421417703.post-37204158354822719792015-06-15T08:26:00.003-04:002015-06-15T08:31:05.105-04:00Bronwen Rose of Greylyng - Order of the Laurel - a.s. l<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG4GOjlnAfFVqJcjbsu4N4AK1sngidsBKFuO4zV-TKKKsI9NUxF_5F6eMO3ONyzjevitJRao1IzkNpXNNxWoB0o8Cf3-JdNrbHycn5WZNvpttAMtCAdviovt0AE24GpeCMmRmRbjanZe8/s1600/IMG_0617.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG4GOjlnAfFVqJcjbsu4N4AK1sngidsBKFuO4zV-TKKKsI9NUxF_5F6eMO3ONyzjevitJRao1IzkNpXNNxWoB0o8Cf3-JdNrbHycn5WZNvpttAMtCAdviovt0AE24GpeCMmRmRbjanZe8/s640/IMG_0617.jpg" width="640" /></a></div>
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<table border="0"><tbody>
<tr><td><b>Project:</b></td><td>Order of the Laurel for Bronwen Rose of Greylyng</td></tr>
<tr><td><b>Words:</b></td><td>Mistress Mylisant Grey</td></tr>
<tr><td><b>Paper:</b></td><td>Arches Cold Press Watercolor</td></tr>
<tr><td style="vertical-align: top;"><b>Script:</b></td><td>English Secretary Hand</td></tr>
<tr><td style="vertical-align: top;"><b>Pens:</b></td><td>Turkey Feather Quills, pointed metal nib</td></tr>
<tr><td style="vertical-align: top;"><b>Ink:</b></td><td>Kuretake Sumi</td></tr>
<tr><td style="vertical-align: top;"><b>Inspiration:</b></td><td>Cadel based on <a href="https://www.pinterest.com/pin/107242034848349267/" target="_blank">this image</a>, which I can't find firm details on the specific document it is from. It is similar to many other cadel H's from documents during Henry VIII's reign.<br />
Text based on <a href="http://vm133.lib.berkeley.edu:8080/xtf22/search?shelfmark=Ricketts%20259;smode=basic;rmode=digscript;docsPerPage=1;startDoc=1;fullview=yes" target="_blank">Lilly Library at Indiana University, Ricketts 259</a>, a letter from Henry VIII to Andrew, Lord Windsor.</td></tr>
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<b><span style="font-size: large;">Inspiration & Planning</span></b><br />
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A few months ago, I worked on the calligraphy for Bronwen's Baronial Investiture scroll, done in an early period style based on the Book of Kells. When I was given the assignment for her Laurel scroll, I only had a short time to complete it, so I returned to a late period style I understand and could execute better. I decided to make a document style scroll. I asked Mistress Mylisant Grey to help me with the words, and searched for inspiration.<br />
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Several of Henry VIII's grants and other legal documents started with his name and a very impressive cadel H as the first letter. I'm still not comfortable generating Cadel letters 100% from scratch, so I asked Mylisant to start her words with the letter H, and make sure the first several words would be suitable to be large across the top of the scroll.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEnNQKzvx15O3NUC-p3IIAYjtFoy3uC2qCpSN6TeBCXhxN3nl4lNdzDpyKPH-sCCAwWk6EUnRYhjW2xGhuAtpEuCNiCnoG5T-ZxcCQ4nffwqEs7W3-zeAxIO_-k3vDOVkJtBmjeHyf-uY/s1600/2db9395dc5aa81352a57454b0b11302e.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEnNQKzvx15O3NUC-p3IIAYjtFoy3uC2qCpSN6TeBCXhxN3nl4lNdzDpyKPH-sCCAwWk6EUnRYhjW2xGhuAtpEuCNiCnoG5T-ZxcCQ4nffwqEs7W3-zeAxIO_-k3vDOVkJtBmjeHyf-uY/s400/2db9395dc5aa81352a57454b0b11302e.jpg" width="330" /></a></div>
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Ever since reading about it on Ian the Green's blog, <a href="https://scribescribbling.wordpress.com/2013/09/01/life-moves-sideways-2/" target="_blank">Scribe Scribbling</a>, I have wanted to use this letter as an inspiration. The hand is quite informal compared to some legal documents of the time, but it still feels right and matches the time and place of the H.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggx3UzP5QHIq9uhIbwQZxyDrBns1jWqVyOY_wxu7AF04zGEx7GNix3ZBIsgpK3kPK8_ji0W3uucaHCrbaC2RfrGrFDmyzUI7lfSj8TuER2J-Ommj40RDLN-lraNqnYxruWkYTGfSVNOyw/s1600/ricketts-259-00001A.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggx3UzP5QHIq9uhIbwQZxyDrBns1jWqVyOY_wxu7AF04zGEx7GNix3ZBIsgpK3kPK8_ji0W3uucaHCrbaC2RfrGrFDmyzUI7lfSj8TuER2J-Ommj40RDLN-lraNqnYxruWkYTGfSVNOyw/s400/ricketts-259-00001A.jpg" width="400" /></a></div>
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I knew right away that I wanted to use the space inside of the H for Bronwen's arms. The last element I had to include was the laurel wreath. I decided that big and bold was the way to go, so I planned on wrapping the text around a big shiny wreath in the middle of the page.<br />
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<b><span style="font-size: large;">A quick note on materials</span></b><br />
<b><br /></b>I chose to use a sheet of Arches cold press paper without ever having practiced on it. This was a bad plan... This particular cold press had a very rough texture. Getting a clean line from my quills was challenging, and often required me to pass the pen 2-3 times over the same stroke... This is a good reminder to all of you to test your tools and materials together before you commit to using them. I love the final result, but it was a bit frustrating how much this slowed me down.<br />
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<b><span style="font-size: large;">Getting the Cadel Right</span></b><br />
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I decided that I wasn't going to trace this cadel, so I started by figuring out how to form it. I measured and penciled a grid of lines for the elements of the vertical. Below you can see my first test against that grid. I was still figuring out how to pen the bow.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNy3f-ZMX1Nh8KimEQD2r7HO60VhGVEuxPz_ticaY43mfDl4IFQ7Y56tbowuQUUL6DotrgnlmoCIdHW1hxUxXH_2Nkwy3p_1qK2BZlio7bmzM_Z5xulL-HJtbXzX9kK5hzSaS2n5P0x9k/s1600/IMG_0668.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="337" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNy3f-ZMX1Nh8KimEQD2r7HO60VhGVEuxPz_ticaY43mfDl4IFQ7Y56tbowuQUUL6DotrgnlmoCIdHW1hxUxXH_2Nkwy3p_1qK2BZlio7bmzM_Z5xulL-HJtbXzX9kK5hzSaS2n5P0x9k/s400/IMG_0668.jpg" width="400" /></a></div>
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So I practiced some more. (And smudged...)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSOxyo4I44_2v2pbRGLxzcJjU1owz62Hl9Xtxrwe1BZVDx7GYynllhmep1RJc-5MbmGIG53ZSeCrFSJnJv_AuIUR7DJgIomjenMKfhe7A0iRBoQrKajw9rsul-MT4aPIS_tgpxgdkhYSk/s1600/IMG_0666.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSOxyo4I44_2v2pbRGLxzcJjU1owz62Hl9Xtxrwe1BZVDx7GYynllhmep1RJc-5MbmGIG53ZSeCrFSJnJv_AuIUR7DJgIomjenMKfhe7A0iRBoQrKajw9rsul-MT4aPIS_tgpxgdkhYSk/s400/IMG_0666.jpg" width="355" /></a></div>
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And practiced some more...<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDGuiMsEK08sRSjEsuMIAeDiznfrMwMb9fv4OkLdrjcBfjuq8dFGLP3bYmYASeyNFeqlbpXLkbMO6gmGRPEWYz1r5vNfFh7uPUFy9l5YOWjlHtn_1SWOCiyN_06GtAoEYrC7uWc6rlDyc/s1600/IMG_0667.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDGuiMsEK08sRSjEsuMIAeDiznfrMwMb9fv4OkLdrjcBfjuq8dFGLP3bYmYASeyNFeqlbpXLkbMO6gmGRPEWYz1r5vNfFh7uPUFy9l5YOWjlHtn_1SWOCiyN_06GtAoEYrC7uWc6rlDyc/s400/IMG_0667.jpg" width="311" /></a></div>
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Until I was ready to start on the final paper. You can see the the pencil guides I placed. I followed them with the left edge of the nib.<br />
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I then free-hand pencil sketched the right bow of the H. The pencil mark detailed the overall path of the pen strokes, but it wasn't measured. I carefully penned the cadel over this guideline. My focus was on getting the white space between the various strokes to be consistent as possible, which meant I didn't follow the path exactly. I made the strokes in the order that made sense to help control the spacing, instead of trying to make one continuous line. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNgqYNK5XRiEgdnHbxt2HTL9ESasj8s0xKoajmzI7BxxKTNfEZY00F_qb_IAZGFnqPeTvJFKY0uk1YpgRc_8zJ_v00h0dPk3qaJw8cyNlqexmV9t4YCD4HnY8DMAQndxPNTygSKs_Q-LE/s1600/IMG_0597.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNgqYNK5XRiEgdnHbxt2HTL9ESasj8s0xKoajmzI7BxxKTNfEZY00F_qb_IAZGFnqPeTvJFKY0uk1YpgRc_8zJ_v00h0dPk3qaJw8cyNlqexmV9t4YCD4HnY8DMAQndxPNTygSKs_Q-LE/s400/IMG_0597.jpg" width="383" /></a></div>
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I went back to the H after I finished the text and used a pointed metal pen to smooth the edges of the strokes, but the above is what the major strokes looked like after it was in place.<br />
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<b><span style="font-size: large;">The Text</span></b><br />
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Next I had to learn the hand for the text, and do a little practice to see how well it would fit on the page. As I often do, I started by copying some of the period text to get a feel for it.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRul8hWy33_pQjsKOfRrEV7JfWqe8r9GJMAq4IFeKCIO8g4gkn6yeFv_bm3CC-0qS1QZ0WaBazaRT2FpH_UgISXyMnJ4TfzBagpblKDjIf_SnGWgawF0-KwXVVmeZPix5pf9vrgC3LDS4/s1600/IMG_0669.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="157" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRul8hWy33_pQjsKOfRrEV7JfWqe8r9GJMAq4IFeKCIO8g4gkn6yeFv_bm3CC-0qS1QZ0WaBazaRT2FpH_UgISXyMnJ4TfzBagpblKDjIf_SnGWgawF0-KwXVVmeZPix5pf9vrgC3LDS4/s400/IMG_0669.jpg" width="400" /></a></div>
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From there I broke out the individual letters to to have a quick reference. I really enjoy the open bowl on the d; the m, n, and h that are written without any lifting of the pen, and the variation of the e when used as a terminating letter.<br />
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Next, I practiced the text to make sure it would fit on the page and wrap completely under the space for the laurel wreath.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyIQ7JF09RqAkzzmBFgEHYoWoyGbQI911WfGAMBmfdTWfMyNoGmFeaHxORe8s1-nWzw9ACV_ViyBdsLBZpoasWU9Ixz1Dp_p_0zZkvzDoJAeXeeasMAlRUskMM7jckwxV2p27ejnrf57o/s1600/IMG_0603.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="151" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyIQ7JF09RqAkzzmBFgEHYoWoyGbQI911WfGAMBmfdTWfMyNoGmFeaHxORe8s1-nWzw9ACV_ViyBdsLBZpoasWU9Ixz1Dp_p_0zZkvzDoJAeXeeasMAlRUskMM7jckwxV2p27ejnrf57o/s400/IMG_0603.jpg" width="400" /></a></div>
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Practice complete, I added pencil guidelines lines galore and sketched the laurel wreath outline using help from my trust light box. The first line of text was penned with the same large turkey quill I used for the cadel.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2BlSuzFCau_29wA12BOuk5zF8uFubrGjXXDZwfetj_oLEL25adw1Z5ByD4T72TqmQCRYcA4hJBe6jQxBUTukdA-uiQ3PREQv7zZo9iPNTPq2tkAM6rZLaCiHCCTkU_yt00Dodull2VNI/s1600/IMG_0604.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2BlSuzFCau_29wA12BOuk5zF8uFubrGjXXDZwfetj_oLEL25adw1Z5ByD4T72TqmQCRYcA4hJBe6jQxBUTukdA-uiQ3PREQv7zZo9iPNTPq2tkAM6rZLaCiHCCTkU_yt00Dodull2VNI/s400/IMG_0604.jpg" width="400" /></a></div>
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I penned in the words, and then added the red ink guidelines. The red lines were penned with a Rapidograph pen filled with Ian the Green's Brazilwood Ink.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB7amKZvaG2CaAeQi23HiGJyTyrURKjC_U5b5m0pIyfsJXfEgeyYqgGA4lrg7gk-wisSBd3dbpcsyyGWqbtrC9drn9dsNj2WCdQecWv59IbS5JA5DPmPOeVNYmg80Sw-Tk2NPLTiQeIkA/s1600/IMG_0606.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB7amKZvaG2CaAeQi23HiGJyTyrURKjC_U5b5m0pIyfsJXfEgeyYqgGA4lrg7gk-wisSBd3dbpcsyyGWqbtrC9drn9dsNj2WCdQecWv59IbS5JA5DPmPOeVNYmg80Sw-Tk2NPLTiQeIkA/s400/IMG_0606.jpg" width="400" /></a></div>
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Finally, I used a wider Rapidograph with india ink to draw the outlines around the laurel wreath. Once the ink was dry, I erased all the pencil lines.<br />
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The scroll was now ready for pointed pen cleanup & filigree, color, and gold.<br />
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Because of the rough texture of the paper, the wide lines of the cadel and first line of text didn't have the smooth straight edges I wanted. Using a pointed metal nib I touched up these lines, exaggerated the pointed of strokes in the cadel, and made sure the white space between strokes in the bow of the H were even. Next I added Bronwen's arms colored with ink. The color from the inks was blotchy and didn't do what I wanted, so later on I covered it with gouache. Once the arms were in place, I added the fine line filigree in and around the cadel. In the image below, it's almost complete.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1kemqBwSQXuhOXbcxzwAYjoYlurPMPVmgFv8Grm7RStuIU1igCyI7kozcfNDfrHMtIowueIZxH2Qx7OaWs4OC4kxq7u-3zyYWnorWFTUzVGZi4Fjg4Y7kvQE8reON2ByUAODeGwV2nrI/s1600/IMG_0612.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1kemqBwSQXuhOXbcxzwAYjoYlurPMPVmgFv8Grm7RStuIU1igCyI7kozcfNDfrHMtIowueIZxH2Qx7OaWs4OC4kxq7u-3zyYWnorWFTUzVGZi4Fjg4Y7kvQE8reON2ByUAODeGwV2nrI/s400/IMG_0612.jpg" width="361" /></a></div>
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While working on the cadel, I also painted a few thick layers of Miniatum on the Laurel wreath. When it was ready, I added the gold leaf. I had to go back with a Rapidograph pen to clean up the lines between the leaves.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXQKNvNc7Eqn0ECkFJeIIBYFSjwQ6zoo1AadfyqRxXZCZ_W78zQWil50DV_tjnDy57X0W0BvxxqYn8k1OocN7JaoI93cVsTMRCUe2fVO_v-1uphLvuWStUYpB-fzIKB0v98Gj2PAhJYG0/s1600/IMG_0615.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXQKNvNc7Eqn0ECkFJeIIBYFSjwQ6zoo1AadfyqRxXZCZ_W78zQWil50DV_tjnDy57X0W0BvxxqYn8k1OocN7JaoI93cVsTMRCUe2fVO_v-1uphLvuWStUYpB-fzIKB0v98Gj2PAhJYG0/s400/IMG_0615.jpg" width="400" /></a></div>
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Finally, I added the final filigree details, painted gouache over the colored ink on her arms, and voila, the scroll was complete!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG4GOjlnAfFVqJcjbsu4N4AK1sngidsBKFuO4zV-TKKKsI9NUxF_5F6eMO3ONyzjevitJRao1IzkNpXNNxWoB0o8Cf3-JdNrbHycn5WZNvpttAMtCAdviovt0AE24GpeCMmRmRbjanZe8/s1600/IMG_0617.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG4GOjlnAfFVqJcjbsu4N4AK1sngidsBKFuO4zV-TKKKsI9NUxF_5F6eMO3ONyzjevitJRao1IzkNpXNNxWoB0o8Cf3-JdNrbHycn5WZNvpttAMtCAdviovt0AE24GpeCMmRmRbjanZe8/s640/IMG_0617.jpg" width="640" /></a></div>
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<b><span style="font-size: large;">Final Thoughts</span></b></div>
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As I mentioned earlier, the big lesson I learned was to test my tools and materials together before committing to them. I'm starting to feel even more comfortable with cadels. With a little more practice, I might even be able to design them myself. For now, I'll continue to use period examples to ensure I have the right feel.</div>
<a href="http://www.pinterest.com/pin/create/extension/?url=https%3A%2F%2Fwww.blogger.com%2Fblogger.g%3FblogID%3D1229444931421417703%26pli%3D1%26bpli%3D1%23editor%2Ftarget%3Dpost%3BpostID%3D3720415835482271979%3BonPublishedMenu%3Dallposts%3BonClosedMenu%3Dallposts%3BpostNum%3D0%3Bsrc%3Dlink&media=https%3A%2F%2F3.bp.blogspot.com%2F-aO2dH53L1ks%2FVX4Zo7RHleI%2FAAAAAAAABq4%2FfKct2EB69kI%2Fs640%2FIMG_0617.jpg&xm=h&xv=sa1.35&description=" style="background-color: transparent; background-image: url(data:image/png; border: none; cursor: pointer; display: none; height: 20px; left: 42px; opacity: 0.85; position: absolute; top: 18px; width: 40px; z-index: 8675309;"></a><a href="http://www.pinterest.com/pin/create/extension/?url=https%3A%2F%2Fwww.blogger.com%2Fblogger.g%3FblogID%3D1229444931421417703%26pli%3D1%26bpli%3D1%23editor%2Ftarget%3Dpost%3BpostID%3D3720415835482271979%3BonPublishedMenu%3Dallposts%3BonClosedMenu%3Dallposts%3BpostNum%3D0%3Bsrc%3Dlink&media=https%3A%2F%2F3.bp.blogspot.com%2F-aO2dH53L1ks%2FVX4Zo7RHleI%2FAAAAAAAABq4%2FfKct2EB69kI%2Fs640%2FIMG_0617.jpg&xm=h&xv=sa1.35&description=" style="background-color: transparent; background-image: url(data:image/png; border: none; cursor: pointer; display: none; height: 20px; left: 42px; opacity: 0.85; position: absolute; top: 18px; width: 40px; z-index: 8675309;"></a>Alexandre Saint Pierrehttp://www.blogger.com/profile/04762481896322212429noreply@blogger.com1tag:blogger.com,1999:blog-1229444931421417703.post-31250702420930949092015-03-17T11:27:00.000-04:002015-03-17T11:27:54.181-04:00The Art of Calligraphy by David Harris<br />
