For the Thrown Weapons champion!
For the Brewer.
Both ink on pergamentat, drawn with crow quill, straight nib for calligraphy. Based on woodcut exemplars.
For the Thrown Weapons champion!
For the Brewer.
Both ink on pergamentat, drawn with crow quill, straight nib for calligraphy. Based on woodcut exemplars.
A quick kids award, done at the same time as the previously listed werewolf scroll.
Gouache on pergamentat
The Scrivener Royal competition for Amos & Kara’s reign was themed Bayeux Tapestry. Due to communications issues the theme announcement was late in coming.
However, I found myself finished with the other things I had due for WOW, and a few days to kill. I obtained a backlog from Mistress Martell, and was given an Opal for a gentle of Nottihill Coill.
I had not met this individual, so facebook stalking ensued. I found out that she was the publisher of their baronial newsletter and a Potterhead.
Needing Bayeux Tapestry theme, I pondered how best to approximate embroidery on paper and settled on colored pencils as the best medium to give me “stitches.”
The Bayeux Tapestry is an embroidered cloth nearly 70 m (230 ft) long and 50 cm (20 in) tall, which depicts the events leading up to the Norman conquest of England concerning William, Duke of Normandy, and Harold, Earl of Wessex, later King of England, and culminating in the Battle of Hastings. It is thought to date to the 11th century, within a few years after the battle. It tells the story from the point of view of the conquering Normans, but is now agreed to have been made in England.
According to Sylvette Lemagnen, conservator of the tapestry, in her 2005 book La Tapisserie de Bayeux:
The cloth consists of some fifty scenes with Latin tituli, embroidered on linen with coloured woollen yarns. It is likely that it was commissioned by Bishop Odo, William’s half-brother, and made in England—not Bayeux—in the 1070s. In 1729 the hanging was rediscovered by scholars at a time when it was being displayed annually in Bayeux Cathedral. The tapestry is now exhibited at the Musée de la Tapisserie de Bayeux in Bayeux, Normandy, France.
So I got to laying it out, and the size got silly.
Happy with my layout I transferred it to pergamenata.
I laid the text in one letter at a time. By which I mean, I wrote every ‘E’ and then every ‘A.’ I decided to do it in this fashion because the stitched text on the exemplar is pretty uneven, and I didn’t want to accidentally become too regular in writing words. The stitching was used as the ductus.
Left to right I started to draw. Also, generic people are really boring, and I can’t help myself, I really, really love including Duke Cuan wherever I can.
I was really pleased with how this came out, the pencil did approximate stitches well. I wouldn’t have thought to do a scroll with pencil otherwise.
In the two weeks before Twelfth Night I got a plea from the Scrivner Royal. A Pelican scroll destined for the event had been damaged. Could I help?
I wasn’t going to the event. I had never met the recipient, and knew nothing about her, but I was on the first of a 3 day stretch off of work with my husband out of town. Challenge accepted.
Knowing nothing about the recipient, I focused on the theme of the event, Il Palio horse race.
The Palio di Siena is a horse race that is held twice each year, on 2 July and 16 August, in Siena, Italy. Ten horses and riders, bareback and dressed in the appropriate colours, represent ten of the seventeen contrade, or city wards. The Palio held on 2 July is named Palio di Provenzano, in honour of the Madonna of Provenzano, a Marian devotion particular to Siena which developed around an icon from the Terzo Camollia. The Palio held on 16 August is named Palio dell’Assunta, in honour of the Assumption of Mary.
A pageant, the Corteo Storico, precedes the race, which attracts visitors and spectators from around the world.
The race itself, in which the jockeys ride bareback, circles the Piazza del Campo, on which a thick layer of dirt has been laid. The race is run for three laps of the piazza and usually lasts no more than 90 seconds. It is common for a few of the jockeys to be thrown off their horses while making the treacherous turns in the piazza, and indeed, it is not unusual to see riderless horses finishing the race.
Prithee come forward, all, and know that We Amos, by right of arms King of Atlantia, and Kara, by grace, inspiration and beauty, Queen of Atlantia do bid greetings to all and sundry. After appropriate consideration of her selfless and tireless efforts to better Our realm and its populace, We hereby and forthwith induct the good and worthy
as a companion of the most noble Order of the Pelican and elevate her to the peerage of Our Kingdom.
