A Little Ink More or Less

Thoughts on Time Spent Painting

2012-01-26T18:11:00.000-05:00

Time spent on these illuminations is a funny thing as the great effort of these pieces is somewhat devalued by the fact that they are handed out by the King and Queen free of charge to recipients. Scribes are the only artisans who are regularly expected to give away their art. This is why, years ago, I lobbied for and was granted Kingdom funds to purchase scribal supplies for members of the Trimaris College of Scribes and thankfully this funding is still being provided. We sometimes hold fundraisers and occasionally profits from events are donated to this account.

For those of you planning to volunteer at Gulf Wars, you can indicate the Trimaris College of Scribes as the recipient of the war profit split derived from your volunteer hours.

When I create commission pieces I have to ask for the recipient to pay the materials and framing costs. I didn’t always do this but one day I figured out what I had spent on several pieces I had created and realized that I was running myself into a financial hole. This is also why I have been working on the speed of my pieces and trying to limit myself to less than 5 or 6 hours per illuminated page for Kingdom use.

I have found that I must balance the use of my time and find the point where I can produce a good number of very good pieces rather than just one extraordinary piece so I can be more helpful in my contributions and more responsible with my personal time. I work full time and have several hobbies so I have to be realistic about how much time I can dedicate to this craft that I love, but from which I do not generally profit.

The illustrations on this page were created for a brochure that I illustrated in 2009.

I wanna see your Peacock… feathers

2012-01-25T19:05:00.000-05:00

This border is based upon a page from the Hours of Engelbert of Nassau which was illuminated by a Flemish artist known only as The Master of Mary of Burgundy. Painted bear Brussels circa 1485, this book was created for Englebert II, Duke of Nassau. This border of tromp l’oeil peacock feathers was inspired by folio 97, verso.

This border is 5 inches by 7 inches, much smaller than usual SCA illumination used for awards but I was concerned that the intricacy of design would not scale well any larger.

I used this border for a Pelican scroll for Countess Grainne but I wanted to try just the border to see if this sort of design might be both acceptable for Kingdom use and a good use of time. The trouble with blank borders is that sometimes it can be hard to find inspiration when you are illuminating for an unknown recipient. Also, I have found that I must balance the use of my time and find the point where I can produce a good number of very good pieces rather than just one extraordinary piece so I can be more helpful in my contributions. I created this piece in about 4-5 hours but I mucked about with the detailing for longer than I should have.

Flowers of the Cleves Master

2012-01-24T18:01:00.000-05:00

Based upon the simple border of flowers and leaves from folio 70 of the Hours of Catherine of Cleves.

Produced circa 1440 in Utrecht by an anonymous Dutch artist known as the Master of Catherine of Cleves, this book includes beautiful tromp l’oeil borders and miniatures of increasing intricacy. This border is unique among design elements in the book, but appears in other works attributed to the Cleves Master.

Again, this piece was mainly done to get myself back into the design and styling needed for Kingdom use scrolls rather than intricate and elaborate commission pieces. Drawing, inking and illumination probably came to about 5-6 hours of work.

Pink Flowers

2012-01-23T20:00:00.001-05:00

Based upon a prayer book illuminated by Michelino Molinari da Besozzo. This illumination was inspired by folio 44, St Anthony of Padua, May 10th. Illuminated circa 1420 in Milan, Italy. The original size of this piece is 170 x 120 mm but I have scaled it up for easy SCA use. This page was mostly a speed exercise to help me get back into the swing of making less complicated pieces for Kingdom use.

Draw time: 1.5 hours
Gilding time: 20 minutes
Paint time: 2 hours
Total time: just under 4 hours

Foxglove

2012-01-22T22:05:00.001-05:00

From the Great Hours of Anne of Brittany, digitalis purpurea as a border with an imaginary butterfly.

This manuscript was executed in the early 16th century by Jean Bourdichon, a likely student of miniaturist Jean Fouquet. As official court painter to four successive French kings: Louis XI,Charles VIII, Louis XII, and François I, Bourdichon came to be a wealthy man. Designing illuminated manuscripts, panel paintings, stained glass and even coins, Jean Bourdichon created countless works of art, many of which did not survive to modern times.

The book was created for twice Queen of France, Anne of Brittany who was married to Charles VIII and then to Louis XII.

This page was created mostly as a teaching piece to show a small group of students how to execute gilding. Afterwards I decided to finish the painting and hand it in for Kingdom use. It’s pretty bling-tastic but I hope someday that someone will like it.

On the wing

2011-12-26T11:01:00.000-05:00

Milkweed, a monarch caterpillar and a monarch chrysalis painted on the wings of a monarch butterfly.

I started with a base coat of white acrylic paint that had not been thinned. The tiny scales on the butterfly wing cause water based paints to bead up so the acrylic provided a great bottom coat. I used watercolor gouache and gold paint to execute the rest of the miniature.

The most difficult portion of this is that you cannot sketch on the wing without putting the graphite straight through the wing so I sketched an image to scale and then free painted everything on the wing. Additionally, you can’t hold on to the butterfly to keep it from moving without damaging the wing edges. I used a few small flat-bottom glass pebbles placed around the butterfly to help hold it still. Don’t attempt this is a breezy room or on an evening when you don’t have a lot of patience to spare.

Coneflower

2011-12-24T13:59:00.000-05:00

Commissioned by Jill S.

Time to execute: 90 minutes

Materials: watercolor pencil, watercolor gouache, bristol board

Size: 2 in x 3 in

Northwest

2011-12-23T10:25:00.000-05:00

con trails;
streaks of incandescent light
smeared across
a pale sky
where the swollen sun
falls away
more orange than citrus.

and the radio
swells notes of karma
like god talking
in whispers
beyond the windows,
streaked with dirt
and insects,
fields stream by
in swaths of green

i note the geography,
topography.
the failing light
tracing the macadam
and ascending markers
counting off the miles.

i read the distance
i create.

it separates me slowly
into layers,
traces meridians
and parallels
in my faith.

somewhere deep
i close my eyes
and pray to return
by the old roads.

turn me southeast
and run me from this sunset.

away
to the home
i love best.

April 10 2005

Kristen Gilpin

A wrought iron horror

2011-12-22T11:46:00.000-05:00

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Crouching on the corner of Highway 17 and Highway 40, there is a place of strange wonders where a giant iron rooster slowly rusts in the Florida sunlight. The devil’s mariachi band, a herd of license plate armadillo, a lonely carousel horse, broken pottery and more pieces of kitsch wait behind the gates. This shop has always caught my eye so I finally stopped about a year ago and roamed around with my camera.

I love roadside attractions. I bought a bottle of water and a jar of gallberry honey but I took away a memory.

Little Bird

2011-12-22T09:38:00.000-05:00

Within the cage of
bone and breath,
my heart:
a small and fluttering thing
of quick movements;
staccato rhythm.

Descending depths unknown,
I let it lead;
my small canary
with nails clipped short.

When breath leaves
it will fall quietly;
sing my warning
with silence piercing.
No perch left
to hold.

I can taste
the racing pace
of fear,
coppery and strange.

Lower,
my heart,
through years and ages;
a single candle
guttering
to light
the endless paths.

Sing,
until you cannot;
move unhindered
beneath deepest layers
of earth and sky
where fingers of rock
curl and rise
in half light
like hands
of gods forgotten.

Fall,
little bird,
only at the last,
and within that pool of light
beside your empty cage
I will know:
how the air
has grown strange,
how the path
has led me astray,
how the day
has ended.

Go before me
and I will know.

Jan 19, 2005

Kristen Gilpin

Know Me

2011-12-21T09:25:00.001-05:00

This
is where I keep
the heart
that is not
pinned
on my sleeve
and soft
as babies.

Creamy pages,
napkin tatters,
thick journals.
They
will know me
best.

These
are places
where I speak
truth,
where I weep
in characters
and symbols
during late nights
when headlights
play across
the blinds.

Rustling papers
will remember me
best.

My heart
will be found
pressed between pages
some day
long hence,
dried like beans,
like wedding flowers,
like butterfly wings.

