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beard5 — Another P
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Published: 2007-10-05 06:37:39 +0000 UTC; Views: 2006; Favourites: 21; Downloads: 84
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This one was 11 hours. Not entirely happy with it, but it'll do okay. I *am* happy, however, with the little trumpet playing guy. The original, that I was copying was weird as well, like it had three different light sources for the shading, I finally gave up and did the best I could with what I had done already.It's not bad, but not a style that I'll likely do again.
Edited to add Let me rephrase...It's not a manuscript that I'll likely use again. the style is okay, just need a better example to work from.
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Comments: 15
very beautiful and teadious work I should imagine, but so gratifying too 
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Thank you 
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Oh yes... I so understand that, when I see my clients buying a painting of mine
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This is lovely! It's a different style than I've seen you do before, and it's done well. I see what you mean about multiple light sources. I've run into the same thing a few times. It seems the ancients didn't always know as much as we give them credit for today, but the results are great. I like the flowing vinework. Those leaves can be hard to do well, and you've succeded. Well done!
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Thank you! The vines were the fun part of this. And I had a lot of fun with the trumpet playing guy.
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You're very welcome!
Yes, he's really well done. It's fun working people of all different classes into border work.
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Ooooh this is beautiful. I can see what you mean by the shading and multiple light sources, but it's rich and beautiful. I think you could do something like this and correct the lighting. I love seeing this kind of shading in gouache -- and is that goldleaf, a lot of goldleaf? It doesn't always show up in the scan but it looks so beautiful in person.
I suck at gold leafing and I'm going to get some composition leaf to play with it again before trying it on something serious.
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Sorry about the delay in replying, I'm still getting the hang of messages here.
No goldleaf, I doth suckith mightily at it. Eventually I'll have it figured out, but not yet. It's Schmincke gold gouache. The color is comparable to period shell gold. (You just have to remember to apply it *THICK* and it works)
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Oooh nice. Actually, if you want real shell gold, ASW has it for about $30 for the little dot they were selling at Pennsic years ago, about the same price for a honking big dot of silver. I bought both when I got my gigantic six months of spending money Social Security back payment up in Minneapolis, it seemed like a good time to invest in things like that.
I'm now thinking of getting into gold leaf again, but I'll try it with cheap composition leaf first and see if I can get the skills down before wasting another $25 worth of gold trying. Besides, for non-period pieces it's not that expensive to get the fancy variegated leaf in red, black or blue, all of those really cool colors of marbled effect iridescence on gold (fake). I keep wondering how that'd look on watercolor paper with some interesting fantasy piece.
I probably won't use it in my Pagan Book of Hours though because I want that piece to be period right down to the binding method.
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Let me know when you want to research period binding methods, there's a fantastic book out there, "The Archaeology of Medieval Bookbinding" Get it through interlibrary loan (I want to own it, but the last time I checked, the least expensive copy was $240--more than Queen Elizabeth's Wardrobe Unlock'd O_O!) I have some of the Romanesque binding pages scanned as pdf's (that's the style used around the 13-1500's my time frame) But there are a great many earlier examples and styles, as well as some later ones.
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Thank you! It'll be a long time though, there are a lot of pages and I want to do them on parchment. I can just save the signatures till I have the book done. I need to work out exactly what content I want in it too. Once I have all the pages done, Kitten's going to work with me on the binding. She's done some medieval bookbinding. I want to put some semiprecious stones in the cover and carve it in leather over a thin wood frame. And stitch it with cords so that it has those decorative raised lines on the back where the cords go across.
I've got a fair hand with leather carving and setting the stones in cabochons shouldn't be that bad, also by the time I finish, ordering the stones shouldn't be too expensive once the rest of the work is done. I remember the ones I saw at The Cloisters that were more or less contemporary to what I want to do had cord bindings, and most of them also had a little flap and button closure to keep the book closed. They were so tiny and so freaking thick. The text was about 14pt or 12pt and gorgeous, those delicate watercolored birds that flit about in whitevine borders were no more than half an inch long.
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I'm looking forward to seeing it. That sounds wonderful.
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Yep. It's one of those sloooow back burner projects that will nonetheless come out utterly spectacular when done. I should probably copy the penciled water piece and do it in gouache on parchment for the first page, and put a little text about it.
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