Wolf problems

The super secret peerage scroll has to have wolves on it. I’ve never painted animals before, and wolves aren’t the easiest since it’s remarkably simple to nudge them into looking like a fox or dog. This wolf looks like his face has the wrong taxidermy form inside:

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The other one is better. He’s chasing a rabbit!

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Painting fur texture is a challenge, but it’s incredibly hard when the subject is so tiny. Those wolves are about an inch high and an inch and a half wide. I’ve been doing them with a 6/0 and a 10/0 liner. I can’t even imagine how people do true miniature painting!

Shhhhhh…. it’s a secret peerage scroll!

20131215-180036.jpgI’m working on a super secret peerage scroll right now for someone who has never gotten theirs. It’s my first, and I’m trying not to be too daunted by it. The biggest obstacle is me psyching myself out. That’s got to stop since I already have three more queued behind it! For now, nothing I can show you will have the calligraphy showing, since that would make it pretty darn obvious who it’s being done up for…

If this looks big, it is. In Ansteorra, these are supposed to be 16×20 inches, which sounds great until you get in there and figure out how many little decisions go into filling up so much space. This one has ornate foliage, the recipient’s arms, the figure of a knight, animals, and gilding. I’m doing it with gouache on an archival paper for mixed media, Best Bottle sumi ink because I loves it with all my heart, and plenty of 23K gold leaf.

This is the design that gets traced onto the final paper. It took me about eight hours to draw all the fancy spinach out and another couple to do the B with the knight and wolf. I still have more animals to work into the foliage, which should be exciting. I can re-size sketches in Photoshop and tweak them to fit, but drawing them in the foliage makes for awkward positioning, which makes my modern eye all twitchy. Animals are not my artistic thing, and I’m pretty sure I need to think of an appropriate sacrifice to the art gods. Or maybe I could, you know, practice painting fur so they don’t look dumb…

There’s a lot of gilding on this bad boy. All those dots with spider legs up there? Gold. That big old B? Gold. The foofy bits on the white belt and the bar and the frame and the everything? Gold. I desperately love gilded things. They’re amazing and show stopping, and if I am going to be horribly honest about this, I trust in the power of gold leaf to elevate what I feel I lack in subtle illumination skills. I can’t cram five more years of practice into one piece that’s due in January, but I sure can make it extra super shiny.

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This is about where I am with the painting. Base colors are down, shading is starting to go in, and I’m trying to take breaks to avoid over-working it and to give myself pep talks that it’s ok that it’s colorful. The colors are slightly darker in person, but it’s rather boisterous. Illumination is an area where I feel insecure, and it doesn’t help that my fellow Ninja Scribal ladies are both super good at painting. One of them has a degree in watercolor. I try not to feel like I make everything out of macaroni and glitter, but I have my days…

But let’s talk more about gilding, shall we? Gesso and I do not get along very well at this time. Maybe it’s Texas weather, maybe it’s missing some secret knowledge of the ancients, maybe it’s simple lack of patience. But if I need to KNOW that something will work, it’s not what I’m turning to. This isn’t an A&S project.┬áKolner makes two popular gilding sizes: Instacoll and Minatum. Minatum is great and comes in an ink consistency as well as a thicker one, but it has a short window for working with it.

On the other hand, Instacoll can be one step (put it down, let it dry until it’s juuuuust dry, breathe on it, gild), or you can let it sit indefinitely and activate it later. This indefinite thing is fun because it lets me get used to building up layers gesso-style for very pillowy surfaces. You can buy the activator, or you can do what I do and just apply another thinned down coat. I’ve used it to great success on vellum as well as paper, and I like it. It works well for big areas, too. As you can see, I’ve already laid the gold dots on the first round of Instacoll. They’re softly domed now, and will get one more coat when I’m ready to gild so that they’re rounded but not to the point where it will be hard to burnish them.

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Queen’s Blade of Honor

I’m working this up in a hurry for Queen’s Champion this weekend. Calligraphy and illumination aren’t usually arts people get to see being done, so here’s a peek at how I do original works. Different people work differently, and there’s no right way to do it.

First, I find a design for decoration. Sometimes I trace from a manuscript, sometimes I draw my own totally from scratch, or a mix of the two. (The N on this is from a scribe’s sketchbook.) Whatever I’m using, I get out the tracing or typing paper and make sure I have a clean line drawing I can trace with my light box. Photoshop can help with desaturation and contrast to get this. Size it to what you need for your layout. Place it where it’s going to be on the backside of the paper and secure it with some drafting tape.

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If you prefer to do the illumination before the calligraphy, now is the time to trace it lightly in pencil and go paint and gild. If you’re a calligraphy first person, your next step is to draw the lines for the text. I make up guide sheets in Photoshop for various nib widths and x-heights. I hate drawing and erasing lines, so I do this. Tape into place on the backside of your paper, slap it on the light table, and do the calligraphy.

Then you trace your decorations, pencil in lines, whatever. Now you have this (forgive the sad calligraphy, but it was a bad calligraphy day and this was the fifth try of the night):

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Start with the gilding – and that goes double if you’re using gold leaf, since it will stick to the gouache. This is Schminke gold gouache, and it’s very pretty. Gold always needs outlining, so it’s ok if it’s not perfectly crisp and defined. Next, paint. I start lighter and work in darker washes to shade. It looks a little funky at this point, and I want you to know that’s normal.

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Outlining, shading, highlighting, and a little touching up can absolutely transform the letter, even if what you’re doing is subtle. Here’s the final outcome, finished at the event. I think this whole thing took 5-6 hours, plus another 5 spent screwing up the calligraphy four times. Lesson learned: when you’re in a hurry, stick with a hand you know how to do well.

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