<table border="0" cellpadding="5" cellspacing="5" style="border-collapse: collapse; border: thin wheat solid; width: 100%;"><tbody>
<tr style="border-bottom: thin wheat solid;"> <td colspan="2" style="white-space: nowrap;"><b><span style="font-size: large;">The Art of Calligraphy:</span> </b><br />
<span style="font-size: small;"><b>a Practical Guide to the Skills and Techniques</b></span></td><td style="text-align: right;">by David Harris</td> </tr>
<tr style="border-bottom: thin wheat solid;"> <td colspan="3" style="text-align: right; white-space: nowrap;"><span style="color: red;">Out of Print</span> - <b>ISBN-13:</b> 978-1564588494 - Search Online for a PDF copy.</td> </tr>
<tr style="border: thin wheat solid;"><td colspan="2">This is my favorite calligraphy book. It somehow manages to be both concise and detailed, beautiful and functional, informative and entertaining. It combines a stunning visual layout and images of period examples with a unique ductus for a large number of scripts, all while including a surprising amount of history. I particularly like that Harris provides both calligraphic family tree that maps the development of different scripts over time and a quick reference chart that compares all the scripts in the book on one page.<br />
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Sadly, this book is out of print and becoming harder to find. I attempted to contact both the author and publisher last year to ask if they have plans for a second edition or reprint, and received no response. If you wish a physical copy, act quickly. You can still find gently used copies for sale at reasonable prices for the time being. Otherwise, there are questionably-legal ways of getting a digital copy online. If you get yourself a free copy this way, and the book does become available again, please buy it to support the author.<br />
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If you are just starting calligraphy and are looking for information on how to start using a calligraphy pen for the first time, you will likely be a little frustrated with Harris. While he does have a short section discussing tools, there's nothing on how to use them. This book assumes to assume you already know how to use a calligraphy pen. If I could talk Harris and the publisher into developing a second edition, I would ask them to add a chapter on writing slope setup and how to use and become proficient with a calligraphy pen.<br />
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That all said, this is still my go-to calligraphy book for inspiration and when I need a refresher on how to form specific letters or scripts.</td> <td align="center" style="border: thin wheat solid;" valign="top"><div class="separator" style="clear: both; text-align: center;">
<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEVlNSS6PTQXPF5HUrrkwpwWNOej0r3dCuduYdwGMAIeQpCNfhvSaQ72lA4nRD_MjwfCBeP90BjzoKIYZSYAXjYCj4U9uttjKFGFRGyuccJ4KjBginBig_KHwfN-Zl2GvYuSQOcJAU4G4/s200/The+Art+of+Calligraphy+cover.jpg" height="200" width="153" /></div>
</td></tr>
<tr style="border: thin wheat solid;"> <td colspan="2" style="white-space: nowrap;"><b>Alexandre's Rating:</b></td> <td style="text-align: right; white-space: nowrap;"><div class="noborderdv" style="clear: both;">
<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /></div>
</td></tr>
<tr style="border: thin wheat solid;"> <td colspan="2" style="white-space: nowrap;">Images of Period Examples</td> <td style="text-align: right; white-space: nowrap;"><div class="noborderdv" style="clear: both;">
<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /></div>
</td></tr>
<tr style="border: thin wheat solid;"> <td colspan="2" style="white-space: nowrap;">Historic & Paleographic Knowledge</td> <td style="text-align: right; white-space: nowrap;"><div class="noborderdv" style="clear: both;">
<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /></div>
</td></tr>
<tr style="border: thin wheat solid;"> <td colspan="2" style="white-space: nowrap;">Ductus/Instructions on Historic Scripts</td> <td style="text-align: right; white-space: nowrap;"><div class="noborderdv" style="clear: both;">
<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /></div>
</td></tr>
<tr style="border: thin wheat solid;"> <td colspan="2" style="white-space: nowrap;">Accessibility to Novice Calligraphers</td> <td style="text-align: right; white-space: nowrap;"><div class="noborderdv" style="clear: both;">
<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /></div>
</td></tr>
<tr style="border: thin wheat solid;"> <td colspan="2" style="white-space: nowrap;">Techniques for Left-Handed Calligraphers</td> <td style="text-align: right; white-space: nowrap;"><div class="noborderdv" style="clear: both;">
<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /></div>
</td></tr>
</tbody></table>
<a name='more'></a><br />
Here's my detailed, chapter-by-chapter review of the book.<br />
<br />
<b><span style="font-size: large;">Introduction</span></b><br />
<br />
The two page introduction includes three visual glossaries: one labeling the parts and features of some example letters, another breaking down letter height measurement in nib widths; and an example letter ductus, explaining how to read it. Harris explains in the text on these pages how his scripts are models he built from period scripts, while actual period examples contain "endless variations" and should be studied by any serious calligrapher to gain further insight. I very much agree with this approach.<br />
<br />
<br />
<b><span style="font-size: large;">The Development of Western Script</span></b><br />
<br />
The first four pages of this six page chapter take the reader on a whirlwind tour of the written language, starting at 1200 BCE in Phoenicia. A paragraph on each provides a little background on Imperial Capitals, Insular and National, Caroline and Early Gothic, Gothic, Bastard, Italian and Humanist, Post-Renaissance, and Modern calligraphy. The final two pages of this chapter are filled with a visual Script Timeline that shows how the various scripts are related over time in a family tree sort of format.<br />
<br />
<br />
<b><span style="font-size: large;">Getting Started</span></b><br />
<br />
This two page chapter does for tools what the introduction does for the letters and page. Diagrammed images of tools and materials are provided, including captioned pictures of the process for cutting a reed or quill pen. Sadly, this is probably the most lacking part of the book, especially for a novice calligrapher. Sadly, there is nothing on setting up your writing area, how to hold the pen, how to get the pen to write well, or other exercises for the new calligrapher.<br />
<br />
<br />
<b><span style="font-size: x-large;">The Scripts</span></b><br />
<br />
Except for a few pages at the end, the rest of the book is dedicated to the scripts themselves. In general, each chapter is organized the same way. Each script has two to four pages detailing:<br />
<ul>
<li>a history of the script; </li>
<li>beautiful images of examples of the script captioned with were and when they are from, most are from period sources, but a few modern interpretations are shown as well; </li>
<li>an image of a single letter detailed with notes about the important features.</li>
</ul>
The last two pages of each script chapter contain the instructions for how to pen the script. The left side of the first page details the basic elements, including pen angle, letter slant, minim height, ascender and descender height, special pen techniques used, serifs, or other specific details about the script. The remaining space is used to present the ductus. Unlike most books, Harris uses colored translucent inks allowing the reader to easily see how and where the strokes overlap. Each letter is shown separately, often with notes around specific letters or strokes. Sadly, most of Harris' ductus do not contain instructions on how to create the long-s.<br />
<br />
Since the format of each of the script chapters is the same, there's not a lot more to add except a list of the scripts covered.<br />
<ul>
<li><b>Rustic Capitals</b></li>
<li><b>Square Capitals</b></li>
<li><b>Uncial & Artificial Uncial</b> - Harris made the choice to combine these two hands into a single chapter. While the shapes of the letters are generally the same, pen angles and details differ. The ductus page shows both side by side, but only includes notes and the colored inks for the Artificial Uncial.</li>
<li><b>Insular Majuscule</b></li>
<li><b>Insular Minuscule</b></li>
<li><b>Caroline Minuscule</b></li>
<li><b>Foundational Hand</b> - Not a period hand, Foundational was developed in 1909 by Edward Johnston based on the Caroline Minuscule used in the Ramsey Psalter almost 1,000 years earlier. Foundational is slightly easier to write, having a more vertical letter slant and simpler serifs. If you are new to calligraphy this is a great hand to start with. Once you are comfortable, you can easily transition to Caroline Minuscule.</li>
<li><b>Early Gothic</b></li>
<li><b>Textura Quadrata</b></li>
<li><b>Textura Prescisus</b></li>
<li><b>Gothic Capitals & Versals</b></li>
<li><b>Lombardic Capitals</b></li>
<li><b>Bastard Secretary</b></li>
<li><b>Bâtarde</b></li>
<li><b>Fraktur & Schwabacher</b></li>
<li><b>Bastard Capitals</b></li>
<li><b>Cadels</b></li>
<li><b>Rotunda</b></li>
<li><b>Rotunda Capitals</b></li>
<li><b>Humanist Minuscule</b></li>
<li><b>Italic</b></li>
<li><b>Humanist & Italic Capitals</b></li>
<li><b>Italic Swash Capitals</b></li>
<li><b>Copperplate</b> - The second the out of period hands in the book.</li>
<li><b>Copperplate Capitals</b></li>
<li><b>Imperial Capitals</b></li>
</ul>
<b><br />
</b> <b><span style="font-size: large;">Script Reference Chart</span></b><br />
<b><br />
</b> This two page spread is a chart with a row for each script in the book and a column displaying each letter. A one sentence note is provided for each script to refresh the reader about where and when it is from.<br />
<br />
<br />
<b><span style="font-size: large;">Glossary</span></b><br />
<b><br />
</b> Another two page spread provides definitions for just over 100 terms related to calligraphy.<br />
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top: 301px; width: 40px; z-index: 8675309;"></a><a href="http://www.pinterest.com/pin/create/extension/?url=https%3A%2F%2Fwww.blogger.com%2Fblogger.g%3FblogID%3D1229444931421417703%26pli%3D1%23editor%2Ftarget%3Dpost%3BpostID%3D3125070242093094909%3BonPublishedMenu%3Dallposts%3BonClosedMenu%3Dallposts%3BpostNum%3D3%3Bsrc%3Dlink&media=https%3A%2F%2Fimages-blogger-opensocial.googleusercontent.com%2Fgadgets%2Fproxy%3Furl%3Dhttp%253A%252F%252F4.bp.blogspot.com%252F-91Voly01osM%252FUlQz5vVq6cI%252FAAAAAAAAAH0%252Ft5scxGtIxtw%252Fs200%252FThe%252BArt%252Bof%252BCalligraphy%252Bcover.jpg%26container%3Dblogger%26gadget%3Da%26rewriteMime%3Dimage%252F*&xm=h&xv=sa1.35&description=" style="background-color: transparent; background-image: url(data:image/png; border: none; cursor: pointer; display: none; height: 20px; left: 519px; opacity: 0.85; position: absolute; top: 301px; width: 40px; z-index: 8675309;"></a><a href="http://www.pinterest.com/pin/create/extension/?url=https%3A%2F%2Fwww.blogger.com%2Fblogger.g%3FblogID%3D1229444931421417703%26pli%3D1%23editor%2Ftarget%3Dpost%3BpostID%3D3125070242093094909%3BonPublishedMenu%3Dallposts%3BonClosedMenu%3Dallposts%3BpostNum%3D3%3Bsrc%3Dlink&media=https%3A%2F%2Fimages-blogger-opensocial.googleusercontent.com%2Fgadgets%2Fproxy%3Furl%3Dhttp%253A%252F%252F4.bp.blogspot.com%252F-91Voly01osM%252FUlQz5vVq6cI%252FAAAAAAAAAH0%252Ft5scxGtIxtw%252Fs200%252FThe%252BArt%252Bof%252BCalligraphy%252Bcover.jpg%26container%3Dblogger%26gadget%3Da%26rewriteMime%3Dimage%252F*&xm=h&xv=sa1.35&description=" style="background-color: transparent; background-image: url(data:image/png; border: none; cursor: pointer; display: none; height: 20px; left: 519px; opacity: 0.85; position: absolute; top: 301px; width: 40px; z-index: 8675309;"></a>Alexandre Saint Pierrehttp://www.blogger.com/profile/04762481896322212429noreply@blogger.com0tag:blogger.com,1999:blog-1229444931421417703.post-81321552977993826782015-02-15T13:04:00.002-05:002022-08-26T12:45:21.441-04:00Ian the Green - Award of the Purple Fret - a.s. xlix<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkKkWdkJX2OXHeqPY6-5mEkg32_4Ra6Dt72YQSqiQjApBA8HMCKFAPa8cexP1NSAgxyQ1qYrsUZOq50VeS-lY4BexkXKY6O2QSqpssHtbj4UOM1iEEqGYCSwNZxOk2hgzj4ZYs8GnSVKA/s1600/Ian+the+Green+-+Purple+Fret+-+400+dpi.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkKkWdkJX2OXHeqPY6-5mEkg32_4Ra6Dt72YQSqiQjApBA8HMCKFAPa8cexP1NSAgxyQ1qYrsUZOq50VeS-lY4BexkXKY6O2QSqpssHtbj4UOM1iEEqGYCSwNZxOk2hgzj4ZYs8GnSVKA/s1600/Ian+the+Green+-+Purple+Fret+-+400+dpi.jpeg" width="464" /></a></div>
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<table border="0"><tbody>
<tr><td><b>Project:</b></td><td>Award of the Purple Fret for Ian the Green</td></tr>
<tr><td><b>Latin Translation:</b></td><td>Master Steffan ap Kennydd</td></tr>
<tr><td><b>Scroll:</b></td><td>Lord Alexandre Saint Pierre</td></tr>
<tr><td><b>Paper:</b></td><td>9" x 12" Parchment made by David de Rosier-Blanc (<a href="https://www.etsy.com/shop/asofa" target="_blank">his Etsy store</a>)</td></tr>
<tr><td style="vertical-align: top;"><b>Script:</b></td><td>Proto Gothic</td></tr>
<tr><td style="vertical-align: top;"><b>Pens:</b></td><td>Hand cut goose quills, pointed metal nib.</td></tr>
<tr><td style="vertical-align: top;"><b>Inks:</b></td><td>Ian the Green's Iron Gall; John Neal's Walnut Crystal; Winsor & Newton's Crimson, Blue, Green & Yellow inks; Purple Gouache; Garlic Juice.</td></tr>
<tr><td style="vertical-align: top;"><b>Inspirations:</b></td><td>Early 13th century English law treatise - <a href="http://image.ox.ac.uk/show?collection=balliol&manuscript=ms350" target="_blank">Balliol College MS. 350</a><br />
<i>Opusculum de ratione spere - </i><a href="http://image.ox.ac.uk/show?collection=bodleian&manuscript=msdigby83" target="_blank">Bodleian Library MS. Digby 83, f58r</a><br />
<i>Facta et dicta memorabilia </i>- <a href="http://www.bl.uk/catalogues/illuminatedmanuscripts/record.asp?MSID=1448&CollID=18&NStart=212" target="_blank">Burney 212, f1</a> (found at the <a href="http://www.ellipsis.cx/~liana/candi/puzzleinitials.html" target="_blank">Puzzle Initial Index</a>)</td></tr>
</tbody></table>
<a name='more'></a><br />
<b><span style="font-size: large;">Wait, a Middle Kingdom Award?</span></b><br />
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You might have seen me mention Ian the Green a couple times on this blog. If you participate in any of the scribal communities on Facebook, you've probably seen his posts as well. As a fellow scribe, ink maker, and author of a blog called <a href="https://scribescribbling.wordpress.com/" target="_blank">Scribe Scribbling</a>, Ian's been an inspiration to me despite being from the Midrealm... I made mention of wanting to do a scroll with mistakes on it a few months ago, and Ian replied saying how much he would love to receive a scroll like that: Challenge Accepted!<br />
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I contacted the Dragon Signet and asked if I could be the scribe for his next award. She was thrilled that I asked, and contacted me a few weeks ago with the assignment. Ian was to be awarded the Purple Fret for his service to the A&S community.</div>
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<b><span style="font-size: large;">Inspiration, Design & the Story...</span></b></div>