Further We do award her the sole and exclusive right to bear the following arms by Letters Patent: Or, on a pale nebuly vert three oak leaves Or.
Given by Our hand this Thirteenth day of January, Anno Societatis LII at Our Twelfth Night
Chocolate brown ink on pergamenata. Large features light boxed onto the pergamenata to maintain scale, but given the linoleum-cut feeling of the original, the details were all freehand.
To improve the flow and verisimilitude, I pled to the SCA internet for someone to translate my words into Italian. They obliged.
The exemplar was used as a ductus for the text. Dates were replaced with the appropriate event dates.
Her arms fit in beautifully with the layout, and were provided with augmentation by Baron Wulfstan.
And since I couldn’t bring myself to leave it without gilding, I added just a little bit of pH Martin’s gold to the border. I then cut a mat to fit a frame I had as a donation.
3 days later I delivered the finished scroll to be taken to the event, where she was given both scrolls, with apologies for the damage to the original scroll, which was beautiful, and she treasured.
When my baby brother told me they were pregnant I decided that the Potterhead parents needed something neat for the baby. This took me from the Father’s day announcement of the pregnancy, until Lilly was just over a year old.
Tales of Beadle the Bard, per the description in the published J.K. Rowling book dates to the 14th century. So I decided Fraktur, which I have some facility with would be the hand. I spent a certain amount of time getting everything together, and just when I was ready to start I had a penny drop- In canon, the book is written in RUNES! Now, I know that runes were not used by the Danes to write in books. Totally not a thing as far as we are aware, but cannon is cannon. So then I had to spend 6 months with a translator program going through the book and transliterating it into Elder Futhark. Yes Elder. Why? Because I translation engine exists on the internet.
Runes are depiction of phonemes, so I just used the English words and put them through the translator. Deciding to write a book and bind it was crazy enough without trying to find a Danish copy to deal with.
Once translated I decided that the book would be a copy of the book that Dumbledore gives Hermione, in which she has added an English translation on the verso.
Many, many months later I was ready to bind the choirs. John Neal Books and the internet were very instructive. I hand sewed with linen thread.
I used a scrap of garment weight leather for the cover, which is described in the book as being nondescript, in spite of the movie picturing it with a cloth cover and a woodcut on the front.
I presented this to my brother at the Wizarding World of Harry Potter, and got on of the “students” to deliver Lilly’s “owl post” while we had lunch in the great hall.
In the weeks leading up to War of the Wings my laurel asked me to make her a contract scroll.
Time was short, life was in the process of happening and I wasn’t sure I could make something appropriate. Then, at 2am one day, I had a wild hair, and was struck that they were largely viking. So I asked if I could carve the contract on a stone tablet that could then be broken across King Ragnarr’s knee by the Ladies.
So I wrote a very few words, since I knew I had little room to work with.
I got two standard stretched canvases from Michaels, and poured plaster of paris mixed with a variety of “rock” colored paints. Once set I went about drawing representative pieces for each. HRM Lynette has a peacock in her arms, and is renowned for her love of the same. HRM Ragnarr is, well, The Black Hammer. Mistress Hrefna in rauða Þorgrimsdottir is styled the ‘red raven.’ These were then sketched in with chalk pastel on the sort-of-dry plaster.
Using clay carving tools I scraped out everything that wasn’t sketched in.
I used a black ink brush tip marker to add the runes into the piece. As the plaster finished drying over the course of the next week or so, the chalk pastel faded in a surprisingly lovely manner. It was taken out of the frame, the english text written on the back for ease of later reading. And with much anxiety on my part, I took it to WOW. All the while terrified that I would drop it and break it prematurely.
Anecdotally, HRM Ragnarr was reluctant to oblige me in the performance art of breaking the tablet. With some reasoning by myself and my housemates he obliged me, and, by the fire, after dark, HRM Lynette and Mistress Hrefna each took half of the tablet and broke it across HRM’s knee. It broke right along the bottom of the hammer. HRM retain the peacock and hammer portion, Mistress Hrefna retains the raven. She will be given the other half on completion of the contract. My housemate, Johan, has offered to make a shadow box for the reunited pieces at that time.
Haelfdige Annora asked me to write up her apprenticing contract for her new apprentice Lady Elena. She asked that her arms and Elena’s dove be included. This was my first foray into cadels.