I hope
that it is
your soft hands
that recover
these moments.
Collect them
like relics
and gather them
to understand.

Know me
best
even when I
have forgotten
the tenor
of tears,
the breath
of living,
the miracle
of survival.

Just
know me.

April 19 2006

Kristen Gilpin

Monarch Metamorphosis

2011-12-21T09:21:00.001-05:00

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Commission for Jill S.

Time to execute: Image panels less than 2 hours per panel. Calligraphy panel about 5 minutes.

Materials: Watercolor pencils, watercolor gouache, ink, bristol board.

All images based on photographs take by Jill S.

Chedai’s AoA

2011-12-21T09:17:00.001-05:00

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What do you do for an award scroll for a Mongolian persona? About ten years ago I wasn’t sure either. Mongolian manuscripts are rare, especially ones with images or illumination. The script is very unique and there aren’t many examples to peruse.

My friend Beatrice and I were at a loss so we went with something that felt eastern to middle eastern in appearance.

Recipient: Chedai Negai

Time to execute: Miniature 2 hours. Calligraphy 45 minutes.

Materials: watercolor gouache, gold paint, ink, parchment paper.

Artists: Illumination- Maol Mide ingen Medra / Calligraphy- Beatrice de Winslow

Old Groves

2011-12-20T15:40:00.000-05:00

In old groves
the rows still run straight,
but that is all.
There can be no more chases
down the open lanes,
no more games.

Palmettos wave
and wildflowers bloom a carpet
when once the dirt
was kept clear
by constant feet.
Tall weeds grow
as kings unchecked
winding up
to strangle
in the crooks
of old limbs.

Once, all that was native
was tilled under
to nourish trees
that had no business
growing here.
Creeks were
redirected
to rush water
at thirsty roots
and there was prosperity
for a time.

Fortunes were made here
where the orange fruit
of a dozen seasons
now hangs unpicked,
waiting,
ripening,
mouldering away.
Brilliant hues
fade dusty
and sun washed
in the dry air.

Growing
is the only knowledge
of a tree.

Still they hunch
with limbs spreading
and spill
bounty
into the tumble
of weeds
and furtive rodents
as nature rolls back;
a wide wave
of unstoppable green.

Now,
one must look close
to know
the past of this place.
One must remember
times long gone
to taste sweet fruit,
to see proud trees,
and to know
the harsher, less certain
life of those
newly come to this land.

Tumbledown trees
are the only pioneers
that remain,
their orange memories
falling,
fading.

The smell of the river lingers
in this bend of orchard
now bisected with macadam
and patch-worked out
for emerald lawns
of new homes
that will look nothing
like an old farmhouse
that crouches still
in the distance.

Cats have taken
up root there
and gone feral
where the roof pours
sunlit pools upon
an ancient hardwood floor.
They lounge,
content
in a breeze of
orange and river
ever rolling
through the yawn
of broken windows
to carry the rumble
of a freeway
in the distance.

March 4, 2008
Kristen Gilpin

Blue Woman

2011-12-20T15:29:00.000-05:00

The grackles on a wire
are puffed twice their size
beneath slate skies
that promise a cold
that climbs into your bones
and curls in the sinew.

Winter days
and I am a blue woman
in a blue sweater
struck with memory
that coalesces
with my breath.

Ice on the panes
and a memory of snow
on sepia streets
and I am far away
in another place,
another time,
with a blue girl
who dreams
of the sub tropics.

I want to reach back,
reach in
to that blue girl
with a hard heart
that still can be broken.

The southern winds
will thaw you,
the sands burnish you smooth
and the tropics will
slip around
quiet as a prayer.
The sea shall
take these memories
like an offering.

But blue girls
and black birds
all fare the same
on cold days.

On frozen mornings
there are grackles on a wire
too chilled to fly
and I am a cold woman
with a blue heart
too sad to remember.

Jan 12, 2010
Kristen Gilpin

Forget me not

2011-12-20T10:06:00.001-05:00

Commission piece for Jill S.

Time: 2 hours

Size: 2 inches by 3 inches

Materials: watercolor pencil and watercolor gouache on Bristol board

This is number 4 of a series that I painted as part of a commission. The other pieces in the series had subject matter of other flowers like amaryllis and coneflower. I was pretty keep on the amaryllis and hope I can get a photo later.

Azrec’s Ring of Chivalry

2011-12-19T16:03:00.001-05:00

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Recipient: Azrec del Aragon

Award: Ring of Chivalry from the Barony of Wyvernwoode

Time to execute: 4 hours

Based upon: Can’t remember which manuscript I saw this border in but it was simple and attractive.

This award recognizes those who have exhibited outstanding courtesy and chivalry. It is voted upon by all of the ladies of the Barony of Wyvernwoode.

Breakdown: Aluminum leaf is still not fun. It is like gilding with tin foil. On the upside, it won’t tarnish in 2 hours. Also, I could really use some more calligraphy time. I feel like I am getting rusty.

Duncan’s Duchy

2011-12-19T15:41:00.001-05:00

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Recipient: Duncan Arthur Ross the Black

Award: Duchy

Time to execute: About 100 hours

Artwork Based upon: Border work design based upon the Codex Vindobonensis 1856 a Burgundian manuscript that dates to about 1470. The color scheme was converted to a blue and silver base to be more Trimarian and the new colors are based more in the style of the "Black Hours," for Rome use. Belgium, Bruges, c. 1470 (MS M.493). The center vignette of ships departing comes from the Chronicle of the Crusader Kingdom of Jerusalem

Calligraphy and Illumination: All me on this one. Which is crazy when you look at the picture below of the framed and finished piece sitting on a regular length sofa.

Text:

Twice has the valiant and noble Duncan Arthur Ross the Black won the Crown of his Lady Love, Larissa, bringer of love and beauty, who inspired his Chivalry. Twice has he won the Crown for this Lady who inspired his sword and shield to great speed and strength. Twice has he ruled with wisdom, strength, and courtesy. Now his reign is ended and his people clamor that such worthiness is rewarded. Our wish is to make it known now and forever that We, Ari Tyrbrandr and Sibilla Dane, King and Queen of Trimaris, hearby name Our good Duncan Arthur Ross the Black as a Duke of Our Realm, accompanied with every dignity, honor, joy and burden thereof. In Accordance, We place our hands to this document in joy and celebration to declare this to all assembled

What are those tiny, tiny words?

Tiny writing on the flags and pennants on the ships can be seen in some photos. The latin text translated by Master Octavio reads:

Decedam a te numquam

Dero te numquam

Ero desultor aio numquam

Efficam te lacrimare numquam

Vale dicam aio numquam

Mendacium nocere tibi numquam dicam

This can be roughly translated into English as:

Never gonna give you up
Never gonna let you down
Never gonna run around and desert you
Never gonna make you cry
Never gonna say goodbye
Never gonna tell a lie and hurt you

Yep, I’m that kind of friend.

Breakdown: This page took much longer than expected and the execution time crept up over 100 hours. I did get to listen to two entire audio-book novels which really helped me to make it through rather than dousing the page in kerosene and cackling as I burned it on the driveway. The border came out better than I expected but it was insanely tedious and I kept losing interest in portions of the vignette and had to keep jumping around to stay enthusiastic and interested. The best part was the rick roll. That was the part that made all the effort worthwhile.

The only other good part of this experience was the look on Duncan’s face when he saw the scroll as it was presented in court. I have to admit, that pretty much made my day (ok, that and the Court Barony didn’t hurt).

The frame weighed a ton but I decided to hold it up myself so I could watch his reaction. I mostly couldn’t feel my arms anyway after all of the hours of painting.

The lesson gleaned from this piece seems to mostly be: Never again work on a scale this large.

Johann’s Grant of Arms

2011-08-08T10:33:00.001-04:00

This Grant of Arms was created for HL Johann Craft and was bestowed upon him at Gulf Wars by King Lorcann and Queen Grainne .

The calligraphy for the page was executed by HL Gwenhwfyr ber Cain.

Things we lost in the fire.