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The piece had to incorporate some mistakes. I thought about what kind of mistakes to include, and how to keep them appropriate to the piece. As I did a story came to mind:</div>
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Somewhere in the British Isles, on a cold winter's day, a monk was tasked with making copy of a Domesday Book for his Monastary that recorded the deeds of members of the Midrealm. The stars were not aligned for him on the day he copied this particular page, and his work with littered with mistakes and blemishes. It was still good enough to keep, so he made some comments in the margins to vent.</div>
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My challenge was to make a beautiful scroll that was not overwhelmed by the mistakes, but to still have fun with them in a way that Ian, a fellow scribe, would really appreciate.</div>
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Step one was of course to find inspiration to base my design off of. I also needed some way of including the symbol of the Purple Fret in the design. A few searches for Domesday books near the home and time period of Ian's persona led me to the <a href="http://image.ox.ac.uk/list?collection=all" target="_blank">Early Manuscripts at Oxford University</a> page. I started browsing through the manuscripts that were 12th/13th century to find some that spoke to me.</div>
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The first inspiration was Balliol College, MS 350. I loved this particular proto-gothic hand, and the puzzle initials. It also had a few pages with marginalia.</div>
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU4KQe6TkWEsH0GmzrFE1Ha6PkfP2QMIbqW9f8O6RphAc8-p1wNiCrihUaQhvvb8nvtqCxJqRGBxoK4NCtPIP7ks9U0sQYcRjgTRnK9VXDrrunWPbT1wLJr31imZI0_V6h--xm0ALkKboJbBHrkgd1yh00CpHkbJwA0Isrs8xJdKpFgfvne30H5a2p/s1450/Balliol%20College%20MS%20350.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1450" data-original-width="1018" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU4KQe6TkWEsH0GmzrFE1Ha6PkfP2QMIbqW9f8O6RphAc8-p1wNiCrihUaQhvvb8nvtqCxJqRGBxoK4NCtPIP7ks9U0sQYcRjgTRnK9VXDrrunWPbT1wLJr31imZI0_V6h--xm0ALkKboJbBHrkgd1yh00CpHkbJwA0Isrs8xJdKpFgfvne30H5a2p/w450-h640/Balliol%20College%20MS%20350.jpg" width="450" /></a></div><br /><br /></div>
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As I continued browsing, I came across this image of Aquarius. The pouring imagery just fit with Ian's ink making, and led to the inspiration for the wording as well. I also realized that the urn could be used to display the Purple Fret symbol.</div>
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8CBHAyLw1fx9gxj2tnwbjI8mXe6-EJ8C3adgK6qbcZeWRv79LI17nxcSykiT5iIa-ZqeqaP8ai4snmEf1w7H55Uy6adcVlTH_5UkRF8RwyXE7KHsaTNAxyKwpjP-A7aliqMNTBsxp8gY43lvYnvjMgRPs7t3FxOOlvtV5x6MAa17-FqX9BeG9ai3H/s1848/Bodleian%20Library%20MS.%20Digby%2083%20f58r.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1848" data-original-width="1114" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8CBHAyLw1fx9gxj2tnwbjI8mXe6-EJ8C3adgK6qbcZeWRv79LI17nxcSykiT5iIa-ZqeqaP8ai4snmEf1w7H55Uy6adcVlTH_5UkRF8RwyXE7KHsaTNAxyKwpjP-A7aliqMNTBsxp8gY43lvYnvjMgRPs7t3FxOOlvtV5x6MAa17-FqX9BeG9ai3H/w386-h640/Bodleian%20Library%20MS.%20Digby%2083%20f58r.png" width="386" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div>
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Finally, after writing the words, I wanted a good example of a Puzzle Initial U to use, so I found this one at the <a href="http://www.ellipsis.cx/~liana/candi/puzzleinitials.html" target="_blank">Puzzle Initial Index</a>.</div>
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<a href="http://molcat1.bl.uk/IllImages/BLCD/big/c167/c1671-06a.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://molcat1.bl.uk/IllImages/BLCD/big/c167/c1671-06a.jpg" width="352" /></a></div>
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<b><span style="font-size: large;">The Process</span></b></div>
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Having found my visual inspiration, I started this assignment by writing the words. Once complete and okayed, I began my standard process of learning the hand and figuring out sizing. An AMES setting of #5 on the 3:5 scale worked to get me the letter weight and line spacing I wanted.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnJrA3g2M5a08tpgvVavlHqr5nySP71Q8V1IlXqX1V-we6wwBjf9bcfTgTQut2YH_Oy-sIfRb1_jOLDiskvStN3H4BRxUoqvQQjPVPT-6rQbF6k25VjUgLfqFyebac9uEDznMCET_CoXw/s1600/IMG_0482.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnJrA3g2M5a08tpgvVavlHqr5nySP71Q8V1IlXqX1V-we6wwBjf9bcfTgTQut2YH_Oy-sIfRb1_jOLDiskvStN3H4BRxUoqvQQjPVPT-6rQbF6k25VjUgLfqFyebac9uEDznMCET_CoXw/s1600/IMG_0482.JPG" width="640" /></a></div>
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I planned on using a 9x12" sheet of parchment. Subtract a 1" margin for framing, and another 1" margin to fit the marginalia commentary into, and I was left with a calligraphy space of 5x8". I estimated the text layout on the computer based on my practice, but I wanted to be sure the text would fit around the figure of Aquarius and end near the bottom of the page. The only thing to do was write it out on a piece of paper to make sure I had the spacing correct.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk-Mv0NbTYuaFCmri9JXcP0EBD50otLoRCpS51mSvyoqsSM79QVKLiNrAmx4hvPR9Lb7lEavL0Uv9gAwtnOTvuk0g9NqwDK1ZPZ4PsCYFGZC_V-mDQNvFAtrRbkyJ-DyR9UPCujZr3ORo/s1600/IMG_0483.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk-Mv0NbTYuaFCmri9JXcP0EBD50otLoRCpS51mSvyoqsSM79QVKLiNrAmx4hvPR9Lb7lEavL0Uv9gAwtnOTvuk0g9NqwDK1ZPZ4PsCYFGZC_V-mDQNvFAtrRbkyJ-DyR9UPCujZr3ORo/s1600/IMG_0483.jpg" width="452" /></a></div>
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Practice complete, I prepared my parchment by pouncing with powdered pumice and gum sandarac, then added the lines. I started by adding the left, right and top margins with my lead-tin plummet. Using a light box, I drew in the figure of Aquarius, then used the AMES guide to pencil in the calligraphy guidelines. I added the final lead-tin lines over every third line left by the AMES guide.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyVfhMffNaJ7tvuyTd9PalPElq7Mmb8UV-oCqWqO2XWnF-G4WuDqpwYBph-cpkD64e86q-KjFQ_0JigH8joN2rp8SdWsBHSyP3SnOvT3jrRyfYErhpslOehMZ5xGDea5zwLFW5v7FsRMw/s1600/IMG_0481.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyVfhMffNaJ7tvuyTd9PalPElq7Mmb8UV-oCqWqO2XWnF-G4WuDqpwYBph-cpkD64e86q-KjFQ_0JigH8joN2rp8SdWsBHSyP3SnOvT3jrRyfYErhpslOehMZ5xGDea5zwLFW5v7FsRMw/s1600/IMG_0481.jpg" width="478" /></a></div>
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Next came the final calligraphy, done with Ian's own ink.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4gN8GytKQvP5iSGjUpKTlh5hRc2BeZDKujcUzYlFqb4dA-x2dDI0zg0FazXpa3PhGF-i6UNReFz_lw9sRl16zSFwHMtDlg7B20GYqoFUJGWIixFmV1FL_qANZKEmkkLfdWuv5hi7uRYk/s1600/IMG_0484.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4gN8GytKQvP5iSGjUpKTlh5hRc2BeZDKujcUzYlFqb4dA-x2dDI0zg0FazXpa3PhGF-i6UNReFz_lw9sRl16zSFwHMtDlg7B20GYqoFUJGWIixFmV1FL_qANZKEmkkLfdWuv5hi7uRYk/s1600/IMG_0484.jpg" width="490" /></a></div>
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The calligraphy in place, I switched to a thinner quill and walnut ink to draw in the figure of Aquarius.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLGsKEaiZIztY0E4M4h4AJnnDg5edWmTgXnSw736ZSS4ldANHGlmxCcwlbREkF5j0z2BfjMjWYZrB5-TCgTSfxszAzobaFCNv3tbN4d3zEoU3NSvTKZ_sKSweXaRhfbkkvWPK-Qi0cRP8/s1600/IMG_0486.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLGsKEaiZIztY0E4M4h4AJnnDg5edWmTgXnSw736ZSS4ldANHGlmxCcwlbREkF5j0z2BfjMjWYZrB5-TCgTSfxszAzobaFCNv3tbN4d3zEoU3NSvTKZ_sKSweXaRhfbkkvWPK-Qi0cRP8/s1600/IMG_0486.jpg" width="478" /></a></div>
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With a pointed metal nib, I started adding the puzzle initial. With pencil I started planning the location of the marginalia.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8Otik3Y1JrLeFxQzizZ1jB5hDOgvsaniutC7bCkhkgEj87apbKy2okhZQeabGoqDTy452jBv8ZyF7V26crtRtefRdR9VzYhNlYWwI4qQqKRlnesWX8rRhZdNcR7BwoV7b6_70Fbw-46U/s1600/IMG_0494.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8Otik3Y1JrLeFxQzizZ1jB5hDOgvsaniutC7bCkhkgEj87apbKy2okhZQeabGoqDTy452jBv8ZyF7V26crtRtefRdR9VzYhNlYWwI4qQqKRlnesWX8rRhZdNcR7BwoV7b6_70Fbw-46U/s1600/IMG_0494.jpg" width="468" /></a></div>
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Puzzle initial complete. I used garlic juice to adhere the gold-leaf. The green of Aquarius' loin-cloth was done with a pointed pen. I started with green ink straight from the bottle for the darkest areas. Then I swirled the tip of the nib in water to dilute the ink and blended out from the dark areas. I continued to dilute and blend out.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmK90h75AAfNchhyphenhypheni31h-n-WmsX7khSIfy4p0mgGsWZDh6-X3nxTgH__vmc9pdvuu7LajLkr70nB1XKA1THplU5mxhPXQTKs3rgxOvY39Wgdsj0TgXD1Zkmaw6S8Qb6UX3qJr26i0E2a4/s1600/IMG_0495.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmK90h75AAfNchhyphenhypheni31h-n-WmsX7khSIfy4p0mgGsWZDh6-X3nxTgH__vmc9pdvuu7LajLkr70nB1XKA1THplU5mxhPXQTKs3rgxOvY39Wgdsj0TgXD1Zkmaw6S8Qb6UX3qJr26i0E2a4/s1600/IMG_0495.jpg" width="462" /></a></div>
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Finally I finished Aquarius and added the cat print and marginalia.<br />
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<b><span style="font-size: large;">Mistakes, Marginalia & Details</span></b><br />
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The idea for the mistakes and marginalia (the comments in the margins) came from a number of sources. Marc Drogin's "Medieval Calligraphy" has a chapter that talks of Titivillus, the patron demon of calligraphy. Erik Kwakkel writes of commentary in <a href="https://medievalfragments.wordpress.com/2013/07/22/voices-on-the-medieval-page-2-the-scribe/" target="_blank">Voices on the Medieval Page</a>. Maria Popova writes of commentary in <a href="http://www.brainpickings.org/2012/03/21/monk-complaints-manuscripts/" target="_blank">Oh my Hand</a>. Victoria Lord writes about pen tests and other commentary in <a href="http://www.ultimatehistoryproject.com/the-medieval-scribe.html" target="_blank">The Medieval Scribe and the Art of Writing</a>.<br />
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I planned each mistake and comment, and had them translated into latin by the talented Master Steffan ap Kennydd.<br />
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<i>probatio pennae Alexandre</i> - "the pen test of Alexandre"<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw8NWkLN6MQ_VXHmvWoVQ1kxVba6J5hM-8T7VqUyVD3tBD29c7PChDpAXYZtibDxjhG3HSTFQjVv9eIO9KGY3cP8So0aheVUMoTB10a9692jMF4q7rQKhx2uBYRLSpSe4jEJUtpAqU33c/s1600/Ian+the+Green+-+Purple+Fret+-+400+dpi+-+Version+2.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="102" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw8NWkLN6MQ_VXHmvWoVQ1kxVba6J5hM-8T7VqUyVD3tBD29c7PChDpAXYZtibDxjhG3HSTFQjVv9eIO9KGY3cP8So0aheVUMoTB10a9692jMF4q7rQKhx2uBYRLSpSe4jEJUtpAqU33c/s1600/Ian+the+Green+-+Purple+Fret+-+400+dpi+-+Version+2.jpeg" width="400" /></a></div>
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<i>xb</i> - Abbreviation for Christe benedic, a written prayer asking for Christ to bless the scribe's work.<br /><br /><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoripVz6tOYSNiU5y732Myc_YjSJTYgGHPcNMc_zP8EsCLWQKUABD_RJ24R-W2mryMI9gpkaB3JplfA7rWdtASvLAzw2aJ1xwMmyWoB9ZJSR9ehKivm_Quoo-18xj1qfslXPlWLjYqxVw/s1600/Ian+the+Green+-+Purple+Fret+-+400+dpi+-+Version+3.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoripVz6tOYSNiU5y732Myc_YjSJTYgGHPcNMc_zP8EsCLWQKUABD_RJ24R-W2mryMI9gpkaB3JplfA7rWdtASvLAzw2aJ1xwMmyWoB9ZJSR9ehKivm_Quoo-18xj1qfslXPlWLjYqxVw/s1600/Ian+the+Green+-+Purple+Fret+-+400+dpi+-+Version+3.jpeg" width="400" /></a></div>
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<i>Atramentum tenue est</i> - "the ink is thin". Penned with a thin batch of Ian's own ink.<br /><br /><div class="separator" style="clear: both; text-align: center;">
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<i>Novum pargamenum. Dico nihil aliud.</i> - "New parchment; I say nothing more." I rubbed this area of the parchment with oils from my skin, which caused the ink to bead up as I wrote.<br /><br /><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjkutTz1P4l3ioDnDy8zDUvNmbkG2PAZL4j8vQCP4xlirk9ypxZteFj1K4AqBshnXQb2Gq9xjOZgjyvPOVd7lyjAJ4FxWf8b5iLXoFEiMeMApNhucvfCz9IrQCE0iy8yr92JyR0ZQyrRE/s1600/Ian+the+Green+-+Purple+Fret+-+400+dpi+-+Version+5.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="78" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjkutTz1P4l3ioDnDy8zDUvNmbkG2PAZL4j8vQCP4xlirk9ypxZteFj1K4AqBshnXQb2Gq9xjOZgjyvPOVd7lyjAJ4FxWf8b5iLXoFEiMeMApNhucvfCz9IrQCE0iy8yr92JyR0ZQyrRE/s1600/Ian+the+Green+-+Purple+Fret+-+400+dpi+-+Version+5.jpeg" width="400" /></a></div>
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<i>Hodie compleo saccum Titivilli.</i> - "Today I fill Titivillus' bag." Ironically enough both the missing word and mispelling were completely unintentional! I was planning on including them a couple lines later. In my planning ahead I must not have been paying enough attention to what I was doing at that moment, and it worked out perfectly. According to Drogin, Titivillus was said to collect the mistakes of the scribes in a bag, and carry them down to hell where they would be recorded in a book next to the name of who made the mistake.<br /><br /><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZH_nSFGTJcfWC3O5M77FG3BuoO7LGr5sKKQIEIZvPvSz3X03ZMurbLmIC5CLEA5dS2bP5fHUuUBkgLTFfzij5jxitam8_KvkaFRhsRkYqlrFAQ_iVI3J-ys5ov_7UorCZeGYBee0J0FQ/s1600/Ian+the+Green+-+Purple+Fret+-+400+dpi+-+Version+7.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="98" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZH_nSFGTJcfWC3O5M77FG3BuoO7LGr5sKKQIEIZvPvSz3X03ZMurbLmIC5CLEA5dS2bP5fHUuUBkgLTFfzij5jxitam8_KvkaFRhsRkYqlrFAQ_iVI3J-ys5ov_7UorCZeGYBee0J0FQ/s1600/Ian+the+Green+-+Purple+Fret+-+400+dpi+-+Version+7.jpeg" width="400" /></a></div>
<br /><i>Feles exsecranda. Nisi quod lectum foveas foris in frigore sis.</i> - "Damn cat! If you didn't warm my bed, you'd be out in the cold!” I cut a cats paw shape out of a sponge and used it to smudge the wet ink flowing from Aquarius' pitcher.<br /><br /><i>Detestor anserem de quo venit haec penna.</i> - "Curse the goose from which this quill came!” A random complaint about the quill acting up. No specific mistake associated with it.<div>
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Cat footprint just under the initial, I added a touch more ink after smudging before placing this.</div>
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<i> Scribere nimia opera servilis est. Facit dorsum aduncum, hebetat visum, torquet stomachum et latera.</i> - "Writing is excessive drudgery. It crooks your back, it dims your sight, it twists your stomach and your sides.” A period marginal quote about the trials of being a scribe.<br /><br /><div class="separator" style="clear: both; text-align: center;">
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<i>Nunc totum scripsi. In nomine Christi dona me potum.</i> - "Now I've written the whole thing; for Christ's sake give me a drink." Another period quote, and sentiment we can all agree on from time to time!</div>
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Finally, a detailed photo of the puzzle initial.<br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDnI93gyg6yjDGfqKgYRktFLp3Svbbt2eYS99uDB578qxDB-U_FKPf8KZbCH2tcwEzavJrBP4S2PYFSxSxP0C0N98M7JFZBLwF-7QwhyphenhyphengxA7sRbmoQ5lVT76NLX9yen-ZQFd_gioPrAY0/s1600/Ian+the+Green+-+Purple+Fret+-+400+dpi+-+Version+11.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDnI93gyg6yjDGfqKgYRktFLp3Svbbt2eYS99uDB578qxDB-U_FKPf8KZbCH2tcwEzavJrBP4S2PYFSxSxP0C0N98M7JFZBLwF-7QwhyphenhyphengxA7sRbmoQ5lVT76NLX9yen-ZQFd_gioPrAY0/s1600/Ian+the+Green+-+Purple+Fret+-+400+dpi+-+Version+11.jpeg" width="499" /></a></div>
<br />
<br />
<b><span style="font-size: large;">Words</span></b></div>
<div>
<br /></div>
<div>