Although this is pictured on a light box, it was never plugged in. It served only as a hard surface.
Mistress Michel’s shield stencil was used to outline and size the devices.
Ink was a deep chocolate brown and applied with dip pen in a mix of flat nib and crow quill.
Heavy pergamenata substrate.
I was asked by House Corvus to make Klaus’ laurel scroll. Giving that he was being laureled for work in Garb, specifically German garb, Standard-bearers of the Swiss Confederation / Unterwalden by Urs Graf seemed a very appropriate exemplar. I had also wanted to do something on black paper for a while, and, well, kismet.
A series of sixteen Standard Bearers of the Swiss Confederacy which Graf designed in 1521. The series plays a major role in the history of early printmaking on account of its unusual technique. White-line woodcuts were cut and printed to stand out white on black; this was much more difficult to achieve successfully than the usual type of woodcut designed to print black on white.
If it is said that clothes make the man, what power wields the man that makes the clothes?
Our raiment and our armament, our comfort and our class – Klaus Jager is the author of many stories.
The extensive volume of his work and quality of his plumage mind us, Amos and Kara, monarchs of Atlantia, to recognize our subject, Klaus Jager by inducting him into Our Order of the Laurel.
By these letters patent allow him and none other to bear the following arms: Per bend sinister Or and azure, a lion sable and an eidelweis argent.
Done by our hands on this day, April 6th AS LII at the Coronation of our lawful successors, Dietrich and Una.
Wenn man sagt, dass die Kleidung den Mann macht, welche Macht übt dann den Mann aus, der die Kleider herstellt?
Unser Regen und unsere Bewaffnung, unser Komfort und unsere Klasse; Klaus Jäger ist der Autor vieler Geschichten. Das umfangreiche Volumen seiner Arbeit und Qualität seiner Gefieder Geist uns, Amos und Kara, rechtmäßigen Monarchen von Atlantia zu unserem würdigen Subjekt Klaus Jäger durch die Aufnahme in unsere Reihenfolge der Lorbeer zu erkennen, und durch diese Briefe Patent erlauben ihm, und keine andere zu tragen die fol Muhen Arms: pro Biegung links gold und blau, ein Löwe schwarz und ein Edelweiss blau
Getan von unseren Händen an diesem Tag, 6. April AS LIIi bei der Krönung unserer rechtmäßigen Nachfolger, Dietrich und Una.
Translation by Seyele van Dampach
Layout and sizing
Prick and Pounce
Pouncing has been a common technique for centuries, used to create copies of portraits and other works that would be finished as oil paintings, engravings, and so on. The most common method involves laying semi-transparent paper over the original image, then tracing along the lines of the image by creating pricked marks on the top sheet of paper. This pounced drawing made of pricked holes is laid over a new working surface. A powder such as chalk, graphite or pastel is forced through the holes to leave an outline on the working surface below, thus transferring the image. The powder is applied by being placed into a small bag of thin fabric such as cheesecloth, then dabbed onto the pricked holes of the pounced drawing.
Practice tile pounced
Pounce bag in a jar
Gel pen used to draw the practice item for proof of concept. It worked wonderfully.
Then the individual standard bearers were pricked & pounced onto full sized sheets
And then inked with white ink and a dip pen with a crow quill nib.
It took a while to get the words made, approved, and translated, once done, I worked out the size on a scrap piece of paper. The nib, ink, and paper all go into how the letters look, so a variety were tried. Since I wanted the letters to flow with the flags, then I worked on getting the lines lined up and curving appropriately.
In the end, the text ran across 4 flags, with his name and arms in the center two. Signatures would go in the areas occupied by canton names in the exemplar.
Premade mat/frame combos bought for display, mats cut here to better frame the art.
Supporters of Arms for Baron Marc and Baroness Alianor upon their divestiture -Murin Dunn
I was thrilled to be asked to put together a scroll for my Baron and Baroness of Sacred Stone to commemorate their divestiture at our most recent Baronial Birthday. Especially adding to the thrill of the event, was during the festivities I was becoming apprenticed to Baroness Alianor.
As they had been landed baronage before, their majesties elected to award them supporters of arms. Baron Marc, already having a blacksmith supporter, was awarded a Phoenix, and Baroness Alianor a Phoenix and a Silver Spike. Spike being the name of the Atlantian unicornuate seahorse of Atlantia, and the Phoenix representing the Barony of the Sacred Stone.
