| Topic | Author | Replies | Last Post |
|---|---|---|---|
| Anyone want to post pics of your scrolls? |
 Juliana
|
2 | February 28, 2007 |
| Acanthus workshop in Teufelberg (Mists) |
Celynen
|
0 | January 17, 2007 |
| Whitework workshop - SF Bay Area |
Celynen
|
0 | April 14, 2006 |
| Anyone working on anything cool? |
Juliana
|
1 | December 30, 2005 |
| Did you run out of money before you got tired of shopping at P... |
Fayme
|
0 | October 19, 2005 |
Antiphonal
Single leaf antiphonary attributed to the master of Riccardi Lactantius.
It is Italian (Florence). Tempora and gold leaf on parchment.
This scoll was not done for anyone but as an A&S project and was the first illumination I ever created. It was made on Bristol board and measured 11" X 14". The gold on it is 23K gold on a base of gesso. I was rather ignorant as to how to lay gold on gesso at this time, thus the uneven lines in the background. The illuminated initial was all that was usually produced in antiphonals, and it is painted with actual Verdigris (tarnished copper scraped off and held in a gum arabic medium), Lapis Lazuli stones crushed and held in a medium, Red Madder in a gum resin from a an east Indian shrub, Ultramarine Blue (fairly new to the scene at the time of this manuscript's making), and Raw Sienna yellow, another earth matter. White lead would have been used in this manuscript, but due to health issues we are aware of today, I used "Windsor-Newton white".
You may see the original manuscript in the Cloisters (an annex) of the Metropolitan Museum of Art in New York City.
It is Italian (Florence). Tempora and gold leaf on parchment.
This scoll was not done for anyone but as an A&S project and was the first illumination I ever created. It was made on Bristol board and measured 11" X 14". The gold on it is 23K gold on a base of gesso. I was rather ignorant as to how to lay gold on gesso at this time, thus the uneven lines in the background. The illuminated initial was all that was usually produced in antiphonals, and it is painted with actual Verdigris (tarnished copper scraped off and held in a gum arabic medium), Lapis Lazuli stones crushed and held in a medium, Red Madder in a gum resin from a an east Indian shrub, Ultramarine Blue (fairly new to the scene at the time of this manuscript's making), and Raw Sienna yellow, another earth matter. White lead would have been used in this manuscript, but due to health issues we are aware of today, I used "Windsor-Newton white".
You may see the original manuscript in the Cloisters (an annex) of the Metropolitan Museum of Art in New York City.
more photos in SCA SCROLLS
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