I based these off of the Midrealm scribe's handbook example, and then made some modifications.</div>
<div>
<br /><blockquote class="tr_bq">
Unto all who read these words, do we Tsar Cadogan and Tsarista AnnMarie, who reign in strength and purpose over the expansive lands of the Middle Kingdom, send greetings. As astrologers write of Aquarius the cup-bearer and the water he pours forth, so do we write of one of our vassals whose knowledge pours forth as freely as the inks he makes. So much so that he is known throughout the known world for his dedication and service to the arts. So it is with great happiness do we publicly commend Ian the Green and are pleased to bestow upon him the Award of the Purple Fret. We confirm unto him all rights and responsibilities attendant upon this rank and the right to bear the badge: Or, a fret purpure; without let or hindrance from any person. Given by the hands of our Regents on this fourteenth day of February, anno societatis xlix, in our Canton of Three Hills.</blockquote>
<br />
<b><span style="font-size: large;">Thoughts</span> </b><br />
<br />
I'm really happy with how this came out, especially considering how quickly I had to put it together. I only had a couple weeks to finish it and get it in the mail so it would arrive on time. It even went a little faster than planned. It was fun to design and execute the whole scroll. Calligraphy may be my passion, but adding some more decorative elements is fun too.<br />
<br />
Quills are getting easier to cut, maintain and use, though I'm still struggling to get the supremely fine hairlines I see in many period examples.<br />
<br />
Above all, I love the fact that I got a chance to do this for a friend. Thanks Ian, keep on scribing.<br />
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<a href="http://www.pinterest.com/pin/create/extension/?url=https%3A%2F%2Fwww.blogger.com%2Fblogger.g%3FblogID%3D1229444931421417703%26pli%3D1%23editor%2Ftarget%3Dpost%3BpostID%3D8132155297799382678%3BonPublishedMenu%3Dposts%3BonClosedMenu%3Dposts%3BpostNum%3D0%3Bsrc%3Dpostname&media=https%3A%2F%2Fimages-blogger-opensocial.googleusercontent.com%2Fgadgets%2Fproxy%3Furl%3Dhttp%253A%252F%252F4.bp.blogspot.com%252F-FsXXGC88-74%252FVODF59AFYWI%252FAAAAAAAABjo%252Fp0VEfy9fzeU%252Fs1600%252FIan%25252Bthe%25252BGreen%25252B-%25252BPurple%25252BFret%25252B-%25252B400%25252Bdpi%25252B-%25252BVersion%25252B11.jpeg%26container%3Dblogger%26gadget%3Da%26rewriteMime%3Dimage%252F*&xm=h&xv=sa1.35&description=" style="background-color: transparent; background-image: url(data:image/png; border: none; cursor: pointer; display: none; height: 20px; left: 103px; opacity: 0.85; position: absolute; top: 12301px; width: 40px; z-index: 8675309;"></a><a href="http://www.pinterest.com/pin/create/extension/?url=https%3A%2F%2Fwww.blogger.com%2Fblogger.g%3FblogID%3D1229444931421417703%26pli%3D1%23editor%2Ftarget%3Dpost%3BpostID%3D8132155297799382678%3BonPublishedMenu%3Dposts%3BonClosedMenu%3Dposts%3BpostNum%3D0%3Bsrc%3Dpostname&media=https%3A%2F%2Fimages-blogger-opensocial.googleusercontent.com%2Fgadgets%2Fproxy%3Furl%3Dhttp%253A%252F%252F4.bp.blogspot.com%252F-FsXXGC88-74%252FVODF59AFYWI%252FAAAAAAAABjo%252Fp0VEfy9fzeU%252Fs1600%252FIan%25252Bthe%25252BGreen%25252B-%25252BPurple%25252BFret%25252B-%25252B400%25252Bdpi%25252B-%25252BVersion%25252B11.jpeg%26container%3Dblogger%26gadget%3Da%26rewriteMime%3Dimage%252F*&xm=h&xv=sa1.35&description=" style="background-color: transparent; background-image: url(data:image/png; border: none; cursor: pointer; display: none; height: 20px; left: 103px; opacity: 0.85; position: absolute; top: 12301px; width: 40px; z-index: 8675309;"></a><a href="" style="background-color: transparent; background-image: url(data:image/png; border: none; cursor: pointer; display: none; height: 20px; opacity: 0.85; position: absolute; width: 40px; z-index: 8675309;"></a><a href="" style="background-color: transparent; background-image: url(data:image/png; border: none; cursor: pointer; display: none; height: 20px; opacity: 0.85; position: absolute; width: 40px; z-index: 8675309;"></a><a href="" style="background-color: transparent; background-image: url(data:image/png; border: none; cursor: pointer; display: none; height: 20px; opacity: 0.85; position: absolute; width: 40px; z-index: 8675309;"></a><a href="" style="background-color: transparent; background-image: url(data:image/png; border: none; cursor: pointer; display: none; height: 20px; opacity: 0.85; position: absolute; width: 40px; z-index: 8675309;"></a>Alexandre Saint Pierrehttp://www.blogger.com/profile/04762481896322212429noreply@blogger.com0tag:blogger.com,1999:blog-1229444931421417703.post-61486608328290263722015-01-27T11:02:00.000-05:002015-01-27T11:02:31.267-05:00Estrella War Gift Scroll - a.s. xlix<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihkn8n9fBtVH0KeBKbC2qp4-aIMFfXlrfRnzZPj9UYyYfG15ro5hgEGejGkwRBIuCjm2BGM0F3YwNHKRj6Z0ydaIXrlwQ5TEMrSv1KJDOOeKhaDJR5acvzUykjs0yzD10CNmVhpeTGiNY/s1600/Estrella+Scroll.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihkn8n9fBtVH0KeBKbC2qp4-aIMFfXlrfRnzZPj9UYyYfG15ro5hgEGejGkwRBIuCjm2BGM0F3YwNHKRj6Z0ydaIXrlwQ5TEMrSv1KJDOOeKhaDJR5acvzUykjs0yzD10CNmVhpeTGiNY/s1600/Estrella+Scroll.jpeg" height="640" width="516" /></a></div>
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<table border="0"><tbody>
<tr><td><b>Project:</b></td><td>Estrella War Gift Scroll; from the East to the Outlands</td></tr>
<tr><td><b>Words:</b></td><td>Theodora Bryennissa called Treannah</td></tr>
<tr><td><b>Scroll:</b></td><td>Lord Alexandre Saint Pierre</td></tr>
<tr><td><b>Paper:</b></td><td>8" x 10" 230 gsm cream colored Pergamenata</td></tr>
<tr><td style="vertical-align: top;"><b>Script:</b></td><td>Fraktur</td></tr>
<tr><td style="vertical-align: top;"><b>Pens:</b></td><td>Hand cut goose quill with 1mm tip, pointed metal nibs.</td></tr>
<tr><td style="vertical-align: top;"><b>Inks:</b></td><td>Ian the Green's Iron Gall, Winsor & Newton's Scarlett, Minatum Ink</td></tr>
<tr><td style="vertical-align: top;"><b>Inspiration:</b></td><td><a href="http://commons.wikimedia.org/wiki/Rechenbuch_des_Andreas_Reinhard" target="_blank">Drei Register Arithmetischer ahnfeng zur Practic by Andreas Reinhard, 1599</a></td></tr>
</tbody></table>
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About three months ago I was asked to create a scroll for the East to gift to the Outlands at the Estrella war. I have no idea who it will ultimately be gifted to, but I hope they like it. As well as the words by Theodora Bryennissa, I had to include the heraldry of the kingdoms of the East and Outlands, and keep it all within a maximum size of 8 by 10". I had been itching for an excuse to try to copy this particular exemplar since it was first brought to my attention, so off I went.<br />
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I printed out a copy of the page sized so it matched my 8x10" requirement. Measuring it, I determined I had a space of about 3.5" by 4" to fit the text. I wanted to split the text into four blocks with one line of blank space above each. That meant my lines needed to be about 1/10th of an inch tall. That worked out to a setting of about 6.3 on the 1:1 scale of the AMES guide.<br />
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I cut a quill to the tip size I needed, in this case roughly 1mm, and started learning the hand and practicing it. My biggest concern was fitting the longest line of the poem within the 3.5" width limit. Everything looked good, now onto the next challenge, how to center the text...<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP-vyEcBN7fY9Vm-YJYOC0kyOlsptNi2EfEOFVe9R4710WA6adnMwVZgidneHP2R7qyLBAw4jLmoRdtppNmq8eEcEmr0waiVtfhAnBd5nN5CQMOC2_RcKGQFyEYc0TNbgA6E8tB268EBo/s1600/Estrella+Gift+-+Sizing+Practice.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP-vyEcBN7fY9Vm-YJYOC0kyOlsptNi2EfEOFVe9R4710WA6adnMwVZgidneHP2R7qyLBAw4jLmoRdtppNmq8eEcEmr0waiVtfhAnBd5nN5CQMOC2_RcKGQFyEYc0TNbgA6E8tB268EBo/s1600/Estrella+Gift+-+Sizing+Practice.JPG" height="161" width="640" /></a></div>
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I decided the only way to center the text would be to write it all out once, and use that practice to determine where to place the text on the final page. Here is the poem written out that first time.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4ND-6bmaRhfTXjtO2zcBhebkYvMTlz320VdxRgyMpDi8dofsl1PhwxkPrJCBB_HHD0Zk41_33qFdMKbIFoSnT4zeB-JV5Twstm5DRxR_pgDX6rglynO2CUBn9JTxPXlfmp9paB-VtNaw/s1600/IMG_0153.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4ND-6bmaRhfTXjtO2zcBhebkYvMTlz320VdxRgyMpDi8dofsl1PhwxkPrJCBB_HHD0Zk41_33qFdMKbIFoSnT4zeB-JV5Twstm5DRxR_pgDX6rglynO2CUBn9JTxPXlfmp9paB-VtNaw/s1600/IMG_0153.jpg" height="400" width="381" /></a></div>
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Happy with my practice on the text, it was time for page prep. First I pounced the page with gum sandarac. Then I drew the 1" margin lines with a lead/tin plummet.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbaCwX777z7zsAtfX3OKE6vMynIXNxqsx4qy_WXiQhyPze3ed7mEbtMjZzFrXziZTtj12Zg2fe8j7yeSljvlo8EHhkCIEH8vssL4z4NLM43RidNH_h6S9foBcKMeJYsLPtsPmA4vAtYbI/s1600/IMG_0150.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbaCwX777z7zsAtfX3OKE6vMynIXNxqsx4qy_WXiQhyPze3ed7mEbtMjZzFrXziZTtj12Zg2fe8j7yeSljvlo8EHhkCIEH8vssL4z4NLM43RidNH_h6S9foBcKMeJYsLPtsPmA4vAtYbI/s1600/IMG_0150.jpg" height="320" width="254" /></a></div>
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Then I added the pencil lines for the calligraphy.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqpttYJt6oYHwqDoXcR7LrWH-c-yo9PRVQNabJLhM_Yy08V-aSnsoTIHQB3whE_Qoozc7tn8DdRX16vXPDTo5Nfr_2TV5H5dcWIxLpG75RDtjAYhRmGkBmr0vOvb7toW4nyWLymcynXvQ/s1600/IMG_0151.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqpttYJt6oYHwqDoXcR7LrWH-c-yo9PRVQNabJLhM_Yy08V-aSnsoTIHQB3whE_Qoozc7tn8DdRX16vXPDTo5Nfr_2TV5H5dcWIxLpG75RDtjAYhRmGkBmr0vOvb7toW4nyWLymcynXvQ/s1600/IMG_0151.jpg" height="320" width="258" /></a></div>
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I had decided the first line of each grouping was going to be colored, alternating red and gold. Using some Miniatum Ink, thinned with Winsor & Newton Yellow, I penned the 5th and 13th lines of the poem.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiriXfDrGSNAuyB8a7xsSqgL11cTXFzIdV5Fl8NTCv0e8Fy8vTU2pl7HXrTzpHSt8YHnthVAfhoV6lYzDrDk1FmqYZwV0ObAbHmkuciJqljygKVA_eYc7D9AslxkAL4-tNokP82IpzqgX4/s1600/IMG_0161.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiriXfDrGSNAuyB8a7xsSqgL11cTXFzIdV5Fl8NTCv0e8Fy8vTU2pl7HXrTzpHSt8YHnthVAfhoV6lYzDrDk1FmqYZwV0ObAbHmkuciJqljygKVA_eYc7D9AslxkAL4-tNokP82IpzqgX4/s1600/IMG_0161.jpg" height="320" width="240" /></a></div>
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After waiting for the ink to dry, I applied the gold leaf.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-qY1QwWvK_ld64VLf04ld2n-RQ6XZZ1C0QXKM80oFiRUheVzOfh6kuGL8tGiAR9M9VD9UKgnUJrf1HiXmre9QA8ZT6-POX4zmKc61l9f5h8o3c1khHjuHdruPnq_fZiACnFTho1kNBhc/s1600/IMG_0162.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-qY1QwWvK_ld64VLf04ld2n-RQ6XZZ1C0QXKM80oFiRUheVzOfh6kuGL8tGiAR9M9VD9UKgnUJrf1HiXmre9QA8ZT6-POX4zmKc61l9f5h8o3c1khHjuHdruPnq_fZiACnFTho1kNBhc/s1600/IMG_0162.jpg" height="320" width="240" /></a></div>
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Then I added the 1st and 9th lines in red ink. You might see some evidence if you look closely, but I very nearly had to start over at this step. I penned line 9 in the wrong place! Realizing what I had done, I blotted up the ink with a paper towel, and then erased the area using a piece of <a href="http://www.amazon.com/10pcs-Buffer-Buffing-Sanding-Pedicure/dp/B00A8DHI2C/ref=sr_1_2?s=beauty&ie=UTF8&qid=1422218055&sr=1-2&keywords=nail+buffing+block" target="_blank">nail buffing block</a> that was given to me by Eva Woderose during a class on error correction. This beauty supply item is a soft sponge with a very fine abrasive on the surface. With it, I managed to completely erase the improperly placed line. I pounced again with more gum sandarac, touched up the pencil lines, and added line 9 in the correct place.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2gKn-eYXepRbs22Otl9SzCdk7M_DiAwUi6Y_lEVYppORyRyOj5_D3nTFkJmwAlhlMKxLUaYsYkeS4i8eLg5sA5CZvvgUs6gQ5nKLc9mWqQmiMDuRNR0_VVkniNYmEVjrPypohZX8H9k0/s1600/IMG_0163.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2gKn-eYXepRbs22Otl9SzCdk7M_DiAwUi6Y_lEVYppORyRyOj5_D3nTFkJmwAlhlMKxLUaYsYkeS4i8eLg5sA5CZvvgUs6gQ5nKLc9mWqQmiMDuRNR0_VVkniNYmEVjrPypohZX8H9k0/s1600/IMG_0163.jpg" height="320" width="240" /></a></div>
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With the colored text complete, I started adding the black text.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd9VLRmvl_5o-1QYnEhui44ynF9Ol9mT2d7REI6R4vndV_5WwTL1QRbMyVVOX4SHGb1135_l33CtbM6acixuUs6eKXTb5vTPY6uZc3Lo8QbXAWbZGEf9QqBjWLiQSALbpshpdvGXab3IU/s1600/IMG_0164.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd9VLRmvl_5o-1QYnEhui44ynF9Ol9mT2d7REI6R4vndV_5WwTL1QRbMyVVOX4SHGb1135_l33CtbM6acixuUs6eKXTb5vTPY6uZc3Lo8QbXAWbZGEf9QqBjWLiQSALbpshpdvGXab3IU/s1600/IMG_0164.jpg" height="320" width="240" /></a></div>
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With the text complete, it was time to get to work on the complex border. I decided to use a lightbox to pencil in where all the wide pen lines needed to go. I left spaces in the design for the two kingdoms' heraldry. I forgot while doing the design that I couldn't include the year or event number, so you can see them penciled into the design as possible elements.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQZ0FqxxMBeadN7qQfMBi4FJMSKtvmAUU8WO_AE_UdzHgSd457tJG6O-CyAVVyap1RG3QuKO8uky7cjDT6zunzNlnuKEFi2dom8AlwYQsv6sCSD1Kh_o5NsXqZN5tDC1z9Ni6wS3S2mfw/s1600/IMG_0186.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQZ0FqxxMBeadN7qQfMBi4FJMSKtvmAUU8WO_AE_UdzHgSd457tJG6O-CyAVVyap1RG3QuKO8uky7cjDT6zunzNlnuKEFi2dom8AlwYQsv6sCSD1Kh_o5NsXqZN5tDC1z9Ni6wS3S2mfw/s1600/IMG_0186.jpg" height="400" width="322" /></a></div>
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Pencil complete, I started the process of inking all the wide lines.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-wmY8HJYota3jyQziT_e3tVUWQydf3uPeohk1JsmmIQ9p5NXrw2zKLsL6MjRkX-C-ihlGyOeLIszuu2nPPc4_ZUPiAWJVqdaZughzVkgjgiIYC6ZkmLAehMVr8lCisNxgsuFLcxs-9BI/s1600/IMG_0428.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-wmY8HJYota3jyQziT_e3tVUWQydf3uPeohk1JsmmIQ9p5NXrw2zKLsL6MjRkX-C-ihlGyOeLIszuu2nPPc4_ZUPiAWJVqdaZughzVkgjgiIYC6ZkmLAehMVr8lCisNxgsuFLcxs-9BI/s1600/IMG_0428.jpg" height="400" width="300" /></a></div>
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I worked on this for several evenings. I also outlined the gold text with a pointed nib to help it stand out and match the style of the original.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHkPCkj0o790FVyKJ-szI2TDJiCmilljO2YQgKmQQ7T-T-X02uNo7fFQDX4-ISm1pS4C74YXl9wWx-FUFZr7luO53bgTeBM2T3KBXaf9hvQiBTIqPFHf87GMbrjgZn60RNs2roE3ee75E/s1600/IMG_0432.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHkPCkj0o790FVyKJ-szI2TDJiCmilljO2YQgKmQQ7T-T-X02uNo7fFQDX4-ISm1pS4C74YXl9wWx-FUFZr7luO53bgTeBM2T3KBXaf9hvQiBTIqPFHf87GMbrjgZn60RNs2roE3ee75E/s1600/IMG_0432.jpg" height="400" width="300" /></a></div>
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Finally, the wide lines were complete. I switched from my goose quill to a pointed metal nib, and began touching up and adding details. This is when the whole thing really started to come together. Compare the lower right to lower left in the photo below- the fine line work really helps everything pop.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxUfGOk-Sv3GxV6Goy9gu4h67n8OU_ANvNHWnRYIKIZye8ntdEh8AFyKPuXRcshn3gSjLQnBzVXN-OinbEFRgpM-W5Q0plNZ6BSI2Uyxt1oWWBUT3ldZ5_b_5ffSEmbBkjBjro_GT5DUY/s1600/IMG_0461.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxUfGOk-Sv3GxV6Goy9gu4h67n8OU_ANvNHWnRYIKIZye8ntdEh8AFyKPuXRcshn3gSjLQnBzVXN-OinbEFRgpM-W5Q0plNZ6BSI2Uyxt1oWWBUT3ldZ5_b_5ffSEmbBkjBjro_GT5DUY/s1600/IMG_0461.jpg" height="400" width="300" /></a></div>
