Uchiwa AKA Oopsie-wa

My wonderful and amazing apprentice, Satake no Nana aka Shauna Sal Speranza, was long overdue on receiving a Baronial Arts and Sciences award from the Barony of Gryphon's Lair. I begged Their Excellencies to allow me to create the scroll.

My initial plan was to create a custom hand-painted silk folding fan, to support and honor all the work she has put into her Japanese research and persona. Unfortunately time and finances got away from me and when my husband saw an Uchiwa (rigid paper fan) at an Asian shop, I picked it up to use as a frame.

This is one of those cases where I made assumptions and tried to document my work after the fact. Oopsie.

It appears that the Uchiwa, or rigid fan, is a Chinese export, most likely not being popular in Japan until decidedly post-SCA Period. They were largely wood-block printed on rice paper and extremely popular from 1644 until today.

The pien-mien is the Chinese equivalent. The earliest pien-mien (fixed fan) was a fan covered with feathers or silk stretched over a frame and either painted or embroidered. It was not until the Song dynasty [960-1279] that painting these fans became an accepted, indeed esteemed, branch of art. This type of fan derives its name from the use to which it was put: hiding the face and consequently concealing the emotions. Officials, for example, shielded their faces with these fans to signify their unwillingness to be approached by petitioners. reference: Spurlock Museum

Unfortunately I lack the language and searching skills to find sufficient evidence of earlier period examples, even those from China using the internet. This will require books I don't have and additional research. Again, oopsie. But here's a bread crumb I found. 

Appreciating Plumbs, Chen Hongshou 1598-1652

So, lessons were learned about researching first, and not making assumptions. However, the rigid fan is EXCELLENT for personal cooling (far superior to a folding fan), and since Nana spends a great deal of time marshaling the rapier field, it is still a very usable tool for her.

I used the commercial uchiwa as a frame, traced the shape onto blue paper, and drew her personal unregistered device onto the center. Her colors are navy and hot pink. The text is written in the style of a haiku in faux-Japanese using Finetec gold gouache. I then drew Japanese style motifs on each of the fans in the same gold, and glued it to the fan base using PVA glue.

I left the back of the fan as purchased, with it's pretty Japanese koi pond print. I used a thin strip of gold paper from my bookbinding stash to bind the outer ridge.  It is rather sturdy and creates a wonderful breeze.

The text reads (vertical, right to left):

For outstanding skill

Sharing artistic prowess

Gryphon and Candle

Satake no Nana

June thirty AS LII being 2017

Asgierr

Alessandra

Haiku is a Japanese poetic form consisting of 17 syllables arranged in lines of 5, 7, and 5. Again, assumptions were made without prior research, and I've come to find out that haiku didn't gain distinction until the Tokugawa Era (1603-1770). Oopsie. 

So overall, mistakes were made, but despite all that I like the finished product and Nana liked it so I'll call it a win, if an embarrassing one.

Edit: Nana sent me a link to a Tang Dynasty sample, to solidify the mien-pien information:

Zhou Fang painting (Tang Dynasty)

Court Barony for Conchobhar

Conchobhar is one of those people who is always busy doing things for other people. Always with a note of humor and sarcasm, and we love him for it. I was thrilled to be a part of his project, and excited to once again work with HE Bethany. She and I worked together on Conchobhar's White Scarf Scroll back in the day. What a wonderful thing to come together once again for him.

We based this piece on three things. Her Majesty Gwenevere and Conchobhar's collection of cats, combined with his nonstop heraldic work, in a late-period design.

Matriculation Register of the Rectorate of the University of Basel, Volume 1 (1460-1567),Parchment 232 ff 

Woodcutsof the Triumph of Maximillian I, c.1512-1519

After some planning calls, I did the layout, calligraphy, and acanthus border with gilded accents on Pergamenata. I used Pilot Irishuzoku Sumi ink, Windsor and Newton gouache, and gold leaf is adhered with miniatum ink.

The calligraphy hand on the inspiration piece appeared to be a transitional style that lands somewhere between Humanist and Secretary, so I sort of analyzed and tried to create something similar.

The piece (and my color palette, so our acanthus would match) was then passed on to HE Bethany, who did the illuminated letter, herald and gryphon, and the adorable cats. Note that Isis kitty will have none of the shenanigans, and is probably wondering where her box and sportsball are.

Cornerstone Micrography

My darling husband was going to prepare a Cornerstone scroll for Malatesta, but ended up in a medical emergency situation and he was unable to do it, much to his regret. Superhero wife comes to the rescue! My superhero costume closely resembles a bathrobe and slippers, folks. Don't be too impressed. This was done back in January.

This piece had to be done very quickly, given the deadline and the necessity that I be at the hospital with said husband. Therefore, I tried my hand at micrography, also called microcalligraphy. This is a Jewish art form which uses words to create images, dating back to at least the 9th Century. This article at the British Library shows some examples and history.

I sketched Malatesta's seven pointed comet, and wrote the scroll text to create the image in her heraldic colors. I'm afraid this was done so late at night that I didn't keep a copy of the wording in order to tell you what it says, and the image is too fuzzy to read. Basically it talks about Malatesta's amazing dedication to service in her official capacity as Lady in Waiting and in other roles as well. If you don't know this very fine gentle, you should!

I had envisioned their Excellencies signing this along the line down the center of the comet's tail, hence the penciled in line.