Knowing Their Excellencies and having seen that the only piece of art in their living room that was not an SCA scroll was a print of an Albrecht Durer woodcut, it seemed natural to base this on another piece by Durer.
Maximillian’s Triumphal Arch
The Triumphal Arch is one of the largest prints ever produced. It was printed from 192 individual woodcut blocks, 357 x 295 cm in Germany. It was commissioned by the Holy Roman Emperor Maximilian I (1459-1519). The program was devised by the court historian and mathematician, Johann Stabius, who explains underneath that it was constructed after the model of ‘the ancient triumphal arches of the Roman Emperors’.
Above the central arch, entitled “Honor and Might,” is a genealogy of Maximilian in the form of a family tree. Above the left arch, “Praise,” and the right arch, “Nobility,” are represented events from his life. These are flanked by busts of emperors and kings on the left, and a column of Maximilian’s ancestors on the right. The outermost towers on either side show scenes from the private life of Maximilian.
The architect and painter Jörg Kölderer designed the overall appearance of the structure, and Dürer designed the individual scenes and architectural elements, some of which he sub-contracted to his pupils Hans Springinklee and Wolf Traut, and Albrecht Altdorfer of Regensburg.The date 1515, which appears on the Arch, refers to the completion of the designs; the blocks were cut by Hieronymus Andreae of Nuremberg between 1515 and 1517. This impression belongs to the first edition of 1517-18 when about seven hundred sets were printed, but they are today very rare. It is undecorated apart from the word Halt in the German Halt Mass (“Keep to moderation”) which is gilded.
The center arch detail (included below) was the exemplar used in this scroll.
Not needing to make multiple copies efficiently, a woodcut was not used for this. However in order to make a woodcut, one would start with a detailed pen and ink drawing.
The media used were pergamenata, a vegetable vellum equivalent; Dr Ph Martin’s Hi Carb Black Star ink, as it is waterproof, shellac containing and goes on deep black without need for oxidation to achieve final color; and a mapping nib on a dip pen, the smallest available nibs.
Appropriately sized printouts on modern paper are taped to the back of the pergamenata, and a light box used to guide the drawing. Various other woodcut exemplars were used to help size the supporters and customizations of the details.
Proof of concept, color added only to the augmented arms. Sketch.
The text is written in a Fraktur hand consistent with the late period German exemplar and reads:
To serve as territorial baronage is a labor of love. It requires years of commitment that include moments of frustration balanced against great joy and pride in the work and achievements of the members of the Barony. Sir Mar d’Aubigny and Mistress Alianor atte Red Swanne have served Our Realm not once but twice as Baron and Baroness of the Barony of the Sacred Stone. Under their stewardship the Barony has prospered. For this do we, cuan and Signy, King and Queen of Atlantia, acknowledge their service and show our thanks and appreciation by awarding them Supporters, To Sir Marc a silver phoenix and to Mistress Alianor a Silver Phoenix and Spike. Done by OUr hand this 13 day of September AS LII at Sacred Stone Baronial Birthday and Investiture.
At the top of the columns, the exemplar has dogs which were replaced with portraits of their Excellencies cats.
The frieze of Sir Marc’s colum reads “Can’t stop the signal,” and “Shiny” in Chineese.
The frieze of Mistress Alianor’s collumn has notable symbols of her home town: the Keystone, the Steelers, and one of the notable bridges in Pittsburgh.
There are 2 golden snitches in the carvings.
The crowns in the exemplar were changed to baronial coronets.
The sirens chained up at the bases were exchanged for the badge of the populous of Sacred Stone, which is wings in Argent and Vert, emerging from the baronial coronets, as they are divested.
The birds in the columns are a swan and a raven, as Mistress Alianor atte Red Swanne was kidnapped at this event and replaced with Lærimoðir Hrefna in rauða Þorgrimsdottir, the red swan exchanged for the red raven.
In Process Photos
I was commissioned by Her Excellency Sacred Stone, Murienne, to draw up a treaty renewal between the Barony of the Sacred Stone, in Atlantia, and her sister barony of Wyvernwoode in Trimaris. She asked for a showy document that would be signed by Their Majesties of both kingdoms as well as Their Excellencies Wyvernwoode and Sacred Stone, that would then be cut down the middle in the way of contracts.
