Wanted to experiment with some new supplies... found this Scott Adams quote online and decided to give it a whirl. Painted the canvas to give it an old parchmenty sort of look, then calligraphy, then sprinkled it with paint. Definitely a practice piece,so I guess the quote is fitting?
8.6 cm by 6 cm. Done on a scrap of animal skin parchment (not sure what critter; it was a gift), gilded with 23 karat patent gold with fish glue as a binder, and painted with gouache. Calligraphy & lines done in sumi ink.
I did this after work yesterday and finished it this morning, purely for no reason other than I didn't want to work on anything that I actually need to get done. I've also wanted to try making a tiny manuscript to scale, so I just copied an existing one word-for-word (though I guess lettershape-to-lettershape would be more accurate - I don't know latin and the source was hard to read, so half of this is illegible). Anyways, this is a 15th century French book of hours - part of Psalms 123 & 124. The translation as well as source pics are all on the website, so if you want to see what my derpy letter shapes are supposed to look like and translate to, here ya go:
The calligraphy/illumination is off from the original by about 6mm. I may have been able to do it smaller with no lines, but when I lined it for the calligraphy it smooshed out on me without realizing.
This scroll is mainly based off the Hours of Philip the Good, Duke of Burgundy (c. 1454-55). The Hours contain grisaille miniatures that fill about half of each page, underneath which the customary texts for a book of hours are written in bastarda, following a large puzzlework illuminated letter.
The miniature I chose to use for the scroll is based off of a full-page color miniature from the Hours of Mary of Burgundy (c. 1477), in which a lady is sitting at an open window looking into the interior of a gothic church. Instead of depicting the church, I used a landscape from the background of the Hours of the Cross in the Très Riches Heures of John, Duke of Berry (completed c. 1485- 90).
I used ground pigments bound with glair on vellum - my first time with all period materials! WOO.
I made this for the garb challenge being held at Atlantian Fall Coronation this year (2013). It was sooo much fun to plan out and so aggravatingly time-consuming to complete. It's covered in heroes and villains, of course, which was the theme of the challenge (I went as 14th century Poison Ivy). It's done with gouache on perg, and is based off of the Neville of Hornby Hours (mid 14th century), with the miniature being based off of folio 190 - the Siege of Jerusalem.
This is a for-the-lols award that I made for my seester-apprenti, Letia Thistlethueyt, based on the frontispiece of the “Heironymus Corvina” (1488; Florence, Italy), consisting of St. Jerome’s commentaries on the epistles of St. Paul. This copy was commissioned by Matthias Corvinus of Hungary, and it was illuminated in 1488 by Gherardo and Monte di Giovanni, two brothers at the head of a very prominent atelier in renaissance Italy that produced multiple books for the Hungarian royal library.
I really wanted to do this one for Letia because 1) It's covered in thistles, and 2) she and I got to see one of the corvina manuscripts together IN PERSON and it was AMAZING.
Materials used: Pergamenata (regular weight, natural), 23 karat gold leaf, fish glue diluted with water, Windsor-Newton gouaches, Louvre acrylics (deep red background), Enere Sennelier Or 03 Gold Ink.
Done for King's Assessments 2013. Based on the Mira Calligraphae Monumenta (Flemish and Hungarian, Austria, 1561- 1562 and about 1591 - 1596). This is the first time I've done a whole scroll based on that manuscript all by myself! Woo!
This is an Award of Arms and kingdom level Arts & Sciences award for my awesome knotwork-making scribal friend Sibryyyy... she likes dragons. And her last name is Thorne. So I turned one of the little lizards in the manuscript into a dragon, and I chose a flower that wasn't in the manuscript but has thorns - bouganvilla (technically they start out being thorny and then they become flower stems) - and stuck a kiwi fruit on there in lieu of my usual makers mark, which is a kiwi *bird*. Sibry does so many awesome arty things and then gives them all away, so I was super happy to be able to do her award.
This is a Silver Chalice award for my friend Lauren, who is moving out of barony. She's an art history major and this is her first scroll, so obviously I couldn't decide on a single type of illumination to go with for her. I knew she wouldn't be picky about periodicity, though, so I ended up combining everything I thought she'd like and making this scroll that makes all the C&I Laurels' eyes bleed. ^_^
It has elements from Greek black figure pottery, the Book of Kells, various bits of gothic illumination, an illuminated letter based off a 15th century Italian book page, and an out-of-SCA-period Japanese print from Hokusai's 36 Views of Mt. Fuji series.
There's a silver chalice in each different chunk of illumination, as well as a tardis, a dalek, and a violin that is supposed to allude to Sherlock. Tiny people watching a tiny tv playing Barbarella at our local scriptorium.
23k gold leaf, gouache & sumi ink on pergamenata. Full(er) documentation in journal!
The recipient of this scroll is a good friend of mine, MacCon who really helped me get started in the SCA. He received it for his medallion-making awesomeness and commissioned me to make the scroll as he was helping me change my flat tire on the side of the road one night (hence the broken-down cart in the background). He asked for an early period scroll, and while this isn’t quite as early as his persona, it’s still the earliest style scroll I’ve ever done!
The layout, calligraphy, and illuminated letter are based on the Ramsey Psalter (Harley MS 2904), ff.3v-4, & f.144. - English, late 10th century.
The miniature is based mainly on the Harley Psalter (Harley MS 603 – ff.7v-8) and the Tiberius Psalter (Cotton MS Tiberius C VI, ff.13v-14). Both are Anglo-Saxon, early to mid eleventh century in England.