2011-08-08T10:25:00.001-04:00

These are the only photos that seem to exist of a two page spread I created as a Pelican scroll for Baron Meredudd. The photos were taken before the final details and the calligraphy were added.

The text read:

Each legend begins with one man.

One man with a love of Trimaris and a heart strong enough to bring change can use his hands and his heart to help shape a Kingdom. Through long years of service, this man ensures the betterment of his land and by his deeds this man commits his name to the tide of history. Such a man is Maredudd ap Cynan.
With your guidance we improve Trimaris. By your voice we know Trimaris. With your drum we celebrate Trimaris.

As your works have served only to improve and advance Our Kingdom, We Gunnar and Anastasia do hereby elevate you to the Order of the Pelican by these letters patent with all rights and privileges thereto appertaining on this twenty seventh day of May in the Thirty Fifth year of our Society.

A few months ago, Baron Meredudd and Baroness Cheri’s home caught fire and the damage was quite extensive. The home was left unlivable, and they lost many things in the fire. This scroll, and many other of their SCA awards were lost.

If you by any chance have, or know someone who has a photo of this piece when finished, please contact me. I would really like a copy.

Ysabela's Trefoil Argent

2011-07-25T20:55:00.001-04:00

July 25, 2011

Trefoil Argent for Baronessa Ysabela Celestina Manrique de Palma y Majora inspired by Dream of Nebuchadnezzr from St. Jerome, Commentary on Daniel circa 950. Executed in Spain by the illuminator Maius.

Adelheid’s Laurel (details)

2011-07-25T10:38:00.001-04:00

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Before text and arms were added. Details of gilding and paint.

Inspired by several leaves of the 15th century German manuscript Stefan Lochner Gebetbuch.

Illumination for Laurel scroll of Meisterin Adelheid Leinwater, 2011. 24k gold, watercolor gouache and a number of hand ground pigments with a gum Arabic binder.

A Spear for Caleb

2011-05-05T10:25:00.002-04:00

Working with one other person on a project can be difficult enough but this particular piece proves that eight artists can combine their efforts to create a beautiful final product.

Creating a personalized award for someone with an early period persona can sometimes be a challenge. I have worked to create rune stones and decorative shields for other early personas. The additional challenge to this piece was that due to military service, the recipient had lived in five SCA Kingdoms. How do you represent all of that?

This spear was created as a knighting “scroll” for Caleb Hogg. The production of this piece included eight artisans from five SCA kingdoms. The pieces of the final product all met up for the first time at Gulf Wars, were assembled and presented to Caleb when he was knighted on the field.

First, the spear head was cast by Iarl Brian Mac Brand of Meridies and mailed to Trimaris. The text of the award was crafted by Mistress Gwenllyan verch Morgan of Trimaris and is based upon the prologue of Beowulf. Next I secured a six foot length of pine, marked out a careful spiral down the length and then used a burnt sienna paint to apply the runes to the haft. The original plan had been to wood burn the runes onto the haft the the wood burner was just not equal to the task.

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Weavers in five SCA Kingdoms each wove a campaign band that could be tied onto the spear. Each band was woven in a design chosen by the weaver and was crafted in the colors of the Kingdom which it was representing.

From Caid, Mistress Aldgytha of Ashwood wove a blue and white band decorated with the crescents of Caid.
From Meridies, Mistress Gabriella Francesca Quelja de Warre called Calleja
wove a beautiful black and white band and decorated the loose ends with beads.
From Gleann Abhann, Mistress Brigit Olesdottir of Gleann Abhann card wove a band in burgundy and black with rams heads and the text “Honor above all”.
From Atlantia, Mistress Genevieve d'Aquitaine of Atlantia wove a zigzaging band of blue and white with a white seashell at the end.
Lastly, from Trimaris, Queen Grainne ingen Aloin meic Cerbaill of Trimaris tablet wove a band of blue and white silk.

Pieces arrived from the various artisans and were delivered to me at Gulf Wars. All of these far flung artisans used their care and skill to create a truly unique final product. The spear was presented to Caleb at his knighting by King Lorcann and Queen Grainne of Trimaris.

The runes transliterate as follows:

"A wayfarer should not walk unarmed, But have his weapons to hand: He knows not when he may need a spear, Or what menace meet on the road." – Havamal
LO, praise of the prowess
Of mighty warriors, of spear-armed thanes,
in days long sped, we have heard,
and what honor the athelings won!
To Us a mighty hero was sent,
a son to this land, to favor the folk,
feeling the woe of his enemies.
So is named the Wielder of Wonder, with world's renown.
Famed was this Caleb Hogg and far flew the boast of him,
a son of Trimaris and many lands.
So becomes it to Us to quit him well by honor and gift,
by lauded deeds shall he have honor in every clan.
Then shall we bear him over the ocean's billow,
loving clansmen, as late he charged Us,
and therefore bind him in glory as naméd
To the rank of Knight in the Society for Creative Anachronism
For We Lorcann and Grainne
the Crown of these three-shored lands
Do set it forth in written word.
and have these runes cut in Anno Societas XLV
Upon the 19th day of March.

After the spear was presented, I spoke with Caleb and let him know just how many people had worked on this project and he was truly humbled by the great effort that had been put forth for his knighting.

My thanks for the artistry and professionalism exhibited by all of the artisans who helped to make this unique project come alive. Each of these fine people is excellent at their craft.

Spear Head: Iarl Brian Mac Brand of Darkwood, KSCA, OL of Meridies
Tablet woven band, Caid: Mistress Aldgytha of Ashwood of Caid
Tablet woven band, Meridies: Mistress Gabriella Francesca Quelja de Warre (Calleja) of Meridies
Tablet woven band, Trimaris: Queen Grainne ingen Aloin meic Cerbaill of Trimaris
Tablet woven band, Gleann Abhann: Mistress Brigit Olesdottir of Gleann Abhann
Tabby woven band, Atlantia: Mistress Genevieve d'Aquitaine of Atlantia
Text based on Beowulf: Mistress Gwenllyan verch Morgan of Trimaris
Spear haft, transliteration and rune cutting by Mistress Maol Mide ingen Medra OL, OP of Trimaris

It was reported to me that upon returning home for the war, Caleb walked around his home to very carefully choose a spot for the display of his spear. He selected a corner that contained another spear, flung that one aside and then placed his knighting spear in that prominent place. Nodding to himself, he just stood and stared.

From Ethiopia, with Love

2011-05-02T14:50:00.001-04:00

Sometimes I get challenging requests and I have to use a lot of imagination to find an inspiration for an illuminated page. In 2009 I was asked to create an illuminated page for my friend Simon who was being elevated to the Order of the Pelican. Simon’s persona hails from Ethiopia.

I searched and came across some photos online that showed illuminated manuscripts being displayed by clerics at the Monastery of Na’akuto La’ab just outside Lalibela, Ethiopia. The church at Na’akuto La’ab is a brick building built entirely within a large natural cave. The clerics at this church will happily bring out manuscripts and display them for visitors. Lalibela and Na’akuto La’ab were founded in the 12th century and are among the holiest sites for Christians in Ethiopia.

Although I have done much research, I cannot find a date for the manuscript being displayed by the cleric from Na’akuto La’ab. The style of the manuscript in similar to the wall frescos inside the churches at Lalibela and Na’akuto La’ab so I utilized it as a model that is representative of the painting style done in that region.

The illuminated portrait on Simon’s Pelican scroll is taken from an image posted by a visitor to Lalibela. The portrait from Na’akuto La’ab depicts a man holding a key and walking stick or cane. This may symbolize St Peter who is often depicted holding a key or St Lazarus who is shown with a cane. The text page was inspired by another page from the same manuscript. The calligraphy was inspired by the Ge'ez script in the manuscript.

There is a photo album on Flickr that shows more detail from this manuscript on display at Na’akuto La’ab . The photos are really lovely and striking. I also found a travel journal that includes gorgeous photos of the area around Na’akuto La’ab, the church, and the church’s treasures which include the manuscript upon which this piece is based.