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The detail work continued.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizRRXOhfRk_jZQVlDDdmYs5ZsUmprrynuaFPSSRKvkAaZOneA09EDW1RGx8ohijgl7yndQVOIqLJPGSCuud3GGyizU-8qlmllQQT0Kp3nihpT7bS9pllFZ-uVu85QC0q4MSx4VW3wUlPA/s1600/IMG_0462.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizRRXOhfRk_jZQVlDDdmYs5ZsUmprrynuaFPSSRKvkAaZOneA09EDW1RGx8ohijgl7yndQVOIqLJPGSCuud3GGyizU-8qlmllQQT0Kp3nihpT7bS9pllFZ-uVu85QC0q4MSx4VW3wUlPA/s1600/IMG_0462.jpg" height="400" width="300" /></a></div>
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Before I moved on to the pen doodles, I wanted to get the kingdom heraldry and the rest of the gold out of the way. I added the shield outline, sketched and inked in the heraldic designs. To stay with the black & white theme of the original, I decided to only use gold leaf & black ink. Using a pointed nib, I added a set of fine lines to represent the green background of the Outlands' shield. Then I used Miniatum ink for the the wreath, crown and antlers. I did the same for the gold outline of the laurel wreathe and the gold crown of the East. While I was using the Miniatum, I filled the remaining areas of the scroll that were going to have gold applied.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeC6DJqeaNjhmqqqcaS_ZDOwDq6KoXIME-rmRq35L31TedFvrofOTl1OBO8X9-KF_odsEoOZbxsqWTreD5yXjUG-VW0N5u07ra1X9_KG_y2b-BSdX3Q5ZercMYMdl9HYdV8zOYmS79bhI/s1600/IMG_0463.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeC6DJqeaNjhmqqqcaS_ZDOwDq6KoXIME-rmRq35L31TedFvrofOTl1OBO8X9-KF_odsEoOZbxsqWTreD5yXjUG-VW0N5u07ra1X9_KG_y2b-BSdX3Q5ZercMYMdl9HYdV8zOYmS79bhI/s1600/IMG_0463.jpg" height="400" width="300" /></a></div>
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I added the gold to the shields, as well as the ink background lines on the East's shield to represent the purple background and green wreath. I applied additional coats of Miniatum to the other areas of the scroll. Here you can see me trying to counteract the curl that the scroll started to develop with some weights.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi02NWsIg51rScUfk0l2c428zel50PyMsY2781SINWB2EQ0sqqG5RsF6esJO8bBXrncjtHYBqDprL4fFz5N4HUPcq3aWtqHo7hlfiVZEbkOMQPGySavJYqznSNkFPCkZXmkPX1TwvqBNYE/s1600/IMG_0464.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi02NWsIg51rScUfk0l2c428zel50PyMsY2781SINWB2EQ0sqqG5RsF6esJO8bBXrncjtHYBqDprL4fFz5N4HUPcq3aWtqHo7hlfiVZEbkOMQPGySavJYqznSNkFPCkZXmkPX1TwvqBNYE/s1600/IMG_0464.jpg" height="400" width="300" /></a></div>
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To finish, I applied the rest of the gold leaf. Them I stamped some designs into the gold areas. I placed a piece of scrap leather under the scroll, and then pressed various leatherworking tools into the gold to add the designs.<br />
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Finally, I used a pointed pen to add all the little space filling doodles. This image is a scan of the finished work, which is why the color is a little different from in the photos.<br />
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background-image: url(data:image/png; border: none; cursor: pointer; display: none; height: 20px; left: 95px; opacity: 0.85; position: absolute; top: 7816px; width: 40px; z-index: 8675309;"></a>Alexandre Saint Pierrehttp://www.blogger.com/profile/04762481896322212429noreply@blogger.com0tag:blogger.com,1999:blog-1229444931421417703.post-43938666398598135372015-01-19T12:47:00.000-05:002015-01-19T12:47:19.003-05:00Aildreda de Tamworth - Laurel Writ - a.s. xlix<div class="separator" style="clear: both; text-align: center;">
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<table border="0"><tbody>
<tr><td><b>Project:</b></td><td>Writ for the Order of the Laurel for Aildreda de Tamworth</td></tr>
<tr><td><b>Words:</b></td><td>Master Lucien de Pontivy</td></tr>
<tr><td><b>Latin Translation:</b></td><td>Master Steffan ap Kennydd</td></tr>
<tr><td><b>Scroll:</b></td><td>Lord Alexandre Saint Pierre</td></tr>
<tr><td><b>Paper:</b></td><td>8" x 10" Parchment made by David de Rosier-Blanc (<a href="https://www.etsy.com/shop/asofa" target="_blank">his Etsy store</a>)</td></tr>
<tr><td style="vertical-align: top;"><b>Script:</b></td><td>Proto Gothic</td></tr>
<tr><td style="vertical-align: top;"><b>Pens:</b></td><td>Hand cut goose quills. Tips are 1.0mm, ~0.7mm and ~0.5mm wide.</td></tr>
<tr><td style="vertical-align: top;"><b>Inks:</b></td><td>Ian the Green's Iron Gall, Winsor & Newton's Scarlett</td></tr>
<tr><td style="vertical-align: top;"><b>Inspiration:</b></td><td><a href="http://imslp.org/wiki/Codex_buranus_%28Anonymous%29" target="_blank">Codex Buranus</a></td></tr>
</tbody></table>
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Sometimes, the collaboration on a project is the best part. When I contacted Master Lucien about words for this scroll, we got into a sort of creative feedback loop, inspiring each other back and forth. Lucien informed me that his plan was to write new lyrics to a period drinking song called "Istud Vinum, Bonum Vinum" or "Bache, Bene Venies". The song was one of many written down in the Codex Buranus. I suggested using the original as inspiration for my layout and calligraphy, and he helped me find the digitized manuscript. In the process of reviewing it, I made the suggestion that all the required elements for the writ (dates & events) could be contained in a marginal note, instead of trying to fit them into the lyrics themselves. Lucien ran with that idea, and provided text for the note as if it was written by someone who witnessed the first performance of this song. He had this translated into latin by Master Steffan.<br />
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The original song itself was my starting point for layout & calligraphic inspiration. Though I also took inspiration from various other pages within the manuscript for the capital letters, marginal note style, and initial F.<br />
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I started by printing out a copy and using it to make measurements so I could match the ratios of the original. I don't know the size of the original, so instead I printed it at the size I was planning on working. My measurements found about a 0.7mm nib width, 2mm minim height, and between 6-8mm of space between lines. I also recorded the height of capital letters, ascenders and descenders.<br />
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I cut an age-cured goose feather into quill with about a 0.7mm width, and practiced copying some of the original text with it. Happy with the control I had, I found the Ames guide setting to match, and drew some sample lines. After testing them for the correct height, I wrote out a sample alphabet. To keep with the feel of the original, I decided to only use the tall s form, even at the ends of words. I also used the u shape for both u and v. Finally, I converted any instance of "and" to an &, and wrote it using the period version, which looks like the number 7.<br />
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I had just received an order of parchment from David de Rosier-Blanc, and really wanted to try it out. I started by pouncing it with a blend of dental pumice and gum sandarac. Then I lined the margins with a lead-tin plummet, and used a pencil with my trusty Ames guide for the calligraphy guides.<br />
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I made sure to leave space for the initial F, and wrote out the words. The red initials were written with a 1mm quill I cut for another project. I initially had some problems with my ink beading up on the parchment. A couple applications of dental pumice to absorb the oils fixed that, and I continued on. </div>
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With the primary text done, I erased my pencil lines and added lead-tin lines. In period, these were probably the only guidelines the calligraphers used. They "floated" their lettering in between the two lines. Staying consistent that way takes a lot of practice and skill, so I'm happy to use my modern guidelines to get the results I want, even if it isn't something period scribes did.<br />
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I also pricked holes at the intersections of the lines. Period scribes working on books would prick through several pages at a time so the size of the margins and lines were the same on all of them. They would connect the holes with a straight-edge and plummet. I worked in reverse with the goal of making it appear like I followed the medieval practice.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1E4CKEHKXIvSDcy25sFWK4aM8N1jglp0BnkKiz6sRVngpAOCnfB378ulQZC9DuWdvCNbKFcOfM8L0wi6qBw56WwSfI5EOAFdG6Fdh98Vv-rEnWJQofIA5NFRc71Og-dVB2ubSpPwvHa8/s1600/IMG_0431.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1E4CKEHKXIvSDcy25sFWK4aM8N1jglp0BnkKiz6sRVngpAOCnfB378ulQZC9DuWdvCNbKFcOfM8L0wi6qBw56WwSfI5EOAFdG6Fdh98Vv-rEnWJQofIA5NFRc71Og-dVB2ubSpPwvHa8/s1600/IMG_0431.jpg" height="400" width="286" /></a></div>
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<br />
With the primary text complete, I cut a 0.5mm quill for writing the marginal note. In the original, the marginal notes were smaller and more tightly spaced than the primary text, they were also generally a bit "messier" as they were often written in haste by a reader of the text. I practiced with some smaller guidelines to make sure everything worked.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE1BRD9XII-jIyMini_af7pfMn-cFcNRLwDhNfvFu4ZQi3ZQPPZT8GdsOQaak1886Ia53RGo6lQKeVXgyry7nzNORCT6ef9fb5Kc6yWgn7WoVv1WE0LjXiwMQRGmVgT2LnIDwqL-FFyN8/s1600/IMG_0459.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE1BRD9XII-jIyMini_af7pfMn-cFcNRLwDhNfvFu4ZQi3ZQPPZT8GdsOQaak1886Ia53RGo6lQKeVXgyry7nzNORCT6ef9fb5Kc6yWgn7WoVv1WE0LjXiwMQRGmVgT2LnIDwqL-FFyN8/s1600/IMG_0459.JPG" height="136" width="320" /></a></div>
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Finally, I added the marginal note, the initial F, and added some pen flourishing around all the capital letters.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQapH05XmydI7kne7HAFuYQfwAiDQo4xZOqN_8RRCwSjC0W5mCPb4z6Sb2oS77pNOAKGUbQ91k4Nndf0EJiSnAuC2GTpeav8jT7z94x6eOsmsSMup30FmTD3DKOba-H4lYIxMD4uofoYg/s1600/Aildreda+de+Tamworth+-+Laurel+Writ+-+300ish+dpi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQapH05XmydI7kne7HAFuYQfwAiDQo4xZOqN_8RRCwSjC0W5mCPb4z6Sb2oS77pNOAKGUbQ91k4Nndf0EJiSnAuC2GTpeav8jT7z94x6eOsmsSMup30FmTD3DKOba-H4lYIxMD4uofoYg/s1600/Aildreda+de+Tamworth+-+Laurel+Writ+-+300ish+dpi.jpg" height="640" width="511" /></a></div>
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Words by Master Lucien de Pontivy, Latin translation by Master Steffan ap Kennydd:</div>
<blockquote class="tr_bq">
For the gifts of wine and song we sing our thanks in latin<br />
Making mirth and joyful noise from Compline unto Matins<br />
[Refr.] Istud vinum, bonum vinum, vinum generous<br />
Reddit virum curialem probum animosum.<br />
Artisans and scholars love our legends, lore, and pages<br />
Love of learning, as of wine, gets finer as it ages<br />
Good wine makes Society both elegant and graceful<br />
Clever, structured vintages as subtle as they’re tasteful<br />
Since we’re speaking subtlety it might escape attention<br />
All these words describe a gentle worthy of our mention<br />
Countless gifts of song and story measureless and mighty<br />
Class and learning in abundance — also she’s quite sightly<br />
If it’s learning, mirth or reverence Dreda can instill it<br />
Medieval from her tiny boots up to her veil and fillet<br />
When we talk of Dreda we already call her peerless<br />
So the Laurels all agreed: let’s just call her Mistress</blockquote>
Marginal note:<br />
<blockquote class="tr_bq">
Audivi hoc melum festum cum canebatur curia Edwardi et Thyrae festo Epiphaniae die xvij Jan. a.s. xlix. Tunc fuit ut Aildreda de Tamworth arcessita est ut compareat Investitura baronis et baronissae Portus Draconavis unum mensem respondeat num se junctura sit Ordini Laureae.</blockquote>
Translation of marginal note:<br />
<blockquote class="tr_bq">
I heard this festive song when it was sung at the court of Edward and Thyra on the feast of the Epiphany on the 17th day of January in the 49th year of the Society. Then it was that Aildreda de Tamworth was summoned that she might appear at the Investiture of the baron and baroness of Dragonship Haven one month thereafter that she might respond whether she might be about to join herself to the Order of the Laurel.</blockquote>
<br />
<b>Self-Evaluation</b><br />
<br />
At the end of every project, I try to look at my work with a critical eye. The trick is to do this in a way that allows me to focus on what to improve, instead of dwelling on what I might not like. Also, I'm sure the recipients of my work don't need to read about all the areas that I'm unhappy with!<br />
<br />
I'm very happy with the feel of this piece. I wanted it to look like a page taken right out of the Codex Buranus, and I believe I succeeded at that goal. In the process of making it, I improved my skills at writing with and cutting quills. I also learned more about working with parchment (which will lead to an instructional post in the nearish future...).<br />
<br />
I think I can still improve with the thinness of my hairlines when writing with a quill. I'm not sure the exact cause, but I think there are a few possible reasons. Primarily, I still use more pressure than I need to get the ink flowing. I may also be able to cut a finer point and prepare my parchment better. Spacing within my letters might have been a bit too tight when compared to the original, while my space between words is a bit wide. Finally, I think I could have been a little more subtle with the serifs on my letter forms.<br />
<br />
In all, this was a very enjoyable project. From a very entertaining collaborative process, to penning the calligraphy itself, I had a lot of fun. I hear from Lucien that Dreda loved it. In the end, that's the most important aspect of an assignment.<br />
<a href="http://www.pinterest.com/pin/create/extension/?url=https%3A%2F%2Fwww.blogger.com%2Fblogger.g%3FblogID%3D1229444931421417703%26pli%3D1%23editor%2Ftarget%3Dpost%3BpostID%3D4393866639859813537%3BonPublishedMenu%3Dposts%3BonClosedMenu%3Dposts%3BpostNum%3D0%3Bsrc%3Dpostname&media=https%3A%2F%2Fimages-blogger-opensocial.googleusercontent.com%2Fgadgets%2Fproxy%3Furl%3Dhttp%253A%252F%252F4.bp.blogspot.com%252F-csoqr2pIvBQ%252FVLvrIFPczeI%252FAAAAAAAABds%252FUyLWokXcxGY%252Fs1600%252FIMG_0458.JPG%26container%3Dblogger%26gadget%3Da%26rewriteMime%3Dimage%252F*&xm=h&xv=sa1.35&description=" style="background-color: transparent; background-image: url(data:image/png; border: none; cursor: pointer; display: none; height: 20px; left: 153px; opacity: 0.85; position: absolute; top: 1996px; width: 40px; z-index: 8675309;"></a><a href="http://www.pinterest.com/pin/create/extension/?url=https%3A%2F%2Fwww.blogger.com%2Fblogger.g%3FblogID%3D1229444931421417703%26pli%3D1%23editor%2Ftarget%3Dpost%3BpostID%3D4393866639859813537%3BonPublishedMenu%3Dposts%3BonClosedMenu%3Dposts%3BpostNum%3D0%3Bsrc%3Dpostname&media=https%3A%2F%2Fimages-blogger-opensocial.googleusercontent.com%2Fgadgets%2Fproxy%3Furl%3Dhttp%253A%252F%252F4.bp.blogspot.com%252F-csoqr2pIvBQ%252FVLvrIFPczeI%252FAAAAAAAABds%252FUyLWokXcxGY%252Fs1600%252FIMG_0458.JPG%26container%3Dblogger%26gadget%3Da%26rewriteMime%3Dimage%252F*&xm=h&xv=sa1.35&description=" style="background-color: transparent; background-image: url(data:image/png; border: none; cursor: pointer; display: none; height: 20px; left: 153px; opacity: 0.85; position: absolute; top: 1996px; width: 40px; z-index: 8675309;"></a>Alexandre Saint Pierrehttp://www.blogger.com/profile/04762481896322212429noreply@blogger.com0tag:blogger.com,1999:blog-1229444931421417703.post-23322357393365755442014-12-05T11:33:00.000-05:002017-03-21T10:43:52.009-04:00Foundations of Calligraphy by Sheila Waters<table border="0" cellpadding="5" cellspacing="5" style="border-collapse: collapse; border: thin wheat solid; width: 100%;"><tbody>
