Gryphon's Bits

I have oft pondered over the various names of awards in the Kingdom of Artemisia, and while I hold great respect and reverence over what they are and represent, at the same time I can't help but smile at the irony that the awards inevitably dissect our beloved Gryphon. The latest installation of this occasional artist is one such award: The Gryphon's Heart.

Having watched Giovanni aka Rat grow in the society and develop into a gentleman (a flirtatious one, but one nonetheless), has been a pleasure and it was thusly meaningful for me to be asked to create his Gryphon's Heart.

I didn't have much lead time on this piece and therefore needed something that would pull together very quickly. I also wanted something that was a little more masculine than the typical flowers/ivy borders that are quickly put together. When I found an oak leaf border in the Hours of Catherine of Cleves, I knew I had to do it (oak trees are strong and manly, right?).

I used Windsor and Newton Gouache in shades of green, and Holbein Brilliant Gold gouache for the acorns. Ideally those would have been done in gold leaf, but I had none available, and no time to procure any.

I used Higgins Eternal ink for the text, and it's all done on Bristol vellum finish hot press.

In other, somewhat unrelated news, I had a flood of sorts in my art studio (kitchen sink was directly above my bookshelves), and while I was lucky to not have any significant damage to my beloved books, the room needed serious work. I had to relocate everything out of the room so that the ceiling could be fixed, carpet torn up, disinfected, padding replaced, relaid, and cleaned... on and on. It's all done now, and I have a room once again, which has been greatly improved through the process. I also have a brand new set of shelves that is begging to be put together which will help my storage needs!

Recent(ish) Scrolls

The text in this blog will be pretty short. Mainly because I honestly don't remember many of my references for these pieces and don't have my library at hand at this moment to refer to...

This is a Golden Maple Leaf scroll made for Allegretza. It was a back-scroll assignment done with Windsor and Newton purple gouache, Holbein brilliant gold gouache, Higgins Black Magic ink, on Bristol vellum finish hot press. I'm thinking the border on this was slightly modified from a border from the Winchester Psalter, but don't quote me on that. I'll have to check my references and edit this later.

Here we have a Gryphon of Artemisia Scroll done for Duchess Caryn. This was based on the Hours for the Use of Paris in a style that I've just loved for years. Most pieces in this style have a sort of "patch-work" look, but the more organic shapes here drew me in and told me I had to do this piece. The white cat is based on Caryn's device or Coat of Arms, and I admit that I arbitrarily chose to do the Gryphon in white - mainly to see if I could, and to match the cat.

Latest Projects

I have not been sitting in the dark since the gold brocade gown, though that may seem to be the case. After the announcement that I would be sitting vigil for elevation to Laurel, I depended on the lovely Serafina Basso, who did my gown with the assistance of several people in beading and jewelery. I was utterly pleased with the results, pictures of which can be seen all over the web, but here are a few of my favorites:



I take pretty much no credit for that gown, save perhaps the design and fabric choice (a fabulous green/blue shot silk taffeta imported from Thailand). But, of course, I had to share.

Since then, I have created a Golden Maple Leaf Scroll, a Norse tunic, and a norse rectangular cloak.

The latest project was a ginger colored linen gown, with aqua linen guards. It was originally intended to be a middle-class Open-front Venetian, but ended up more of a Campi-style working class, with a dropped V-waistline rather than straight. This all happened accidentally due to an error in seam allowance, but it all worked out rather well, I think.

The dress is quite comfortable. The bodice is interlined with cotton duck and the front, along the hand-sewn eyelets, is boned with four pieces of 1/4" spring steel boning (2 pieces in each channel, 2 channels on each side). The guards were hand sewn, and the apron was added at the last minute with a scrap of grey linen and some red cotton cord from my stash. The apron was 100% sewn by hand.



I'm overall quite pleased with how this project turned out, though I do intend to create matching sleeves for days I don't want to be quite so "dressed down." I now have camping garb that both fits and is in good repair. It is a momentous occassion!

Gold Brocade Venetian Gown

Sadly due to a camera loss incident, I don't actually have many pictures of my creative process on this project, and those I do have are poor camera phone photographs.

This project started out with the girls hanging out at artsy night discussing Solstice Court dressmaking plans, to which I bemoaned the fact that there was no way I would be able to afford fabric to make a new gown. Serafina, being the amazing, generous lady she is, promptly handed me a bolt of jaw-droppingly gorgeous gold brocade that has a shimmer to it that no photographs can properly capture.

After futzing with my new corset for waaaay too long, I finally finished it and was time to start getting fitted for the new gown. All my old gown patterns are now useless due to some recent weight loss (which also happens to render my SCA wardrobe into a state of dusty pointlessness). This is both an awesome and annoying thing. Luckily Serafina is also amazing at draping and fitting and is always willing to help people.

I decided I wanted a gown done in the style worn in Venice, c. 1560-1570ish. I wanted the fabric to do most of the speaking on this because it says things so much better than embellishment can (typical for Venice at this time, actually).