Artists:

Drafting: HL Gwenhwfyr ber Cain
Base Painting: HL Bryna of Kildare
Details and finish illumination: Mistress Maol Mide ingen Medra
Calligraphy: Mistress Maeva Eiriksdottir

Gaheris

2011-04-22T08:21:00.001-04:00

Gaheris surprised me by requesting that I create his Knighting scroll. It turns out that quite some time ago I calligraphed and illuminated his Award of Arms and that he is still fond of that piece.

His requests were that the piece be simple in design and not overly large, possibly with a Roman flavor.

Recipient: Gaheris Vitruvius Gracchus

Award: Order of Chivalry

Size: 9x12

Materials: Ink on pergamenata

Hand: Rustic capitals

Source: Utrecht Psalter

Text by: Sir Severin

This 9th century Carolingian book of Psalms was executed in a style called Bistre or Bister. Bistre is a type of ink made by burning wood and then boiling the soot down to extract color. Color can range from grey to a brown with yellow tones.

The art on the pages of the Utrecht Psalter consists not of illumination, but rather of pen and ink plain bistre drawings that illustrate the psalms and canticles. The book contains 108 leaves and measures 13 x 10 inches in size.

The finished piece was put on display during Gaheris’ vigil, illuminated by candle light and then was presented to him the next day on the field at Gulf Wars after his Knighting ceremony.

Swamp Hibiscus

2011-03-04T11:32:00.000-05:00

This past holiday season I wanted to give a few of the ladies from an 18th century reenactment group small handmade gifts. I chose tiny paintings in tiny frames:

For the dynamic Miss Annie I chose a brilliant Scarlet Hibiscus (Hibiscus coccineus) flower. This species was identified by botanist Thomas Walter (1740-1789).

3x3 inches on plate Bristol board. Watercolor gouache and ink. 2010

Small Shell Ginger

2011-03-03T11:31:00.000-05:00

This past holiday season I wanted to give a few of the ladies from an 18th century reenactment group small handmade gifts. I chose tiny paintings in tiny frames:

For the sweet Miss Gili I painted Small Shell Ginger (Alpinia mutica). This species was identified by in India by William Roxburgh in the 1780-1790’s. The model for this piece is a photograph taken by Gili of this lovely plant growing in her Grandmother’s garden. Although it isn’t a Florida plant, I was sure it would be enjoyed.

3x5 inches on plate Bristol board. Watercolor gouache and ink. 2010

Sunrise Tellin

2011-03-02T15:31:00.001-05:00

One of my many hobbies is 18th century reenactment and I am fascinated by that period in botanical and naturalist exploration. This past holiday season I wanted to give a few of the ladies small handmade gifts. I chose tiny paintings in tiny frames and tried to stay with plants and animals that were already named and could be found in Florida.

For the delightful Miss Elizabeth I chose to paint Sunrise Tellin (Tellina radiata) Linnaeus, 1758 in honor of her love of beachcombing.

3x3 inches on plate Bristol board. Watercolor gouache and ink. 2010

Gwenllyan’s Laurel

2011-02-03T12:59:00.001-05:00

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Although the words “Visconti Hours” often bring forth swirling images of hot pink hosts of angels and poison green architectural towers, there are many individual pages that are quite lovely and less… colorful than other parts of the text. When presented with the choice of insane color combinations or demure and pretty, Finneadan and I decided that we would both prefer something more mild. This is how we picked the page to use for Gwenllyan verch Morgan’s Laurel Scroll.

Mistress Finneadan sketched up the page and I painted, gilded and calligraphed. The text was written by Master Iefan. In this we were able to include both of Gwenllyan’s Laurels and also her former apprentice sister.

The devil was in the details and the tiny castles and buildings really took up the most time as far as the painting was concerned. We reduced the size of the initial so that we had a place for the text to be written. There are various symbols that have been tucked into the trees and foliage so that various other apprentice siblings could be included. A chrysalis and emerging butterfly signify Gwenllyan’s transformation and also serve as an inside reference to my household, Feileacan Ghairdin, Gaelic for ‘butterfly garden’.

Executed on pergamenata using watercolor gouache, ink and 24k gold leaf. Time breakdown: I think Finneadan spent about 3-4 hours in sketch. I put about an hour or two into gilding and about another 18-20 hours in painting.

Richard Clitherow’s Pelican

2010-11-15T09:07:00.001-05:00

Award: Order of the Pelican

Recipient: Master Richard Clitherow of Marcaster

Kingdom: Trimaris

Inspiration Source: Tres Petites Heures d’Anne de Bretagne

Time: 40-ish hours

Text: Written by Master Octavio de Flores

Receive these words of Lorcan and Grainne, newly crowned King and Queen of Trimaris and Cry these tidings known throughout the land:

Upon Our celebration of the founding of the Kingdom of Trimaris twenty-five years ago, it gives us great pleasure to acknowledge a Gentleman of our Realm, Richard Clitherow.

He Stands with Humility, Leads with Service, Defies Tyranny with a Smile, and Challenges Complacency with Courage. His Worth is beyond measure and His Integrity is beyond Question.

And So it Our Right and Privilege to accept the many recommendations proffered, affirming the will of the people of Trimaris, and Grant him this day a Patent of Arms as a member of the Order of the Pelican. Witness Our hand and Seal on this 4th day of September, a.s. XLV

Lorcan, King

Grainne, Queen

About this piece: Richard is a wonderful gentleman and I very much agonized over something that would suit him just so. His colors are blue and gold so I started by searching for something that heavily used those colors. I came across the Tres Petites Heures d’Anne de Bretagne which is a tiny volume of lovely and understated illumination that seemed just right for this project.

The miniatures were changed entirely and only the blue border with gold acanthus leaves and the gold boarder with architecture are derived from the original page. The major illumination of a bridge hung with pennants is taken from Master Richard’s favorite poem, The Bridge Builder. The bridge is hung with pennants that include the arms of Don Alain, Richard Clitherow and Mistress Columella. A Pelican in its piety has been included in the gold architectural border and several triskeles were incorporated into the design.

Special thanks to Mistress Finneadan who added some of her immense drawing skill to this task. What she does in moments can often take me several agonizing hours. Finneadan created the base drawing for the bridge miniature based on some designs I sketched on scrap paper.

About the Original: Anne of Brittany was Duchess of Brittany and was Queen to two successive French Kings, Charles VIII and Louis XII. Anne was one of the richest women in Europe and commissioned many fine manuscripts for herself and for her children.

Les Grandes Heures d'Anne de Bretagne: Executed by Jean Bourdichon between 1503 and 1508.
Petites heures d'Anne de Bretagne: Executed by Jean Poyer
Tres Petites Heures d’Anne de Bretagne: Executed by the Master of the Très Petites Heures d'Anne de Bretagne
Prayer Book of Anne of Brittany: Executed by Jean Poyer and commisssioned by Anne Of Brittany to teach her son Charles Orlando, Dauphin of France, his catechism. The child died of measles around the time the book was completed.
The Prayer Book of Claude de France: Executed by Master of Claude de France.
The Gradual of Louis XII and Anne of Brittany

Little violets

2010-10-28T15:05:00.001-04:00

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Award: Golden Galleon

Recipient: Finnguala inghean Alister

Inspiration: Prayer Book of Michelino da Besozzo (Folio 6)

Finnguala is my apprentice and I learned that she is fond of violets which made choosing a subject for illumination quite easy. The Prayer Book of Michelino da Besozzo is a great source for simple yet elegant floral borders that are often complimented by nice clean lines of gilding. The calligraphy was executed by Queen Grainne of Trimaris but I have no photos of the page after completion.