<tr style="border-bottom: thin wheat solid;"> <td colspan="2" style="white-space: nowrap;"><span style="font-size: large;"><b>Foundations of Calligraphy</b></span></td><td style="text-align: right;">by Sheila Waters</td> </tr>
<tr style="border: thin wheat solid;"> <td colspan="2" style="white-space: nowrap;"><b>Alexandre's Rating:</b></td> <td style="text-align: right; white-space: nowrap;"><div class="noborderdv" style="clear: both;">
<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /></div>
</td></tr>
<tr style="border-bottom: thin wheat solid;"> <td colspan="3" style="text-align: right; white-space: nowrap;"><b>ISBN-13:</b> <span style="white-space: normal;">978-0966530513 - </span><a href="http://www.johnnealbooks.com/prod_detail_list/s?keyword=foundations+of+calligraphy" target="_blank">John Neal Bookseller</a></td> </tr>
<tr style="border: thin wheat solid;"> <td colspan="2" style="white-space: nowrap;">Images of Period Examples</td> <td style="text-align: right; white-space: nowrap;"><div class="noborderdv" style="clear: both;">
<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /></div>
</td></tr>
<tr style="border: thin wheat solid;"> <td colspan="2" style="white-space: nowrap;">Historic & Paleographic Knowledge</td> <td style="text-align: right; white-space: nowrap;"><div class="noborderdv" style="clear: both;">
<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /></div>
</td></tr>
<tr style="border: thin wheat solid;"> <td colspan="2" style="white-space: nowrap;">Ductus/Instructions on Historic Scripts</td> <td style="text-align: right; white-space: nowrap;"><div class="noborderdv" style="clear: both;">
<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /></div>
</td></tr>
<tr style="border: thin wheat solid;"> <td colspan="2" style="white-space: nowrap;">Accessibility to Novice Calligraphers</td> <td style="text-align: right; white-space: nowrap;"><div class="noborderdv" style="clear: both;">
<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /></div>
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<tr style="border: thin wheat solid;"> <td colspan="2" style="white-space: nowrap;">Techniques for Left-Handed Calligraphers</td> <td style="text-align: right; white-space: nowrap;"><div class="noborderdv" style="clear: both;">
N/A</div>
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<tr style="border: thin wheat solid;"><td colspan="2">This book would be an excellent addition to the library of any serious student of calligraphy who wants to improve their skills. Waters does a superb job of teaching how to be an analytical calligrapher: both in how to examine a hand to learn how to reproduce it, as well as common mistakes in the formation of different scripts and how to prevent them. <br />
<br />
This is a skills focused book that is written with the beginner/intermediate calligrapher in mind. The chapters are ordered such that they help guide a novice calligrapher, generally starting with easier scripts and progressing to more difficult. It is dense, and will probably provide more benefit to someone who is comfortable with the pen and a couple alphabets already.<br />
<br />
While she includes some decent notes on the history of the scripts, you'll have to look elsewhere for detailed history and high quality extant examples of medieval calligraphy. The focus of this book is on the skills, knowledge, and techniques needed to become a better calligrapher.</td> <td align="center" style="border: thin wheat solid;" valign="top"><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9hfglbqpjRRkrkViHfD5OKivBJn65evpgCGjj6CtlVR9nwyB4n9tLYrdyBtzZlj3VrYoslJlC6m7O8MtV6eBq7XnjVVQDPMALlWIoBvd8_MdOYSERirqy2PC0rGkEPxWXCZT1s1PRLV8/s1600/872_5784_large.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9hfglbqpjRRkrkViHfD5OKivBJn65evpgCGjj6CtlVR9nwyB4n9tLYrdyBtzZlj3VrYoslJlC6m7O8MtV6eBq7XnjVVQDPMALlWIoBvd8_MdOYSERirqy2PC0rGkEPxWXCZT1s1PRLV8/s200/872_5784_large.jpg" width="155" /></a></div>
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<br />
Chapter by chapter review:<br />
<br />
<b><span style="font-size: large;">Chapter One - Basics & Beyond</span></b><br />
<br />
Great information on the mechanics of including notes on setting up your writing area choosing your ink and pen, nib & reservoir adjustment, and controlling ink flow. There's excellent instruction and diagrams of how to hold the calligraphy pen and setup your writing board and slope. She also shares some "rules" on line spacing for legibility as well as methods for analyzing a script so you can copy it accurately and consistently; excellent skills for an SCA scribe to have! Information is dense, and make take several reads for novice calligraphers to get the most benefit.<br />
<br />
<br />
<b><span style="font-size: large;">Chapter Two - Roman Minuscule: Foundational Hand</span></b><br />
<br />
Waters starts with Edward Johnson's modern Roman Minuscule as an easy - and in her opinion, critical - hand to learn for the beginning calligrapher. She starts by showing how it relates to other hands, both period and modern, and then moves into instruction on how to form the letters. Before launching into the ductus for the alphabet, she details the proper techniques involved in creating the letters to allow for consistent weight, angle, width and serifs. She also diagrams common mistakes so the novice calligrapher knows what to look for and how to prevent them. As she moves into her ductus, she continues to point out common mistakes on a letter by letter basis. Finally, she goes into detail on how to keep your spacing consistent and appropriate between letters and lines.<br />
<br />
<br />
<b><span style="font-size: large;">Chapter Three - Capitals</span></b><br />
<br />
In this chapter, Roman Capitals are given a detailed overview in how they are formed, with specific attention to width and spacing. This is another fairly dense chapter, but full of really useful information about these complicated letter shapes.<br />
<br />
<br />
<b><span style="font-size: large;">Chapter Four - Narrow Hands: From Roman Minuscule to Blackletter</span></b><br />
<br />
I love the concept of this chapter. It shows two centuries of evolution of calligraphy - how Carolingian Minuscule gradually became Gothic Blackletter - with practical examples. Novice calligraphers often get fixated on "what script is this?", when in reality calligraphic hands can defy simple classification. This period in particular was a slow change, and Waters does a great job showing that. She continues to include details of common mistakes and what causes them.<br />
<br />
<br />
<b><span style="font-size: large;">Chapter Five - Gothic Cursives</span></b><br />
<br />
These are some of my favorite hands (Bastard Secretary, Bâtarde, Fraktur, etc.) and Waters' treatment of them is excellent. She shows how pen angle and minim height are linked for these "pointed gothics", and shares a few tips on the different types of pen manipulation that are required for this hand. Finally, she shares a some excellent advise on focusing on the whitespace in proper letter forming, I really like her "arches and wine glasses" note about forming consistent top and bottom arches of letters that contain them.<br />
<br />
<br />
<b><span style="font-size: large;">Chapter Six - Uncial & Half Uncial</span></b><br />
<br />
These hands are treated to the same level of analysis as the others, with paragraphs talking about pen angle, letter shape, and the confusing naming of the two hands (hint for new calligraphers, each hand is separate, Uncial isn't the "uppercase" with Half Uncial the matching "lowercase"). This chapter has less information on the formation of letters than some of the earlier chapters. If you are really interested in getting these particular hands historically correct, you'll want to look to different books.<br />
<br />
<br />
<b><span style="font-size: large;">Chapter Seven - Carolingian</span></b><br />
<br />
This chapter has some great historic information about the importance of this script, how and why it was developed, and how it was used. Waters makes some interesting notes about how history influenced the form of the script itself, and vice versa. She goes on to talk about how Carolingian was involved with Johnson's Foundational hand and calligraphic revival of the early 20th Century. Finally, she provides an analysis of the hand and notes on penning a modern interpretation, including notes on capitals, pen scales, slant and pen angles, letter shapes and speed of writing.<br />
<br />
<br />
<b><span style="font-size: large;">Chapter Eight - Italic</span></b><br />
<br />
This chapters starts with an explanation of how the development of Italic started in period, but processed out of period and influenced other hands. Because of the popularity and variety in Italic, Waters recommends looking at as many period sources as possible to understand and pen the script well. She describes three period versions of this script a serious student of medieval calligraphy should be comfortable with: Informal, Semiformal and Formal. There's a bit of discussion about pen angle in relation to this hand, and how complicated that subject can be. Because of the complexity of this script, a few pen exercises are included.<br />
<br />
<br />
<b><span style="font-size: large;">Chapter Nine - Italic Variations</span></b><br />
<br />
If chapter eight is mostly theory, chapter nine makes up for it. Three pages of examples show how variations of branching points, arch shape, letter slant and letter width interact and appear. It's a wonderful visual showing just how expressive a calligrapher can be within a single hand. The chapter also contains discussion of these variables and how to apply them to your work, and numerous modern examples.<br />
<br />
<br />
<b><span style="font-size: large;">Chapter Ten - Analysis & Practice</span></b><br />
<br />
This chapter talks in detail about effective practice, and expresses a lot of concepts that are dear to me. She describes a method for splitting your practice time into Analytical and Rhythmical practice. Several paragraphs describe each style of practice and what to focus on. In the Analytical practice, Edward Johnson's "Seven Rules for Analyzing Hands" are explained in detail, as well as several methods of self-analysis. Rhythmical practice focuses on keeping the pen moving - know the hand well enough to keep moving, use simple prose, finish a "mini project" to refer to again in the future to see how your skill has improved.<br />
<br />
Like with many other chapters, Waters also gives some tips on how not to practice. She finishes the chapter with a note on "calligraphic depression", where you reach a point in your practice that you feel you are (and won't) improve. I've heard much of the content of this chapter from my great great grand laurel, Master Robert, and it's great to see them expanded on and expressed in a different way.<br />
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<br />
<b><span style="font-size: large;">Chapter Eleven - Design & Layout</span></b><br />
<br />
This chapter starts with the excellent point that may calligraphy students have no background in design, and most calligraphy classes focus on making the letters. She details concepts such as spacing between lines, the size and shape of the text area, and how to include other elements. In the SCA we are blessed in that we often copy our layout directly from period examples, and learn a medieval design aesthetic through this process. Layout is a difficult concept to teach, but Waters does an admirable job introducing the ideas of unity, balance, emphasis, proportions, and movement. Descriptions and visual examples of each concept are provided to help the reader learn to look for an analyze these elements of design.<br />
<br />
She ends the chapter detailing how design can be used to promote legibility and readability. Specifically the effect of letter, word, line, and margin spacing.<br />
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<br />
<b><span style="font-size: large;">Chapter Twelve - From Conception to Completion</span></b><br />
<br />
This chapter starts by explaining something that many new artists may not understand: art requires a lot of experimentation resulting in both failure and success. Every project will require practice to determine what size & spacing to work at, rough out the design, etc. Waters talks about her process and shows examples of her output for two different projects, from start to finish:<br />
<br />
<ol>
<li>Start with deep thought about the project, its content, recipient, etc. </li>
<li>Sketch ideas on paper. Using pencil on separate pieces of paper.</li>
<li>Continue by testing nibs, inks and colors so see how they work together.</li>
<li>Create a final draft.</li>
<li>Work on the final piece.</li>
</ol>
<div>
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Each of these steps is discussed in detail. This is a nice chapter to see as it's a difficult subject, and as she points out, often neglected.</div>
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<div>
<b><span style="font-size: large;">Chapter Thirteen - Applying Design Principles</span></b></div>
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<div>
The final chapter shows in detail how to apply the principles of design outlined in chapter eleven. As with many of her chapters, she contrasts good and bad examples of design with excellent discussion of each element.</div>
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<div>
<b><span style="font-size: large;">Gallery</span></b></div>
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<div>
The book ends with a gallery of some of Waters artwork. While these are modern in nature, they show the amount of range that is possible with calligraphy, and inspiration for any one who considers themselves a calligrapher.</div>
Alexandre Saint Pierrehttp://www.blogger.com/profile/04762481896322212429noreply@blogger.com0tag:blogger.com,1999:blog-1229444931421417703.post-41219374414199660912014-12-01T11:20:00.000-05:002014-12-01T11:33:02.976-05:00Sabine de Kerbriant - Laurel Writ - a.s. xlix<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhVh1drjSBRCnfDQ1T8EZoNd9a_nsR2f7kE_3cMqdL-oPkuMztLXB2xyrN66y8u6AIdin6MjY3RbrRYdS88LluKTn_gGYmZKiQTr0UbxBuZpjmDIzHlzxAdza2UDT-pV2tQuSnz5ldg9Q/s1600/Sabine+-+Laurel+Writ.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhVh1drjSBRCnfDQ1T8EZoNd9a_nsR2f7kE_3cMqdL-oPkuMztLXB2xyrN66y8u6AIdin6MjY3RbrRYdS88LluKTn_gGYmZKiQTr0UbxBuZpjmDIzHlzxAdza2UDT-pV2tQuSnz5ldg9Q/s1600/Sabine+-+Laurel+Writ.JPG" height="278" width="640" /></a></div>
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<table border="0"><tbody>
<tr><td><b>Project:</b></td><td>Writ for the Order of the Laurel for Sabine de Kerbriant</td></tr>
<tr><td><b>Words:</b></td><td>Dame Brunissende Dragonnette</td></tr>
<tr><td><b>Paper:</b></td><td>Natural 230 GSM Pergamenata</td></tr>
<tr><td style="vertical-align: top;"><b>Script:</b></td><td>Early Gothic</td></tr>
<tr><td style="vertical-align: top;"><b>Pen:</b></td><td>Hiro Rond #4 & #5</td></tr>
<tr><td style="vertical-align: top;"><b>Ink:</b></td><td>Sumi Bokuju, Windsor & Newton Crimson and Blue</td></tr>
<tr><td style="vertical-align: top;"><b>Inspiration:</b></td><td><a href="http://luna.folger.edu/luna/servlet/detail/BINDINGS~1~1~16859~104905:Open-covers-inverted,-172--106q" target="_blank">Recycled Vellum Book Cover from the Folger Shakespeare Library</a></td></tr>
</tbody></table>
<a name='more'></a><br />
When I received this assignment, the notes indicated that Sabine would like her scroll to be written in French. I've been wanting to pen a dual-language scroll for a while, and this presented an opportunity.<br />
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I asked Dame Brunissende for help with the text, and the SCA scribal community for help finding a dual-language original to use as inspiration.<br />
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<br />
The hardest part about this piece was getting the spacing correct. I relied heavily on my word processor.<br />