I’ve been recently focusing on cadels, and am motivated to showcase that I can make art without a light box. The cadel is a flourish made up of primarily straight sections that meet at angles or square corner instead of an oval or circular curves. This technique was born out of the Gothic scripts and achieved its height of popularity in the 15th century for manuscripts and early books. These showy golden cadels seemed just the thing for such a weighty document. So, to the google-mines I went looking for inspiration, and an exemplar.
I found a scribal godess in the form of Gwenhwyvar verch Owen ap Morgan (Jeanie Davan)’s blog. She did a study of a 14th c. Portugese frontispiece, which about fit my requirements perfectly.
The book “Livro da Nobreza e Perfeiçam ds Armas” is a manuscript reproduced with electronic and off-set printing in real 44×32 cm size of the manuscript. This XVIth Century codex started before 1517 and was completed before September, 1541. This codex is a treasure of the Portuguese National Archives and it opens a catalogue of the coats-of-arms titled with decorative gothic letters in gold. It was written by Antonio Godinho, who began the codex in the reign of King Manuel and became the Registrar of D. John III, fifteenth king of Portugal.
The cadel is an important design element in this piece and the interlacing of the words provides the visual structure.
The gray, monochromatic, sculptural decorations surrounding the letters on the original piece are known as grisaille.
The exemplar is the frontispiece
“Forward thinking rulers are always aware of the benefits to be had from friendships and alliances. A quarter century ago a treaty was forged between the Tramarian Barony of Wyvernwoode and the Barony of the Sacred Stone in Atlantia. In the intervening years both baronies have flourished in safety through the strength of our knights and troops together on and off the field, from shared arts, joint service, and commitment to each other. With this document do we, the undersigned, recommit ourselves and our lands to this covenant in the hopes that our shared Dream and respective esteem will continue to flourish,”
Heavy weight pergamenata was used as animal vellum is expensive, and even harder to cut than perg. My treaty is 23 x 13.5 inches to preserve the proportions while allowing for more text.
This document has golden gothic lettering, likely done with shell gold originally, as opposed to leaf, as there is writing on top of the gold in the exemplar. I used Dr. pH, Martin’s gold ink for the main text. The letters are outlined in pH Martin’s Black Star, high carb black. But due to ink flow problems I changed to Sumi ink for the detail work of the grisaille.
Dip pens were used exclusively, broad calligraphy nib for the letters, and a mapping nib for the details.
The gothic hand was modeled on the exemplar, as a ductus when possible, and de novo when the letters, did not appear on the original document.
No stencils or light boxes were used on this document. However, a lot of pre-ink drawing for sizing and layout was done with graphite.
This was started on November 9, 2018, and finished on November 19th.
This was a really interesting document to work on, as noted by Mistress Gwenhwyvar, the order of operations was odd. The gold letters were done first, the ascenders and decenders, as they had to loop all over the place, went in next- separate from the bowls of the letters, but all with a large flat calligraphy nib. Then the letters and loops were outlined with a mapping nib. The first Cadel was drawn in separately, though in the same order. Then the grissaile was started. However, this could not be done in an area-effect manner. The details between words all went in, then the vines then the drawings in the top of the document, some animals, and then the final flowers. Graphite all removed with gum eraser.
The small cadels down the center and in the text were based on the two cadels that appear in the exemplar.
Though the original is in shell gold and iron gall ink on vellum, I used pergamenata, high carb black ink and gold suspension ink. I deviated from period to save money, but also because there was a time limit for this assignment, which I had 4 weeks to complete, two of which I had to work, effectively making it 2 weeks.
The original is a frontispiece for an armorial that was presented to a king, as I was commissioned for a treaty that could be cut, I based the idea on medieval contracts which were cut down the middle with each participant retaining a half until the contract was fulfilled. They were cut in an uneven manner so an apprentice, once made a master and given the other half back, could prove that he was now a master. For this instead of a “contract” line for cutting, I chose “alliaunce” an archaic spelling of alliance.
CUTTING PICTURES FROM FINAL SIGNING
Her Excellency Sacred Stone, Murienne took the treaty to Trimaris in January and sent me pictures from the cutting which I gleefully share here. Pictures courtesy of Her Excellency Sacred Stone.
IN PROCESS PICTURES