Three Lilies

2010-09-13T09:35:00.001-04:00

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Award: Augmentation of Arms

Recipient: Mistress Stephanie of Nethyrwode

Kingdom: Meridies

Source: Mira Calligraphiae Monumenta

Commissioned by: TRM Thomas and Elisanda

Time: 30-ish hours

Text: Behold this fair gentle who among all good nobles of Our Society has proven herself to be a paragon of those ideals we hold dear. She is a beacon to those in need of inspiration and guidance and a pillar upon which Our beloved Kingdom depends. Her service and dedication know no bounds; having enriched not only Our Kingdom, but our Society as a whole. In Our eyes she stands an ideal peer whose sacrifices do not go unnoticed, nor will we permit them to go unrewarded. So that all may know that we hold Stephanie of Nethyrwode in the highest esteem, We, Thomas and Elisenda, King and Queen of the Laurel Kingdom of Meridies bestow upon you a token of Our respect and admiration. From this day henceforth, we charge you to augment your personal arms with the Meridian Augmentation of three mullets in chevron argent. Thus is confirmed your sole right and privilege to bear the arms describe by this heraldic blazon: Sable, a dragon's head erased, on a chief engrailed erminois three lilies azure, for augmentation on a canton sable three mullets one and two argent. Proclaimed with Our voice and done by our hand and seal this 11th day of September, Anno Societatis XLV, being 2010 by the Common Reckoning. (Written by Thomas and Elisenda)

Mistress Stephanie’s arms included three lilies, so I included three from the Mira Calligraphiae Monumenta: Lily of the valley (top), Orange lily (bottom left) and a Madonna lily (bottom right). The text is fairly long but I still had to add some text at the end to complete the knot work design.

Although the text looks like it would make you crazy, it is actually easier than one would think. First I lay out the knot work and produce a top and bottom line in pencil to use as guides for the calligraphy. In that design I verify all of the knot work over and under passes. Later I pencil in all of the text to make sure I have enough or not too much and then I come back through and ink the text.

I penciled in the flower sketches at the same time that I drew the knot work outline. After completing the calligraphy I cam back through an painted the lilies. I finished the gilding last on this piece because I knew it would take the least time.

A Wedding Blessing

2010-07-08T10:50:00.001-04:00

I completed this Wedding Blessing for a friend who wanted just the right gift for her brother’s wedding. Her brother and his fiancée love the outdoors and hike often. Thus Jill chose blackberries and pine needles to represent the simple beauty of the woods, a poppy in honor of their home state of California and a Buckeye Butterfly in honor of her brother’s favorite team of Ohio State.

The Buckeye Butterfly is based upon a photo taken by the lady who commissioned this page. The poppy and blackberry are based upon images from the Mira calligraphiae monumenta. The pine needles are modeled after needles from a tree on my street with a nicely low hanging branch.

Calligraphy is done in a Carolingian Miniscule with brown Windsor Newton ink to continue with the natural feel of the piece.

Known also as the Apache Blessing, here is the text of the poem:

“Now you will feel no rain, for each of you will be the shelter for each other.

Now you will feel no cold, for each of you will be the warmth for the other.

Now you are two persons, but there is only one life before.

Go now to your dwelling place to enter into the days of your life together.

And may your days be good and long upon the earth.”

Grainne’s Pelican

2010-04-03T19:51:00.001-04:00

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Award: Pelican

Recipient: Grainne ingen Anlon meic Cerbhaill

Materials: watercolor gouache, various period pigments, pergamenata, gold leaf, gold ink, ink

Total work time: 35 hours

Painting Assistance: Lady Bryna of Kildare

Calligraphy and Illumination: Maol Mide

Based upon the peacock border pages [ff.97v-98] from the Hours of Englebert of Nassau by the Master of Mary of Burgundy. The major illumination of the Annunciation was removed from folio 97v. and the smaller illumination was moved from folio 98 and adapted for the left hand side of the scroll. The piece was adapted by changing the coloration of the female figure to match that of the recipient, my friend Grainne. Also the castle in the background of the original was replaced with a building modeled after the main hall at Camp Indian Springs, the campsite where Grainne’s local group traditionally holds their events.

Grainne’s device includes a peacock so this border seemed the perfect match for her Pelican scroll. She specifically asked for something small in size so the full page as just smaller than the opening in a 8.5x11 inch viewable frame and mat.

Lady Bryna did a grat deal of the underpainting in the peacock feathers and her awesome help gave my hand a very needed rest.

Fernando's Knighting Scroll

2009-10-26T17:18:00.005-04:00

Award: KSCA

Recipient: Sir Fernando de Valecia de la Rosa

Materials: watercolor gouache, various period pigments, pergamenata, gold leaf, ink

Total work time: 35 hours

Drafting: HL Gwenhwfyr ber Cain

Painting: HL Melangell merch Marriot

Calligraphy and Illumination: Maol Mide

The major illumination is based upon the early Spanish manuscript Beatus of San Millan, folio 92 "Adoration of the Lamb". The page is an illustration of John's vision of the Lord enthroned in the guise of a Lamb surrounded by the Gospelers and elders from chapter 4 of the Apocalypse. The central figure of the Lamb of God was removed and replaced by an illumination of a triumphant Christian warrior adapted from the Gerona Beatus of 975 folio 134 verso.

The figure of the warrior has been redressed in green, white and black which are the heraldic colors of the recipient. To add some symbols of knighthood, the innermost white circle has an added amulet of gold chain and the outermost white circle has been adapted into a white belt tipped with the recipient's heraldry.

The script is adapted from several examples of insular minuscule from the same period.

Argent Palm for Meara

2009-09-08T09:38:00.002-04:00

Award: Argent Palm

Recipient: Meara

Size: 4in x 6in

Materials: watercolor gouache, bristol board, faux gold leaf, ink

Total work time: 6 hours

Last week I had the privledge of creating a scroll for my SCA niece, Meara. This young lady has a quick wit and a taste for gothy things. As this was her first SCA award, an Argent Palm, I wanted to make it special for her.

I created a page inspired by the Hours of Mary of Burgundy. This book of hours was created around 1475 for Mary, Duchess of Burgundy by an anonymous artisan known as the Master of Mary of Burgundy (active: 1469 - 1483 ). Mary of Burgandy was the only child of Charles the Bold of Burgundy and Isabelle de Bourbon and wed Maximilian, archduke of Austria, of the Habsburg (Hapsburg) family, who later became emperor Maximilian I. The book is richly decorated and contains a gorgeous opening illumination showing Mary of Burgundy in contemplation with a book of hours.

The page I created was inspired by a page with white acanthus leaves and flowers on a field of gold leaf. To suit the piece to the young lady, I exhanged one of the pea flowers from the original manuscript page with a skull from the Office of the Dead near the end of the manuscript.

Gallery of images here

Elspeth's Rose

2009-09-02T08:04:00.006-04:00

A number of years ago Brigid Caileen and Mittion were the Crown of Trimaris and TRM Caileen had a very special project. Her friend, Duchess Elspeth, had been in the SCA quite a number of years and although she had received many accolades, she had not received many illuminated pieces to commemorate those awards. Caileen set up to have scribes create all of the pieces that Elspeth was missing.

Caileen asked me to take the commission for the Rose scroll and although I was swamped at the time I could not say no to her. Saying no to Caileen is like saying no to your sweet grandma wrapped in a hurricane because she is a darling and a force of nature in one.

I had been toying with the knot-worked calligraphy from the Mira Calligraphae Monumenta for some time and decided this would be a good piece. I selected three of Hoefnagel's roses pictured in separate parts of the book and paired them with the knot-worked calligraphy. In the calligraphy, the award text was not long enough to create the cross shape so I added in lines from a medieval poem that I cannot recall.

The calligraphy on the curves was not easy and I recall not being entirely happy with it but the illuminations helped me to feel better about the piece as a whole.

A Finished Icon

2009-08-31T08:40:00.000-04:00

Here is the finished product of the Russian icon style Pelican created for Master Sasha.

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Award: Pelican

Recipient: Sasha

Materials: watercolor gouache, various period pigments, pergamenata, gold leaf, gold ink, ink

Face details on angels and central figure: Mistress Finneadan

Text Translation to Russian: Master Octavio de Flores

Calligraphy and Illumination: Maol Mide

The original icon upon which this is based was executed by Russion iconographer Andrei Rublev who lived from the 1360's until about 1427 in Moscow. The image is based upon the icon "Christ in Glory" which is a motif that Rublev replicated within his own works. The figure of Christ seated within a red diamond upon a blue oval bordered with a red curving-sided rectangle and gilding was painted several times by Rublev with variation in the details.