I decided that while putting guards on a brocade gown was not extremely common, it was in fact done, as illustrated here. Guards are handy in that they can add a contrasting color while also hiding lacing stitches, as well as making hems clean and easy. It took me a while to find a fabric to choose for my guards, but after much contemplation, I chose a lovely pine green satin.

After stitching the guards down 100% by hand, I moved on to the skirts. All of my previous skirts have been a separate garment on a waist band which is hidden by skirting elements on the bodice. So this was a new thing for me. The most important trick was to grade the front of the skirting down to account for the "V" in the front of the bodice. As always, Serafina educated my brain and all went smoothly.

I also had to be cautious of lining up the pattern elements on the skirt - something I've never had to pay attention to in the past. I proceeded to cartridge pleat the skirts and attatch them to the bodice by hand. This was then followed up with the careful application of a hem guard.

This image is of my pillow wearing my gown. Doesn't it have a lovely figure? At this point all I had left to do on the project was to make a new camicia/smock and sleeves. A grand idea was concocted to make a shirt with starched standing lace for the collar. The shirt went together smoothly, as shown here, but after the starching part was complete, I decided that some modifications need to be made to this kind of neckline for a standing collar to work. I ended up wearing an older high-necked smock instead of my new shirt.





Solstice Court (Images all blatantly stolen from other people, mainly Serafina):









At the end of the day in court, I was called forward and asked to sit a vigil for potential elevation into the Order of the Laurel. Dig the "meep!" face I have here. I'm still shocked, to be honest.

Two New Scrolls

Actually, it's just taken me far too long to post these, so let's get down to business!

I was approached by Dame Varia to do Dame Annys's Laurel scroll, as there was rumor that she enjoyed my work. I was terribly flattered by the compliment, and of course accepted. I didn't have a ton of time to complete the piece, so I tried to find an inspiration manuscript that could be done in minimal time but still look amazing and have a touch of the "wow" factor (i.e. sparkle). Having done a piece from the Stephen Lochner prayer book before, I was thrilled when I found copies of several more pages from which to pull inspiration.

I spent hours upon hours trying to find the perfect set of supporters and a way to integrate the Pelican that Annys already had into the piece. I couldn't make it work the way I wanted, so I opted to do a standard mantle with the pelican in her piety, with the laurel wreath surrounding the coat of arms.

The gold flourishes are all done in gold gouache, but emulates what shell gold would have looked like. I'm saddened that this piece did not fit on my scanner bed, which resulted in this scan being cropped in a very sad way.

I also learned a very valuable lesson when doing this piece: double check your blazon before you do anything! If you know much about heraldry, you'll notice that the blazon in the text does not actually describe the image of the coat of arms. It's backwards. I learned (too late), that the blazon I was given was incorrect. I was able to paint the image to look as it should, but the text is wrong. Le sigh.

I was unable to be there for Dame Annys' ceremony, but I do hope that she had a memorable time, and that she enjoys this part of it.

The second scroll was created for Jean-Richard de Holloway, who is one of the most talented artisans I know. He has taken to studying and recreating many Japanese things such as armor, clothing, and more, so I felt it appropriate to finally delve into my passion for the East, and give Sumi-e a try. I'd been wanting to try this out for a long time, and finally had the perfect opportunity.

Let me first point out that this is done in English. I found a pseudo-script which I used as a guide, and converted it to my slightly more elaborate version you see. If this resulted in any actual kanji characters, it is by pure accident, and I cannot be held liable for what rude things it may say. It can be read starting at the top right, reading downward and to the left.

The first line reads "For embracing the virtues of the dream." I'll let you try to read the rest on your own, if you dare.

To create this piece, I used authentic sumi ink, which I ground by hand into an inkwell. It is written that this part of the sumi process is vital, as it is part of the meditative mindset, and I'd agree. The consistent pressure and circular motions help your mind focus. to achieve the different shades of ink, I had to separate it into different wells and add water.

I must admit I'm not 100% happy with the result, but I have a new respect for those who have created masterpieces in this elegant art form. I would defintely try it again.

Reserve Champion Scroll

Firstly, the blackwork'd caul in the previous post is still in process. To be fair, I haven't touched it in weeks. Alas, other priorities have surfaced, this being one:

HE Mistress Cassamira asked me to do the Reserve Champion scroll for Kingdom Arts and Sciences. I didn't have much time to complete this piece, so I kept it very simple. The border is based on the Winchester Psalter, in Winsor & Newton Gouache, and the hand is Gothic Textura Quadrata in Higgins Eternal ink.



I've also been working on a special scroll for Quest, so I should be able to post that in about 2 weeks. For now, I'm also working on a Peerage scroll for Uprising. Sometime I also need to work on some new garb for myself - none of mine fits. Or rather, only my ancient stuff fits, and it's horrid. I made it all before I knew how to properly sew anything. Bleh.

Blackwork'd Caul

This weekend I got a bit of a wild hair to make a new caul - this one blackworked in black silk on linen. I found a scrap of lightweight linen in my stash that would do nicely, but it was not an even weave. In order to get nice, even stitches, I opted to use waste canvas for the first time on a project such as this.