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I started, as usual, by figuring out the letter shapes, nib size and line spacing.<br />
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I used this practice to roughly judge when line breaks in the french text would occur. I then finished the main body of french text.<br />
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Then I practiced with tighter lines and a smaller nib for the English text.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHWzRgE3zbdSynNxXVAsf6bM-aZ2lHGUX2L-NtW5OC_17i5s6pPviKgggGfidSHQbFX0mH3OQqjFzHsNa_rPljMFqTJD_ofJUb2DnjcIueawC4hmb87fO3zT4bUXX4mrTQEZKAj0uFnN4/s1600/Sabine+-+Small+Practice.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHWzRgE3zbdSynNxXVAsf6bM-aZ2lHGUX2L-NtW5OC_17i5s6pPviKgggGfidSHQbFX0mH3OQqjFzHsNa_rPljMFqTJD_ofJUb2DnjcIueawC4hmb87fO3zT4bUXX4mrTQEZKAj0uFnN4/s1600/Sabine+-+Small+Practice.JPG" height="56" width="640" /></a></div>
<br />
Then I turned to the word processor. It's hard to describe my exact process, but I do have plans to write an article about it with examples at some point.<br />
<br />
In short, I figure out a font size that just about matches the hand I'm using in terms of width. I adjust the line spacing in the word processor to get the same number of lines per inch as I drew with my AMES guide. Then I adjust the margins to get an idea of where the line-breaks will be. As you can see, it's not an exact science.<br />
<br />
In this case, my word processor wouldn't allow me to wrap on both sides of the French text, so I wrapped on the left side only. I counted the short lines manually and switched to the right column when I had completed half of them.<br />
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<br />Alexandre Saint Pierrehttp://www.blogger.com/profile/04762481896322212429noreply@blogger.com0tag:blogger.com,1999:blog-1229444931421417703.post-67578550236934936572014-11-30T11:30:00.000-05:002014-11-30T11:30:58.252-05:00Calligraphy: A Course in Hand Lettering by Maryanne Grebenstein<br />
<table border="0" cellpadding="5" cellspacing="5" style="border-collapse: collapse; border: thin wheat solid; width: 100%;"><tbody>
<tr style="border-collapse: collapse; border: thin wheat solid;"><td colspan="2" style="white-space: nowrap;"><b><span style="font-size: large;">Calligraphy: A Course in Hand Lettering</span></b></td><td style="text-align: right;">by Maryanne Grebenstein</td></tr>
<tr style="border-collapse: collapse; border: thin wheat solid;"><td colspan="2" style="white-space: nowrap;"><b>Alexandre's Rating:</b></td><td style="text-align: right; white-space: nowrap;"><div class="noborderdv" style="clear: both;">
<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /></div>
</td></tr>
<tr style="border-collapse: collapse; border: thin wheat solid;"><td colspan="3" style="text-align: right;"><b style="white-space: nowrap;">ISBN-13:</b><span style="white-space: nowrap;"> </span>978-0823005536 <span style="white-space: nowrap;">- <a href="http://www.amazon.com/Calligraphy-A-Course-Hand-Lettering/dp/0823005534/ref=sr_1_1?ie=UTF8&qid=1414501532&sr=8-1&keywords=calligraphy+a+course+in+hand+lettering" target="_blank">Amazon</a></span></td></tr>
<tr style="border-collapse: collapse; border: thin wheat solid;"><td colspan="2" style="white-space: nowrap;">Images of Period Examples</td><td style="text-align: right; white-space: nowrap;"><div class="noborderdv" style="clear: both;">
<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /></div>
</td></tr>
<tr style="border-collapse: collapse; border: thin wheat solid;"><td colspan="2" style="white-space: nowrap;">Historic & Paleographic Knowledge</td><td style="text-align: right; white-space: nowrap;"><div class="noborderdv" style="clear: both;">
<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /></div>
</td></tr>
<tr style="border-collapse: collapse; border: thin wheat solid;"><td colspan="2" style="white-space: nowrap;">Ductus/Instructions on Historic Scripts</td><td style="text-align: right; white-space: nowrap;"><div class="noborderdv" style="clear: both;">
<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /></div>
</td></tr>
<tr style="border-collapse: collapse; border: thin wheat solid;"><td colspan="2" style="white-space: nowrap;">Accessibility to Novice Calligraphers</td><td style="text-align: right; white-space: nowrap;"><div class="noborderdv" style="clear: both;">
<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMMi35eh5SA7YH6lLgdN6VipQtiZik6rWq-kg4cuQjXZlj6oYhhqT73v6iunGIcJTi2-yxY0WxNJdrr72z3KuaSyc5ztmAuJoNYNLVJAWKim8ZCLT6p0fEmN51PzmvmJQqWzYR5g0w4/s1600/quill-icon.png" /></div>
</td></tr>
<tr style="border-collapse: collapse; border: thin wheat solid;"><td colspan="2" style="white-space: nowrap;">Techniques for Left-Handed Calligraphers</td><td style="text-align: right; white-space: nowrap;"><div class="noborderdv" style="clear: both;">
N/A</div>
</td></tr>
<tr style="border-collapse: collapse; border: thin wheat solid;"><td colspan="2">If you want a detailed history of calligraphy, look elsewhere. If you want a beginner-friendly book that uses a different technique (tracing!) to get you started quickly putting pen to paper, this is a great choice. While it only covers 4 period hands and one modern teaching hand, it does so in a very accessible way. It also includes a great deal of information on tools and techniques a new calligrapher will need, and transparent guideline sheets to match each of the 5 hands it teaches. <i>Please note</i>: you will need a 2mm wide calligraphy pen and translucent tracing vellum to use the book as intended.<br />
<br />
I would have preferred to see the scripts presented in a different order: Foundational (a modern teaching hand), followed by Carolingian, Italic, Uncial then finally Gothic. But this is a minor thing, especially considering the instructional method. There's also nothing stopping you from practicing the scripts in that order instead.<br />
<div>
<br /></div>
<div>
The real strength of this book is that it allows students to jump very quickly into making letters. By comparing your letters to the example you are tracing you can immediately see what you did right, and what you didn't. If you are new to calligraphy, and frustrated or intimidated by creating letters freehand, this book offers a great alternative way to get started.</div>
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<a href="http://ecx.images-amazon.com/images/I/51urm67k7LL.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://ecx.images-amazon.com/images/I/51urm67k7LL.jpg" height="150" width="200" /></a></div>
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<a name='more'></a><br />
Chapter by chapter summaries and review:</div>
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<b><span style="font-size: large;">Welcome to Calligraphy</span></b></div>
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<div>
Grebenstein starts by explaining that she "<i>created </i>[the book] <i>specifically for students who have little or no previous experience in the lettering arts</i>". She continues her welcome by briefly talking about how the skills for writing calligraphy differ from those used in modern handwriting.</div>
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<div>
<b><span style="font-size: large;">A Color Portfolio of Calligraphy</span></b></div>
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<div>
This chapter provides some light history of calligraphy, as well as color images of several period examples to serve as inspiration and help the reader understand what medieval calligraphy looked like. While there aren't as many images as some other books, what is included certainly help the reader understand enough of the history of calligraphy to whet their appetite for more.</div>
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<br /></div>
<div>
<b><span style="font-size: large;">Introduction: Using this Book</span></b></div>
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<div>
This short chapter explains the layout and order of the book, explains about the inclusion of transparent guideline sheets, and that the exercises in book are designed for a 2mm nib.</div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<b><span style="font-size: large;">Chapter One: Getting Started</span></b></div>
<div>
<br /></div>
<div>
This chapter discusses her recommended writing area setup: including table, slope, lighting, placement of tools, paper orientation, and blotter use. Two supplies lists are provided: Basic & Advanced. I agree almost completely with her recommended list of tools and supplies. She leaves off the AMES guide, which I disagree with, but I understand that many people prefer to line the page using rulers instead. Given that this book has a fairly beginner focus, it's an understandable omission.</div>
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<br /></div>
<div>
Next she launches into information on how to use a broad-edged pen. She talks in some detail about pen angle, pen scale (minim height in nib widths), nib width, x-height (which I prefer to call minim height) how to make a "checkerboard" (or ladder) to determine minim height based on a certain number of nib widths, letter slope (the angle the vertical strokes of letters are drawn at), ascenders and descenders. As these terms are explained they are clearly diagrammed to the side of the text. Definitions provided, the next couple pages explain briefly how to measure and apply them in practice.</div>
<div>
<br /></div>
<div>
Finally, she talks about letter spacing and how to use her guideline sheets. While the basics are covered, there are no pen practice exercises specified before the book jumps right into each script. The scripts chapters do include practice of the strokes used in that particular script, but I feel that a new calligrapher would benefit from some guided practice to become comfortable with the pen. That said, she does cover much of this with how she has the student learn each script.</div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<span style="font-size: large;"><b>Chapter Two: The Italic Hand</b></span></div>
<div>
<span style="font-size: large;"><b>Chapter Three: The Uncial and Half Uncial Hands</b></span></div>
<div>
<span style="font-size: large;"><b>Chapter Four: The Carolingian Hand</b></span></div>
<div>
<span style="font-size: large;"><b>Chapter Five: The Gothic, or Black Letter, Hand</b></span></div>
<div>
<span style="font-size: large;"><b>Chapter Six: The Foundational Hand</b></span></div>
<div>
<br /></div>
<div>
Each of the script chapters is organized same general way, and present a unique way of teaching a new calligrapher: tracing.</div>
<div>
<br /></div>
<div>
The chapters start with a paragraph or two describing the history of the script. </div>
<div>
<br /></div>
<div>
The student is directed to begin the process of learning the script by tracing the "skeletal" shapes of the letters soft pencil on translucent tracing vellum. Grebenstein explains that the thicks and thins of a calligraphy pen can be distracting at this point, and the goal is to become comfortable with the general letter shape and strokes involved.</div>
<div>
<br /></div>
<div>
The next page presents basic strokes used to make up the letters as penned with a wide-nib calligraphy pen. The student is directed to trace them using a 2mm nib to become familiar with the individual strokes. The tracing exercise completes with the full alphabet.<br />
<br />
Once the student is comfortable with tracing the letters, they are directed to practice the lettering freehand on tracing vellum over the guideline sheets to keep the letter height and angle consistent. </div>
<div>
<br /></div>
<div>
In addition to presenting exercises for learning each hand, she also includes instruction and tracing guides on creating arabic numbers, capital letters for Italic, Gothic and Foundational hands, punctuation for Italic, Uncial and Foundational, and serifs or flourishes for Italic and Uncial.</div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<b><span style="font-size: large;">Chapter Seven: Design Tools</span></b></div>
<div>
<br /></div>
<div>
The book ends with a few short details on using some of the more advanced tools:</div>
<div>
<ul>
<li>Making guidelines using a T-square (or optionally triangle), pencil and a "paper ruler". This is a quick and easy method for making your own guidelines, but potentially slow and not as consistent as I'd like. She makes a couple statements I don't agree with as well: HB is not a "very hard" lead, it's actually right in the middle of the hardness scale, and is the same as a #2. Similarly, a #1 pencil is not "very soft", it's one step softer than a #2. Yes, I'm being pedantic about these details. In the end, it doesn't matter what pencil hardness you use as long as it works for you!</li>
</ul>
<ul>
<li>Using a light box, and when you might want to.</li>
</ul>
<ul>
<li>Using a centering ruler.</li>
</ul>
<ul>
<li>Using an electric eraser. This is a tool I don't own yet, and want to, thanks to this book.</li>
</ul>
</div>
<div>
<br /></div>
<div>
<b><span style="font-size: large;">Chapter Eight: Layout Basics</span></b></div>
<div>
<br /></div>
<div>
The final chapter starts with encouragement to the reader to move beyond practicing the alphabets and use them for something. Grebenstein makes some great points about the process of creating original layouts and balancing them visually. I particularly like her ideas around "thumbnail sketches" as well as full size sketches to check for fitment. This is a lot of work, but it can definitely help. </div>
<div>
<br /></div>
<div>
She does recommend completely penciling in the text on the finished piece, and then essentially inking over it. As you start calligraphy, this technique can definitely help insure the text will fit correctly and you have the spacing correct. I rarely use this technique myself, but if it works for you to help give you the result you want, great!</div>
<div>
<br /></div>
<div>
The book finishes with five short quotations she suggests you use to create final projects for each hand.</div>
Alexandre Saint Pierrehttp://www.blogger.com/profile/04762481896322212429noreply@blogger.com0tag:blogger.com,1999:blog-1229444931421417703.post-30838387237913730062014-11-17T14:50:00.001-05:002014-11-24T13:30:46.222-05:00Building a Calligrapher's Writing Slope<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtSr1wodGB01CAH7xQJ5rwZsPcLiP8C1yx1HoY5an_4nE4JgvDPDEHhcb_Su73dqfLXkf0r9pWMpYgYZBZv8ArxewCQMYT9lWqvYtOVm1M9gmDPeQUwDdAGLeETGWzSXBZzsISPiMSRIw/s1600/Royal+14+E+III+f.+6v+-+Scribal+Desk.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtSr1wodGB01CAH7xQJ5rwZsPcLiP8C1yx1HoY5an_4nE4JgvDPDEHhcb_Su73dqfLXkf0r9pWMpYgYZBZv8ArxewCQMYT9lWqvYtOVm1M9gmDPeQUwDdAGLeETGWzSXBZzsISPiMSRIw/s1600/Royal+14+E+III+f.+6v+-+Scribal+Desk.jpg" height="382" width="400" /></a></td></tr>
<tr><td class="tr-caption">Image of a scribe at work.<br />
Estoire del Saint Graal, La Queste del Saint Graal, Morte Artu.<br />
<a href="http://www.bl.uk/catalogues/illuminatedmanuscripts/ILLUMIN.ASP?Size=mid&IllID=43454" target="_blank">British Library, Royal 14 E III f. 6v</a><br />
Image originally found at <span data-ft="{"tn":"K"}" data-reactid=".2f.1:3:1:$comment714651718623677_714672428621606:0.0.$right.0.$left.0.0.1:$comment-body"><span class="UFICommentBody" data-reactid=".2f.1:3:1:$comment714651718623677_714672428621606:0.0.$right.0.$left.0.0.1:$comment-body.0"><span data-reactid=".2f.1:3:1:$comment714651718623677_714672428621606:0.0.$right.0.$left.0.0.1:$comment-body.0.0"><a class="" data-reactid=".2f.1:3:1:$comment714651718623677_714672428621606:0.0.$right.0.$left.0.0.1:$comment-body.0.0.$range0:0" dir="ltr" href="http://www.larsdatter.com/scribaltools.htm" rel="" target="_blank">http://www.larsdatter.com/scribaltools.htm</a></span></span></span></td></tr>
</tbody></table>
<br />
I've mentioned on occasion that I prefer to work on inclined writing slope. It has a number of benefits such as improving my comfort, allowing for more consistent pen control, and keeping my work piece where I can see what I'm doing more easily. Working on a slope also for better control of the ink flow from some types of pens, allowing for cleaner, crisper lines.<br />