The halo of the central figure has been removed and the details in the four corners of the red have been adjusted to Pelicans. One of the angel faces has been replaced with Jack from Nightmare After Christmas. The text in the book was a last minute addition not pictured here but it was a Latin equivalent of ‘Give him the bird’, which is a joke we have used on several Pelican scrolls in the past.

An icon in progress

2009-08-28T07:59:00.009-04:00

I am working on Sasha's Pelican scroll and decided to take some in-progress shots of the work as it continues. The original icon upon which this is based was executed by Russion iconographer Andrei Rublev who lived from the 1360's until about 1427 in Moscow.

The image is based upon the icon "Christ in Glory" which is a motif that Rublev replicated within his own works. The figure of Christ seated within a red diamond upon a blue oval bordered with a red curving-sided rectangle and gilding was painted several times by Rublev with varietion in the details. This is my own variation of his work.

This past weekend, HL Finneadan worked on the faces for the angles and the seated figure that is styled as Sasha rather than the savior. Her work is gorgeous and I will get details of the faces up soon.

The second photo shown is the progress made last night. I worked most of the night on the drapery of the clothing and think I am pretty much done with that section.

Daimhin's Pelican

2009-06-24T09:10:00.003-04:00

Codex Aureus of Canturbury pages as a Pelican Scroll for Daimhin.

Many small details of the orginal were adapted in favor of personalization for the recipient. Photos of the original work can be viewed in this post. An angel in theoriginal work ws exchanged for a pelicn with similar wings and the pink background was changed to green to suit the recipient's personal colors. An addition of diaper work was added over the green background of a falling script in whispy white asian character looking letters as a nod to the Matrix.

The saints in the upright finials of the original were exchanged and now are representtive of two formative Peers of the recipient. One, Baron Taly, holds a scroll bearin he alpha and omega and the exploding singulaity behind him represents the big bang... which he may have been there to witness. The other, Baroness Bela, bears a wooden stick with a shiny nail through the end and the diaper ork behind her is a spray of white gouts, as found on her device.

Within the initial the original letters were adjusted and several of the xenomorph characters were adjusted to pelicans and dogs.

Piece executed in gouache on pergamenta taking far longer than it should of.

Awards for Eadain

2008-11-06T07:39:00.007-05:00

HL Eadain is a really awesome apprentice and a really great friend. She's also wickedly funny and one of the best illuminators I have had the pleasure to know.

I have had a few opportunities to create award scrolls for her and on several occasions I have chosen to go tiny. Something about painting for a great illuminator always makes you question yourself, even if that illuminator is your apprentice. Perhaps especially so in that case because the last thing I wanted to do was mess up something that would hang on her wall.

Both of these pages inspired by my beloved Mira Calligrapiae Monumenta are a total size of 6x4 with about 5x3 inches of artwork. Working on this scale can be a challenge but I love to work on delicate flowers and minute shading. I chose each of the subjects of these pieces carefully to create a nice balance of art, calligraphy, color, and light.

The end result of the daffodil in the first piece really pleased me and it had a good quality of light. The purple and yellow columbine flower took longer than expected but the complexity of the flower required a lighter hand with the needed shading. I am not sure I was ever totally happy with the end result of the acorns, but overall the piece turned out well balanced. This piece was a Grant of Arms so I tried for something a little more complex than a non-armigerous scroll.

In the second piece I think that the snail was my favorite part to create. I was truly surprised by how many hours of my time disappeared into that little gastropod. This award is a Trade Winds given for excellence in teaching of the arts and sciences. The flowers on the piece were actually pretty quick to paint but I never was entirely happy with the bee critter.

Octavio, Baron of the Court

2008-11-05T22:00:00.003-05:00

Court Barony for Master Octavio de Flores.

I was working on this fun little tromp l'oiel piece when I got a call about a court baronet scroll being needed for my dear friend Octavio. At that point I dropped about ever ounce of my available effort and artsy-ness into the page as Octavio is quite dear to me.

The end result was remarkably shiny but turned out well enough to make me happy. Yah, that's a lot of gold.

I remember the little purple an yellow flowers, the caterpillar on the bottom left and the berries were all especially fun to paint. However, my idea of fun is not always the same as everyone else.

Page executed in AS 4o by the reckoning of the SCA but these photos were only recently collected by a friend.

I urge all you scribes to take photos of your work before it goes out because once a piece flies free from your hands you may not have another chance to photograph it for many years.

Mairi's Laurel

2008-11-05T21:44:00.010-05:00

Laurel scroll for Mistress Mairi inspired by a page from the Visconti Hours. This piece was done in AS 39 but I have not had a picture of it until recently.

This one gave me a bit of grief as figures have never been my strong point. I love painting drapery an clothing but it has always been faces and hands that would keep me up at night.

The red pen squiggles were a lot of fun and provied nice text filler.

I think I selected this piece because of the vast number of acorns depicted in the original page as Mistress Mairi is quite fond of them.

Watercolor gouache on bristol board. Windsor Newton calligraphy ink, speedball nib, gold leaf.

More botanical fun!

2008-06-13T09:04:00.001-04:00

Featuring a four-o-clock, a lemon, and something I cannot remember at the moment. I have a little bit more detailing left on the four-o-clock, like the flower stamens. Finish up a few page shadoes for the lemon and the mystery flowers and I should have this wrapped up. Hurrah.

Sorry for the slightly blurred image. I do not rock as a photographer.

Vanessa atalanta

2008-06-12T08:57:00.004-04:00

In my many year since I have started with scribal arts, I have never once made a single piece of art that I meant to keep or was really even slated for me. I ended up with my first original illuminated border coming back to me as my AoA (and as a lesson in leaving proper borders), but since then I have none of my own art on my walls. I hear there are some nice collections of my scribal arts on the walls of my friends though, so at least that's something.

However, I was feeling unwell this week and decided to paint to take my mind ouff the hurt. I had no books of illumination to pour over and find inspiration, instead I had some printed out photos of butterflies. Thus, I was inspired.

I chose a Red Admiral (Vanessa atalanta) as I have ever enjoyed the brilliant flash of red as these butterflies wing by. The deep velvety blacks and browns of their wings set such a gorgeous contrast for their more brilliant hues.

The first image is the butterfly photo and my rendition, one above the other. The second photo is of my painting alone.

Another sort of Inke

2008-06-11T15:46:00.004-04:00

A few weeks ago, my apprentice Lady Bres decided to cook up some ink for an upcoming Art/Sci project. It was quite a fun day for all involved. Below, the recipe and some pictures of our lovely experience. Note the delightful color of the wooden spoon as the ink progresses.

This type of project is easy to do in an afternoon and as it involves wine it just makes sense to buy some extra a while away the cooking time with a glass of vine in your hand. I must recommend leaving open a window or two though, as it is somewhat stinky.

Take a quart of strong wine, put it into a new pot, and set it on a soft fire till it be hote, but let it not seeth, then put into it foure ounces of gauls, two ounces and a halfe of gum Arabike,and two ounces of victriall, al beaten into smal pouder, and sifted through a sive, stirre it with a wooden sticke, and it will be good inke.

Find more period ink recipes here: Ink Corrosion

A great big thanks to Bres for getting this project going and hosting the ink making at her home.

Elena's County

2008-05-05T15:29:00.005-04:00

This was done some 6-7 years ago. One of my first pieces on vellum, this was a bit of a learning experience. It was also the second time I was using ground mineral pigments, making my own glair, and I was still not so sure-handed with gilding.

Why my friends asked me to produce work in this period, I have no clue. I look back at pages done years ago and can see only the flaws.

Based upon folio 124r of the Manesse Codex depicting Walther von der Vogelweide sitting in a pose described in one of his most famous songs, I adapted this page for Elena's County. I used a more feminine border from another page of the Codex Manesse and left out the helm and scroll depicted in the original.

One personal addition, a tiny purple goblet, was inserted at the bottom of the frame as a bit of fun-poking at my dear friend Elena.