I found a "filler" pattern that I liked in some photocopies of a book on blackwork. I will have to find a copy of that book, just for reference purposes. Whether it is an authentic pattern or not remains to be seen, but it does have the right "feel."

Between the larger motifs on the pattern are little X's, which I may or may not convert to a colored X or into spangles. I haven't quite decided yet.

All of this activity is simply a project to keep my hands busy while my brain percolates on a larger project. Pictures are forthcoming.

Gryphon of Artemisia II

This, the second Gryphon of Artemisia scroll I've done was prepared for Sir Sagan von Ostensee. Only knowing him by way of stories/legend, and sight, it was somewhat difficult to select an inspiration piece. One day I'd love to actually be introduced to him and converse with him. Master Corwin Breemore's story/poem called The Teacher is inspiring and beautiful... and was written about Sir Sagan. The man IS a legend, across several Kingdoms.

Anyhow, I decided to do a piece that is inspired by the Visconti Hours, in that it has architectural elements within the Versal. That is about where it ends though, as Visconti was well known for using pale colors - pastel blues and pinks. I chose to use more bold colors, in order to make it more masculine.

I easily spent over 3 hours on the white-worked acanthus leaves alone, but I think the effort was well worth the time spent.





Gothic Textura Quadrata in Higgins Black Magic ink, using Braus nibs on Bristol Vellum Finish paper. Winsor & Newton Gouache, and Holbein Brilliant Gold Gouache in the illumination.

Gryphon of Artemisia I

I was digging through my pictures and found some progress pictures of when I did the Gryphon of Artemisia scroll for Vilhelm. Since I added a "back entry" for Bethany's Key Cross, I figured why not add old stuff again.

I began the Gryphon by writing out the text and sending it to my friend Anika, a cute German gal whom I met online. She and her boyfriend set to translating it into German for me. When I got the text back, I was frustrated and had many questions. Not being the polyglot I wish I were, doing scrolls in other languages is extremely difficult. This was my first experience doing one in German. For those of you who speak German, I'm sorry; I cannot vouch for the accuracy or correctness of the translation.

After getting the text questions answered, I chose to go with the Moses manuscript from Mira Calligraphiae because of Vilhelm's amazing Heralding skills. In the SCA, the heralds are known by a badge consisting of crossed trumpets, so the use of trumpets in this piece made it speak to me. Obviously it is used in context of Moses being the voice of God; I used it as Vilhelm being the voice of the Crown.

My spacing was a little off when doing the layout, but I had to run with it because I had no more black illustration board. Yes, that's just illustration board. I did not have the time nor funds to track down another form of black paper. Before doing the text, I tested some white ink I purchased, and was sorely disappointed in its performance. I opted to use titanium white Winsor & Newton gouache for the calligraphy. While not perfectly opaque, it was one hundred times better than the ink.

I had to go over some of the words again to make them more opaque, and if I were to do this again, I'd try permanent white instead of titanium. I filled viney-scroll work between several of the lines of text, as done in the original, and then proceeded to work on the "J" cadel. I found that my hands had begun to shake when working on this, so the "straight" lines are far more wobbley than I would have liked. I later found out that this was due to a health problem, which makes me feel a bit less guilty, but the perfectionist in me still groans at times.

After finishing the cadel, I proceeded to work on the emblazon. I later found out I broke certain manteling rules, but c'est la vie. I'll have to watch that in the future. I had a difficult time deciding what color to do the manteling, and opted for a dark purple; subtle, and matching well with the shading which would happen later in the clouds. The double-headed eagle on Vilhelm's arms turned out a bit sloppy, but it was really quite tiny. I need to work harder to get my tiny-scaled work to be cleaner.

After the emblazon was completed, I moved on to the clouds and trumpets. This was an interesting experiment in reverse-shading. I've never done anything like it and just kept adding layers until it looked right. It was a lot of fun, actually, and I'd do it again in a heartbeat. All in all, I was pleased with the overall effect of this piece, and more than that, the recipient appreciated it. It was given out on March 3, 2007.

Projects, Etc.

I do have more projects in the works that I will be posting here but there are a few things going on in life that have hindered that.

1. I'm moving! Thusly everything I own is being systematically boxed up and relocated. It will take me some time to get settled and into the groove.
2. My camera is the dead. Actually, I think it's just the battery, but for the cost of a new battery, I can get a better camera. So I was holding out until I could save up and get something nice. Luckily my super generous and hot boyfriend gave me a new camera for Valentines. Best valentines gift I've ever received. <3 We actually had to order it in special, so I go to pick it up tonight.
3. The scroll I'm working on must be given out before I'll post it here. So there.
4. Making garb right now is not really going to work, speaking responsibly. In a few months I'll reassess my garb situation.

The super good news is that my new flat has THREE bedrooms! This means that perhaps I will be able to set up my sewing table all proper-like, instead of using the dining table for such activities.