<br />
Medieval manuscripts contain many images of scribes at work like the one above. In almost every one, the scribe is working on an angled writing desk. Given the effort and materials to build such a specific piece of furniture, they must have been necessary for the scribe's work. I believe there are two main reasons that a slope was important to medieval calligraphers, both of which are also relevant to modern calligraphers. <br />
<div>
<ol>
<li><i>Body Mechanics</i> - Calligraphy is written best with whole-arm movements. It's much easier to get the correct movement and control it with your elbow hanging straight down in front of your shoulder. Working flat usually brings your elbow up against your body, forcing you to create letters by moving your wrist, resulting in a loss of control. </li>
<li><i>Ink flow control</i> - Feather quills and reed pens hold their ink through the physics of surface tension. If you try to use them on a flat surface, gravity overcomes much of that tension resulting in a lot of ink flowing onto the page. This makes crisp lines, especially hairlines, difficult or impossible to achieve. By working on an angled writing surface, gravity pulls less ink from the pen, resulting in crisper lines. This is also true of metal dip nibs, especially when used without a reservoir. It's less true of dip nibs used with a reservoir, cartridge pens, or felt pens.</li>
</ol>
</div>
<div>
As not everyone has the money or space for a large adjustable drafting table or a period style writing desk, here are some tips on how to create a writing slope for minimal cost. </div>
<div>
<div>
<br /></div>
<div>
<a name='more'></a><br />
<b><span style="font-size: large;">Tools & Supplies</span></b></div>
<div>
<b><br /></b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjE3LC6mFBujFojMi0V5jwvFHxJHVSm8h73rEqHjB2_h23w5fDMG78hNb6bVRj_NZnd40tGd3wLxZKQZWGO0-9uBU6t4su-IhCScqgcYL4ZANaRxLyLD7he6wy_9ZmV_qfje54kmQOpmk/s1600/IMG_0135.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjE3LC6mFBujFojMi0V5jwvFHxJHVSm8h73rEqHjB2_h23w5fDMG78hNb6bVRj_NZnd40tGd3wLxZKQZWGO0-9uBU6t4su-IhCScqgcYL4ZANaRxLyLD7he6wy_9ZmV_qfje54kmQOpmk/s1600/IMG_0135.JPG" height="227" width="400" /></a></div>
<div>
<ul>
<li>A drafting board.*</li>
<li>Masking tape.</li>
<li>A few sheets of thick, smooth paper.</li>
<li>A method of cutting paper in a straight line, if your paper is larger than your drafting board.</li>
<li><i>Optional</i> - A pile of books, a towel and an extra pencil.</li>
<li><i>Optional</i> - A table top easel or <a href="http://www.michaels.com/10132811.html#q=easel&start=5" target="_blank">easel box</a>.</li>
</ul>
<br />
*Rather than spending a lot of money on a purpose-built <b>drafting board</b>, visit your local home improvement store and purchase a sheet of <a href="http://www.homedepot.com/p/Unbranded-Medium-Density-Fiberboard-Common-1-2-in-x-2-ft-x-4-ft-Actual-0-483-in-x-23-75-in-x-47-75-in-1508108/202089097?N=5yc1vZbtn1" target="_blank">MDF</a> (<i>medium density fiberboard</i>). Have them cut it into smaller pieces. A 2' by 4' sheet costs about $10. Cut the long dimension into thirds and you'll have three 24" by 16" boards. One of those can be cut in half to make two 12" by 16" boards.<br />
<br />
The drafting board used in the pictures below is a 16" by 24" piece of MDF that cost less than $4.<br />
<br />
<br />
<b><span style="font-size: large;">Step 1 - Pick a location & position for your slope</span></b><br />
<b><br /></b>
Here are a few options for positioning your drafting board.<br />
<br />
<i>In your lap</i> - This is the super low budget option: rest the bottom of the drafting board against your lap, and lean it against a table, desk, or even the wall. This method requires a fairly large drafting board to insure it is tall enough. It may take you some time to figure out how to make this stable and keep a consistent angle for the board.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzclf46BwRjlTR7csRsm8kOYfCYHl9Ec_T5UTVQxyysNanHfEIkIPw9FNv5z3OjCl6rY6cEvxS7QT-fv3RHsBhUF8V1My6u2-leoG-CHW2Ux00V0Wn15usmRwkLzCNJWWkUHbgkvTkSvE/s1600/IMG_0132.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzclf46BwRjlTR7csRsm8kOYfCYHl9Ec_T5UTVQxyysNanHfEIkIPw9FNv5z3OjCl6rY6cEvxS7QT-fv3RHsBhUF8V1My6u2-leoG-CHW2Ux00V0Wn15usmRwkLzCNJWWkUHbgkvTkSvE/s1600/IMG_0132.jpg" height="400" width="300" /></a></div>
<br />
<i>Against a pile of books</i> - It's hard to get a steep angle using this method. Make sure that the top half of the drafting board is resting against the books, or it will fall over.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJXqAUWk6ObLKgLixLLClioQfkPi7lWlFTY_5njv3mHnum6QKiTzRmpflfHVQCnZeUj2CG3zwaX8Z7KYlq87VVumwilNsBBt9RfTXfFwhsSCLZArvwAWZV48iNVjG1_6yFKIX35dkioRw/s1600/IMG_0125.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJXqAUWk6ObLKgLixLLClioQfkPi7lWlFTY_5njv3mHnum6QKiTzRmpflfHVQCnZeUj2CG3zwaX8Z7KYlq87VVumwilNsBBt9RfTXfFwhsSCLZArvwAWZV48iNVjG1_6yFKIX35dkioRw/s1600/IMG_0125.JPG" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Put the towel down so the halfway point will be just<br />
behind the pile of books (the left side of this image),<br />
and the edge is hanging off the table.<br />
Place the pile of books on top.</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWWFjmVJ_6PJ1WtpmhAd_1vlq2A0B-LwuGQNkoGzxlGXmFu9GwYhZItH_7dkTgCMOhxaPozq9Qt7hBrTkIYK63vHU50in_ESSnShnKj0fPpmk3kZcEWM6_Xt2ArG1fiJ7FngRAOHMhOAk/s1600/IMG_0126.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWWFjmVJ_6PJ1WtpmhAd_1vlq2A0B-LwuGQNkoGzxlGXmFu9GwYhZItH_7dkTgCMOhxaPozq9Qt7hBrTkIYK63vHU50in_ESSnShnKj0fPpmk3kZcEWM6_Xt2ArG1fiJ7FngRAOHMhOAk/s1600/IMG_0126.JPG" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fold the towel over the books so both ends are hanging off the table.</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirUgQCAwc2dn1zKlUzSMQ4E6ei18nkYLg3mU3EpiSCCisaIBKCBHDwrW5O977P9k2tRlDWVZLdlDHgKs3C-wmYfcA_mWn6htCEml9rddk3O2GPlgrc-KKHc3jO0IifdLYPUzdnTGrSOsI/s1600/IMG_0127.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirUgQCAwc2dn1zKlUzSMQ4E6ei18nkYLg3mU3EpiSCCisaIBKCBHDwrW5O977P9k2tRlDWVZLdlDHgKs3C-wmYfcA_mWn6htCEml9rddk3O2GPlgrc-KKHc3jO0IifdLYPUzdnTGrSOsI/s1600/IMG_0127.JPG" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Place the pencil on top of the towel near the edge of the table.</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj0RPFynNFBLNfy3qtqdlKXeJjdXcdpNtKPXQjCqTsuo3goEApcH0lLR56BjkGXGh6YXUatNY6PgmjqtBav9bOp7Mk2GMO3tXVnMCLxpHUONQSY8slcBtdLrNvgCMVQ1rmC_EhnKeEuDE/s1600/IMG_0128.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj0RPFynNFBLNfy3qtqdlKXeJjdXcdpNtKPXQjCqTsuo3goEApcH0lLR56BjkGXGh6YXUatNY6PgmjqtBav9bOp7Mk2GMO3tXVnMCLxpHUONQSY8slcBtdLrNvgCMVQ1rmC_EhnKeEuDE/s1600/IMG_0128.JPG" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fold the loose edges of the towel up over the pencil.</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxzw2dHmLJeWJKegHX5G0mn-JwmKy2snvRPmiQuI-0ryeKPjaYQQ-RjDiAbho3hWsp026KkNnYu6dKJicyom0SWb74QuDtRiIpq6nYuwcsXHl9qi6edK5rHqrLRASSbO4qTrvgR_4iPwI/s1600/IMG_0129.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxzw2dHmLJeWJKegHX5G0mn-JwmKy2snvRPmiQuI-0ryeKPjaYQQ-RjDiAbho3hWsp026KkNnYu6dKJicyom0SWb74QuDtRiIpq6nYuwcsXHl9qi6edK5rHqrLRASSbO4qTrvgR_4iPwI/s1600/IMG_0129.JPG" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Place the drafting board so the bottom edge catches the pencil inside the<br />
towel. This keeps it from sliding down toward you. The books are<br />
captured inside the towel so they can't slide away from you.</td></tr>
</tbody></table>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6dxmXYAYGYObADVaMUtkwSU2HBCMqcQJNZ8p2rQYXtIDE5xoFjBqhOv0uaSggmvR_nXwj_8mVuZY7N4DZLO0ylw-IWzI_QG_xYz7WLT-4nigGFA5TvX_VlCQStgtC7_FMeSSuKd7lqSM/s1600/IMG_0130.jpg" imageanchor="1"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6dxmXYAYGYObADVaMUtkwSU2HBCMqcQJNZ8p2rQYXtIDE5xoFjBqhOv0uaSggmvR_nXwj_8mVuZY7N4DZLO0ylw-IWzI_QG_xYz7WLT-4nigGFA5TvX_VlCQStgtC7_FMeSSuKd7lqSM/s1600/IMG_0130.jpg" height="400" width="300" /></a></div>
<br />
<i>Using an easel box</i> - This is the method I use. It's more expensive, but also more stable and adjustable. The box is portable and can be setup on any table. Both the angle and height of the drafting board can be quickly adjusted.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjYG-VFI_f1HU5DSFxNZUOvr71MU0KYM_gLGAXM3y9aeErcYQPnL3nuDMzzg6pUCMnRlFW2UgH-tU26_6c9n9-FKqSXTB7yAHROTAiKUhtjWfJFVpmmrFpG5I4eNsCJTLCEYA9B3MWOIc/s1600/IMG_0133.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjYG-VFI_f1HU5DSFxNZUOvr71MU0KYM_gLGAXM3y9aeErcYQPnL3nuDMzzg6pUCMnRlFW2UgH-tU26_6c9n9-FKqSXTB7yAHROTAiKUhtjWfJFVpmmrFpG5I4eNsCJTLCEYA9B3MWOIc/s1600/IMG_0133.jpg" height="400" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Clamp the drafting board into the easel and adjust the<br />
angle. About 45° is period, but use what works for you.</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghogqoQBN-Pj-vjEtLPgzgWz0KH2BLBxGgx0ke1KDDX6Er7WuUMMCnpEVWSSMz7ZN7646CN1RZEriFnucmJnDJv0sN6ihVpiKK6nNem2rL9OaVza0PvBSfHmKbGSPgq10P-1qXAPXCalM/s1600/Writing+Slope+-+Easel+Detail.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghogqoQBN-Pj-vjEtLPgzgWz0KH2BLBxGgx0ke1KDDX6Er7WuUMMCnpEVWSSMz7ZN7646CN1RZEriFnucmJnDJv0sN6ihVpiKK6nNem2rL9OaVza0PvBSfHmKbGSPgq10P-1qXAPXCalM/s1600/Writing+Slope+-+Easel+Detail.JPG" height="215" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">My easel box allows me to drop the bottom clamp arm<br />
below the surface of the table. I use this to catch the<br />
lip so it doesn't slide away from me while working.</td></tr>
</tbody></table>
<br />
<br />
<b><span style="font-size: large;">Find & mark your writing height</span></b><br />
<b><br /></b>
Get a pencil or pen and sit at your writing slope. Figure out at what height your hand and arm are most comfortable and give you the most control. For most people, this will be about level with your shoulder. Mark this on the edge of your board with pencil or a piece of tape.<br />
<br />
<br />
<b><span style="font-size: large;">Attach some padding paper</span></b><br />
<b><br /></b>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYAQ1cl_09CkxXqQeK7ITF4Sho8KxwwwKRUx3qKzzXWg2MD3Tod-jtqVXH0zQGVajk0H6KQsDHmY-JMDazLkkgO37pFpx2wdk_hrKI-iZxO5vbXFLyxky0PxkyFhl2NBaWdTVCkpakKE4/s1600/IMG_0136.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYAQ1cl_09CkxXqQeK7ITF4Sho8KxwwwKRUx3qKzzXWg2MD3Tod-jtqVXH0zQGVajk0H6KQsDHmY-JMDazLkkgO37pFpx2wdk_hrKI-iZxO5vbXFLyxky0PxkyFhl2NBaWdTVCkpakKE4/s1600/IMG_0136.JPG" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Padding paper attached.</td></tr>
</tbody></table>
<b><br /></b>
Using masking tape, attach two to three sheets of paper to the board. You want this paper to be almost as wide as the drafting board, but not quite. You want to tape it down without the tape folding over the edges. This will allow you to use a T-square against the left & right edges of the board.<br />
<br />
The top of the paper should be a minimum of 6" above the mark you made for your writing height. This paper will provide padding behind what you are working on. This can help your nib bite into the surface of your work piece more easily. You may need to experiment to see if you prefer more or less padding.<br />
<br />
<br />
<b><span style="font-size: large;">Prepare and attach a guard sheet</span></b><br />
<b><br /></b>
Take another sheet of paper, and fold down the top few inches. Make sure the crease of the fold is sharp and straight. I used the handle of my scissors to sharpen the crease.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4y3nsgbICkA2jpKoEkVXbJ_n03K70QMhi0yFs7ETtDWxEhXMyMGfnuzMm5lzjVrhvKWCjscNMHOJGxrTpMJ4Q3NrUnyeBEuX4IFSkOTZHucg_D7bhkAccrkN1ksnr90vnkP_SoWuuvjM/s1600/IMG_0137.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4y3nsgbICkA2jpKoEkVXbJ_n03K70QMhi0yFs7ETtDWxEhXMyMGfnuzMm5lzjVrhvKWCjscNMHOJGxrTpMJ4Q3NrUnyeBEuX4IFSkOTZHucg_D7bhkAccrkN1ksnr90vnkP_SoWuuvjM/s1600/IMG_0137.JPG" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Back side of guard sheet, folded.</td></tr>
</tbody></table>
<br />
Place the sheet on top of your board, with the short fold against the board. Keep the folded edge about 3/4" below where you marked your writing height. You want your fingers and hand to touch only the guard sheet when you work, not your finished piece. But you want enough room above it to draw your letters comfortably.<br />
<br />
If you are right handed, the folded edge will be horizontal.<br />
<br />
If you are left handed, it all depends on how you write. Hook writers and those using an oblique nib or nib holder from underneath might have the folded edge horizontal. Those who write from underneath with a straight or oblique nib might have it angled down to the right (higher on the left side than the right). Some left handed writers form their letters with the paper turned 90°, in which case the folded edge might be vertical, with the opening to the right. Experiment to see what works for you.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgizMUkug6dtbtZuEAAQoRAn9uyQuPqWVzitfDrE7O22TQXvpRks0iUycuaX3mPg2BJDng_4fI_bhwkzZfWpbquw3TVEoavN9n4neB3il1X-AJ1sNp0HGXXRBVfcebr9e-MjIFEKDQaA8k/s1600/IMG_0138.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgizMUkug6dtbtZuEAAQoRAn9uyQuPqWVzitfDrE7O22TQXvpRks0iUycuaX3mPg2BJDng_4fI_bhwkzZfWpbquw3TVEoavN9n4neB3il1X-AJ1sNp0HGXXRBVfcebr9e-MjIFEKDQaA8k/s1600/IMG_0138.JPG" height="201" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Guard sheet in place. You can just see the mark I made to line it up<br />
against on the edge of the board.</td></tr>
</tbody></table>
<br />
Finally, tape down the guard sheet, keep it under as much tension from edge to edge as you can.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRITiBiAEyzOhJgyYh0EnKOw2_S4XhFhMsXy1gASo2g_qMBaIknsC4nbHOaKgoDR4CZxJgGuwNuWkOU4R9FpYUUNSlodeJ-M4hjqcFNvUwAuWDPLlLcDBXdN_4lDJucImW7A_d16XYClM/s1600/IMG_0139.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRITiBiAEyzOhJgyYh0EnKOw2_S4XhFhMsXy1gASo2g_qMBaIknsC4nbHOaKgoDR4CZxJgGuwNuWkOU4R9FpYUUNSlodeJ-M4hjqcFNvUwAuWDPLlLcDBXdN_4lDJucImW7A_d16XYClM/s1600/IMG_0139.JPG" height="196" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Guard sheet, taped down.</td></tr>
</tbody></table>
<br />
<br />
<b><span style="font-size: large;">Put it to use</span></b><br />
<b><br /></b>
Place your writing slope back in position for use. Slide your work or practice paper between the guard sheet and padding sheets. The tension of the guard sheet should hold it in place.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnXq1TkS5h4rsB66tWmt1Wud_pF6iXFD8DU4bu9pBdMCTnZcPxhEWh5UHZHmXqUNx6xdMfjsuhRmQijydYrWjzTv43azkGBtrmvSEYVcQOZxxCNeOUvZ-EUHRIOWLTYy-KQLSjkSt673k/s1600/IMG_0140.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnXq1TkS5h4rsB66tWmt1Wud_pF6iXFD8DU4bu9pBdMCTnZcPxhEWh5UHZHmXqUNx6xdMfjsuhRmQijydYrWjzTv43azkGBtrmvSEYVcQOZxxCNeOUvZ-EUHRIOWLTYy-KQLSjkSt673k/s1600/IMG_0140.JPG" height="380" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">My new clean writing slope, practice sheet in place.</td></tr>
</tbody></table>
<br />
As you write, slide the work piece up as you complete each line. This keeps your hand and arm at the same height for every subsequent line, helping your consistency.<br />
<br />
Finally, a few warnings and tips to keep in mind:<br />
<br />
<ol>
<li>Your pen should never touch the top fold of the guard sheet; that could cause ink to end up behind the guard sheet. Adjust the guard sheet down if its too high.</li>
<li>Your hand should never touch the paper of the work piece. Adjust the guard sheet up if it is too low.</li>
<li>Make sure the guard sheet has enough tension. You don't want your work piece sliding down behind it with wet ink. </li>
<li>If you have any pouncing or erasing to do, take the work piece off your slope before doing so. The powder or eraser leavings can fall behind the guard sheet and cause problems.</li>
</ol>
<br />
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