I do have to say it is very odd looking with fresh eyes at a project done so long ago.

Elena's Duchy

2008-05-05T13:57:00.003-04:00

I executed this duchy for Duchess Elena several years ago (maybe five to six years ago) but this is the first time I have had access to an image.

Executed in ground mineral pigments, shell gold, red vermillion ink, on vellum.

I need to look up the origin of the piece to give any more information. Honestly, its been years.

My Heart Swells

2008-03-18T10:42:00.003-04:00

My former foster apprentice, now one of our newest Laurels, Mistress Maeva scored a very impressive 25/25 at the Gulf Wars Art/Sci competition. A perfect score. Rare and impressive.

Trimaris won the Gulf Wars Art/Sci War Point!

Clearly, the standards for inter-kingdom Calligraphy and Illumination Art/Sci entries have been set and the bar is fairly high. These masterwork pieces all encompassed the use of vellum (some made from inexpensive drum heads), period pigments, real gold leaf, hand-made quills, hand-made brushes, oak gall ink, and period techniques straight out of period sources.

I know this may seem daunting, but this truly is all about the process of a medieval scribe and the challenges of working with materials that were then standard for this art. Sure, modern substituted materials are just perfect for knocking out C&I for award charters and such, but when it comes to Art/Sci we need to keep the bar high. Using modern materials, one can practice period painting techniques and then transition to period materials (as time, skill and cost allow) at their own pace.

Not every piece will be a masterwork. However, if you want to create a masterwork and watch it go all the way... you need to recognize what is expected. Calligraphy and illumination executed with the materials and techniques of the middle ages scribe. Clearly, it can be done. There were three perfect scores in C&I at the war... all of them had the same high standards and remarkable skill.

I had a great time judging Art/Sci with Mistress Anna Niki and a lovely apprentice lady (her name currently escapes me). Truly a fantastic experience.

Gilded Lessons

2008-02-25T10:49:00.000-05:00

This past weekend I worked with yet another of my students on the art of gilding. I think I have finally realized that I do not like to teach gilding as a class, but rather as a more personal one on one or maybe two student basis. The students learn better and I don't fly about the room trying to catch loose pieces of leaf before they become expensive confetti.

My favorite part of teaching gilding... once the lesson ends the student looks up baffled and says "That's it?". Once I tell them that is indeed all there is to it I usually get the response of "But that is so easy!".

Indeed. And it just looks so much better than paint. I do love the gleam of gold on a page.

More Mira

2008-01-29T07:56:00.000-05:00

While demoing calligraphy and illumination this past weekend I reached a near completion state on two more pieces inspired by the Mira calligraphiae monumenta. They were quick pieces completed in between answering the mostly pedestrian questions of visitors, but I think they ended up as passable, even with all the table jostling.

The first piece has not yet been fully shaded and still requires the page shadows of the items. The subject matter is a poppy, a poppy pod, and a blade of reed grass. Clearly I had opium on the brain. The obverse section of the blade of reed grass pierced through the page has not been executed, and I may or may not get to that.

These three items were each found on different pages of the Mira calligraphiae monumenta, but I liked the feel and composition of them together on a single page. This illumination is on a standard 8.5 x 11 sheet of smooth Bristol. The paints are various brands of watercolor gouache. All painting was executed with a series of extra long liner brushes size 2, 1, and 0.

I have to admit that the center of the poppy is my favorite part of the whole piece and may have taken the greatest length of time to get just right. The startling colors of the poppy were a bit difficult to work with as cadmium red is pretty offensive as a color by itself. Luckily the addition of various other shades helped to tone it down from eye-popping.

The subject of the second piece is blackberry and odd catch-fly flowers. This composition of the two plants is original to the Mira calligraphiae monumenta and has been recreated without a great deal of alteration. I did make a choice to use brighter green hues for the blackberry leaves as the original has a somewhat sickly yellowish cast and I wanted something a little more 'upbeat'.

The catch-fly flowers were a bit of a challenge as they largely lack definition. White flowers on a white page. Fun, really. The blackberries presented a whole different challenge as it took a remarkable umber of shade to give them the subtlety they require. This page has a 5x7 inch writing space in which the illumination has also been completed. It will be a tiny page overall. Bristol board, watercolor gouache. Painted with extra long liners size 2, 1, 0.

Blogging my art

2007-08-26T13:38:00.000-04:00

Hi everyone, I'm Melesse.

After a number of years of cranking out illuminated pages, I am attempting to collect images of some of these pieces. Many of them were never scanned or photographed. Some, I have photographs that I will scan in (just as soon as I find that binder... I think it is still in a box somewhere). So anyway, there will be an odd combination of low and high end pieces shown here. Pieces that took a day and pieces that took months. Pieces done over the better part of a decade. My early work will look like early work... it goes to figure. Everyone has a learning curve and none of us start as masters.

If you happen to own a piece I have done, I'd really be interested in getting a digital photo. If you can help me out with that, I'd appreciate it.

It's kind of sad to know that at least one of my best pieces has been mostly destroyed due to carelessness, and I never did get a photo of it finished and whole. Another piece went to a person who will probably never speak a civil word to me again... so I'm not holding my breath for a photo on that one.

I am still amazed that you can put so much effort into a single page for a person, and they will tell you that they love it, but after years of begging you may never get a photograph of your art from them. A word to the scribes out there, photograph your work yourself... even if you are sick of looking at it now... someday you will care and kick yourself. Just like me. Never expect anyone to photograph it for you after the fact. You'll probably just end up disappointed.

Cherish, Countess

2007-08-25T12:29:00.001-04:00

This page was from yet another unremembered French book. Too bad I didn't write any of this down while working on these pieces. I guess deadlines were looming and when time is running short who has time to blog?

The piece itself involved a lot of miniatures, and I have to say I was never happy enough with the capital miniature... but I could never figure out what it needed. The whitework in the capital and throughout the leaves made me much happier.

Slightly more amusing however, this image of me painting was captured by one of my roommates. Yes, this is actually how I work. A litter of paints, pallets, and diet coke cans surround me. I prefer to work directly above pieces which involves me standing, but my feet get tired so I swap off. One knee on the chair and then the other. It looks perfectly ridiculous. I fully admit that. If you have a piece of illumination I have produced, this image is probably indicative of how it was produced. If you can just mentally fill in the loud Depeche Mode in the background, you mostly have it.

Odo, the Bad Monkey

2007-08-25T12:08:00.001-04:00

Odo needed a Duchy scroll and had spent the better part of his reign tormenting me. For months I had been telling him he was a bad monkey.

As he had no preferences on what I painted... I painted bad monkeys. The one at top left is scratching his backside. The one at bottom left is stealing a jewel while flagellating himself. The one at top right... well his hand is interesting position and he looks quite happy about it.

The original piece was French and actually included all of these elements. Even the very naughty monkeys. Isn't that handy?

Gunnar's rock

2007-08-25T10:19:00.000-04:00

Not your ordinary scroll. We needed a Duchy for a Viking, and as we know, Vikings liked to carve things on large rocks to commemorate big events. We took a chip out of their granite.

This 'rock' is a hydrocal (nearly concrete) cast made from a plaster mold that was created from an original piece carved in a closed cell hard foam. This was a huge undertaking between myself, Gwenhwfyr, and Jeanette du Lac based upon the Jelling Stones of Denmark.

First we started with the text. I based the verbiage upon the opening of Beowulf attempting to maintain the same rhythm and kennings (compound words) as the original. Then I translated it into Futhark, truncating the text as necessary to make it fit on the 'stone'.

In English, the text reads:

Kings are made for honor, not for long life.
Praise to the warrior, leader of spears
Gunnar son of our three sea land
Once and twice in might did he rise
Konnunger of swords and great eagle prince
Led he Trimaris to glory and battle
Gave he the rings of gold gleaming bright
Now Cherish his sister with Bytor her King
Let these runes be cut for memory sake
Are raise high this stone for Yarl and Hertig
To name Gunnar Duke on their reign’s first day.

Gwenhwfyr and I sat on my back porch using all manner of odd implements to carve the foam. Wood carving tools, steak knives, and even a feather quill. Gwenhwfyr worked the top section of the piece, carving the designs. I carved the text. It was not much fun, to say it gently although Gwenhwfyr is a masochist and seems to remember enjoying it more than I can recall.

As I had never made a mold of anything before, I worked with a non-SCA friend who is a great sculptor and mold maker. We mixed the plaster and poured in over the foam. A day later I began the laborious task of 'evacuating the foam from the mold' which roughly translates to making your fingers bloody trying to dig foam out of the plaster cavities. Once finished with that it was time to cast the final piece. I mixed hydrocal (a quick-set concrete like product) with fiberglass for strength and a concrete dye which stained the concrete a medium grey. I coated the inside of the mold with soap to help the final cast release once it had dried and then poured the dyed hydrocal mixture into the mold.

One day later we attempted to crack the mold away from the final cast. Here is where things went terribly awry. The plaster held on... like a face hugging alien... and refused to let go. I asked nice, I begged, and I think I cried a little. All to no avail. I then resorted to the use of tools. Hammers, chisels, screwdrivers, etc. Once I broke away the large portions of the mold I had to pick the tiny chunks of plaster out of each letter and design groove. It took days.

I finally finished and Jeanette came over to do some finish work on the rock. The overall grey color gave it a look of being concrete, so she used all of her powers of faux finish to give it the look of an age old rock, slightly moss covered. It worked.

When presented to Gunnar in court, a group of his squires carried it in on a shield. I picked up the rock and balanced it on my knee. Gunnar had no idea what we were doing for his scroll. His jaw fell open and a communal gasp went up from the crowd. We were all pretty proud of our work, and our recipient was entirely stunned. Success at last.

Someone asked me that night if I would make something similar. I responded with a 'hell no' and then revised that to "ask me again in a decade when I have forgotten this experience."

Gospels of Gladzor: Brenna's Pelican

2007-08-25T10:01:00.001-04:00

I believe this was my first attempt at a page from the Gopsels of Gladzor (Armenian, pre 1307). Although it is incredibly intricate, I fell in love with the geometrics and the patience required to render this page in my own hand.

The pelican in the top center replaced some style element I cannot recall. The rest of the page is quite true to the form of the original, colors and whitework included.

In this piece I especially liked the sweeping curves found at the top of the page. Circles appeal to me, I guess. If I remember correctly, this page was reproduces at about an 8x10 size.

I have produced three pages from this book and have found that I need some time between each one to forget the amount of work required by the previous piece. Although beautiful, these pieces are heavily time intensive and often leave me questioning my sanity.

However, when I look back at them, they are some of my favorites... as long as I don't think too much about my cramped and clawed hand.

Mira!

2007-08-25T09:28:00.001-04:00

Mira calligraphiae monumenta. One of the last great examples of calligraphy and illumination. Georg Bocskay laid down all the text, hands from the past and present rendered exquisitely, some so small that the eyes water just looking at the and your hand begins to ache with sympathy. It is a masterpiece of calligraphy with some of the most difficult and intricately woven script hands laid down page after page.

Thirty years after the calligraphy, Joris Hoefnagel illuminated each page with breathtakingly realistic inspirations from nature, each rendered almost hyper realistically. The common becomes uncommon as a tiny snail can capture your imagination in the perfect gleam of light from its moist shell. The ever complex columbine flower takes on the forms of a masterwork and one can appreciate the subtlety created by the painter. On each page, a passion shines through. Each item is breathtakingly transformed almost as if a prayer whose voice can be heard all this time later. A lily, a tomato, a damselfly, a frog, a tulip, a spider... things which we encounter every day but rarely notice Hoefnagel took something common and raised it up as breathtaking and then put it down on those pages for all of time to love and revere it.

Obviously, I have a passion for this piece. The first time I set my eyes upon those pages, my breath caught and I thought to myself "Now that is beauty... can I paint like that?" I quickly discovered this as my favorite style, much preferring it to the giant empty eyes of ancient Spain, the complex and unrealistic zoomorphs of Ireland, and even the flat figures lacking depth that seem to hang on pages from Paris.

So far I have done six pages from this book, a Rose scroll with a knot worked cross that was the text, Gianetta's Laurel, two awards for Finneadan, and two wedding certificates. I believe that I only have pictures of three of those.

Ginanetta's Laurel was some of the most challenging calligraphy I have ever done. The center body of each letter had to be put down first with the ascenders and descenders being added last. The letter knot themselves together in wide loops and tight turns. The last image a detail of that calligraphy. It appears pale on the page as it is rendered in a gold ink. It catches the light beautifully in person, but never photographs well.

Octavio's Musical Laurel

2007-08-25T00:55:00.001-04:00

I'm digging up old photos of pieces I did and attempting to collect them here.

Here is Octavio's Laurel scroll. The original was a page from a medieval antiphonal. It was fun and left a dramatic amount of whitespace on the page. I am still not used to a piece this big being so empty.

To make sure the music notiation was correct on this (as the recipient can read music and I cannot), I lighttabled the notatation up from the original.

The singular illumination on the page, the capital, lent itself wikll to the shape of the laurel wreath and his device fit bvery neatly inside.

Gospels of Gladzor

2007-08-24T17:38:00.000-04:00

The Armenian Gospels of Gladzor was produced sometime before 1307 and provides serious challenges for any illuminator.

The page pictured here was inspired by a canon table of this Gospel. I removed the central support column which divided the text area in half, but otherwise the piece is largely unchanged from the original in color and in content.

Each color portion of the page is heavily whiteworked as in the original. The entire page uses gold and 5 colors: red, green, blue, black and white. There is a small portion of grey in the bird that sits atop the golden palm and some pale red detailing in the birds at the top, but otherwise only five colors.

Details from the above page.

Codex Aureus... so far.

2007-08-24T17:03:00.000-04:00

These are scans of the original pages from the Codex Aureus that I have used for inspiration. Looking back I question what I was thinking to suggest these pages. The devil is in the details on this one.

This image is the full view of the page upon which I have been working. The 'gloss' portion of the text, the major capital, the knotwork and spirals, and some further detailing are still to be added.

There are some distinct color changes made to accomodate the preferences of the recipient. Instances of pink have been removed and replaced with a pale green.

Closeups of the text and not-so-miniature miniature. Behind the pelican you can just make out faint markings that are a pseudo asian script... inspired by The Matrix. Don't you just love illumination done for a techno geek?

Codex Aureus Gilding

2007-07-30T22:22:00.000-04:00

Yet more gilding and painting. Gwenhwfyr mastered gilding in one night, which is great as she has a new skill and I have less gilding to do! All the block colors are down now... just a hell of a lot of details left to go. Oh, and the small text.

Codex Aureus Text Page

2007-07-29T22:50:00.000-04:00

Today saw a pile of detailing on the Codex Aureus piece. Sections of the detailing remind me of Russian easter eggs I used to make with my great aunt as a child. Also, I finally started on the text page which means a heck of a lot of gilding. I finished the sketch of all the large scale text, about half the gilding, and left space for the reamainder of the text in a small font style like a gloss. Should work out.

Until the detailing goes down, I forgot how gaudy the reds, blues, ochers, and greens all look in blocks of solid colors. A few more good nights/days of work like this and I shopuld have the piece wrapped up and ready to frame. Just have to get through a million spirals and free handed knotwork without losing my mind :)

Post SNQE

2007-07-29T11:39:00.000-04:00

SNQE went quite well and I was able to complete a good amount of detailing on Master Daimhin's pelican scroll. I must admit that since moving into my current abode, I have really had no workspace and therefore have gotten no work done. I'll be heading over to Gwenhwfyr's space to rent a portion of her dining room table and continue working on that piece later today.

This particular page (or set of pages) is from the Codex Aureus of Canterbury.

Pre SNQE

2007-07-26T13:51:00.001-04:00

I'll be attending SNQE this Saturday for oodles of scribal fun. Bringing two light tables and a selection of books from my personal library. I look forward to a lovely day of pawing through books and occasional painting to be followed by seared meat.