Non-Traditional SCA Award

I was asked to prepare a Golden Pillar of Artemisia award scroll for HE Asgierr, a dear friend. I debated for some time whether to make a traditional scroll, something "new to me" style-wise, or something non-traditional.  I opted for non-traditional, and decided to make a hand-bound book, since I did a traditional one for Asgierr just last year.

St. Cuthbert Gospel, British Library

I was inspired by the St. Cuthbert Gospel, an early 8th Century manuscript (British Library Add MS 89000).  The St. Cuthbert Gospel is not only a phenomenal piece of work, but is the earliest intact European example of bookbinding.

The British Library's blog has a fascinating post here about results of X-Rays and CT scans of the book. Previously, attempts at duplicating the bindings included using leather or rope for the raised design. The CT Scans make it clear that the design is made out of a clay-like substance. Mine is not a replication of this book, not by far! But the design concepts are what got my brain ticking.

I started off in traditional fashion by cutting out pages, and folding them into quires of five or so pages each. I then wrote the scroll text, loosely based on/inspired by the intro to Beowulf. I give full credit to THL Colyne Stewart for this blog post at The Scriptorium for the inspiration.

I translated the wording into runes - yes, the English decoder-ring style runes. Please don't hate. I know this is not a period practice, but I knew the recipient would love this. I then wrote out said runes on pages 2 and 3 of the first quire. I left page 1 blank, because every book I've made, without exception, gets glued to the end page at least 1/4 inch up.

For Christmas last month, I was given a hand-made stitching frame from my parents. My father is a brilliant craftsman (he also made my book press). I'm a lucky girl. Click the images to see larger versions.

I used a simple twine for my sewing cords, and waxed linen thread to stitch the quires together. This was my first time using a stitching frame, and it makes some things easier, and some things more difficult. I imagine it would make life much better when making a huge book, but for a tiny thing like this, it's really not that necessary. I did like practicing on it though!

Once the quires were stitched together, I pressed them into the book press, and used a light hammer to round out the spine a bit, and prepare it for gluing. To be honest, I need to do more reading as to the period practice of reinforcing the spine at this step in medieval bookbinding, but for this book I used a small strip of linen for reinforcement, and used PVA glue. When that was dry, I added pre-made headbands (not pictured).

I left that to dry, and set about making a raised design to add to the cover. Due to the timeline, researching and recreating period sculpting clay or gesso was not feasible. Additionally, my bookboard was slated to be pieces of chipboard rather than actual wood, which changes the scope of the project as well. 

My dear husband suggested I use sculpy - it's lightweight, fast to cure, and would never show under the leather binding. Pretty much a perfect idea.

I sculpted pieces that comprise a Valknut, a Norse symbol of importance to the recipient.

I'd never used sculpy before, and found it difficult to maintain sharp smooth edges when trying to move it from my cutting board over onto the silicone baking sheet. I crossed my fingers and hoped that covering the whole thing in leather would hide some of my sins.

I covered the text block with paper to protect it from stray glue, and covered the book in a supple brown goat skin. I used small manicure tools and a bookbinding spatula to push the leather into the nooks and crannies of the Valknut. When that was completely dry, I added red end papers (not pictured) and called it good!

Text Translation:

Lo, praise the labor of Artemisians;

Of strong-armed Danes, in days long sped - we have heard!

And what honor the Northman gives!

Oft Asgierr Rekke I Dane from unseen Quarters 

aids many a tribe, house and nobles-all.

Never he rests, always seeking duty done.

Famed is this Asgierr, far flies the boast of him,

Son of the Dane in the Gryphon Lands.

So comes to this great man, recognition of Jarls

From hands of the good Tsar called Lakhan, 

And Tsarista Vigdis, come honors.

Named as a Pillar, Golden and cherished, this hall-sung hero.

Done this fourteenth day of January in the Fifty-first year of the Society,

Being 2017 in the Common Era.

Lakhan, Tsar

Vigdis, Tsarista

Things I'd do differently next time?

1. Leave more of a border on the left side of the text. It worked out, but my eyes would like a bit more white space.
2. Start on page 3 instead of 2. An extra blank page at the beginning would be a good thing, since page 1 actually becomes part of the endpaper.
3. Use wood or a heavier bookboard, and do that research on period clay stuff!
4. Dilute the glue more when working on fiddly cover bits. If it gets too sticky too soon, that's no bueno. The extra work time will help in stretching the leather over the spine as well - I felt this was a bit too loose.
5. Take the time to press the final book for 24 hours.

Elyas Tigar Laurel

When asked to do the Laurel scroll for Elyas Tigar, an absurdly talented potter and illuminator in his own right, I got excited at the opportunity to play with gold leaf and do something a bit different than I've ever done before, because I was on a timeline that allowed me a little wiggle room in case it utterly failed.

As background, I should share that I have used a faux gold leaf in the past - I believe it was aluminum based, and it was very sad and frustrating, and the outcome was bland and uninspiring as well as sloppy. No bueno. I have stuck to gold gouache and Finetec micah pigments in place of gold leaf out of fear. However, real gold, and quality binder? A WORLD of difference. I'm no longer afraid!  (See, even experienced peers and artists have stumbling blocks!)

So I'll start by posting pictures of the final piece, then I'll share my inspiration and process. Click to enlarge!

This is done in the style of late period European patents and grants of arms. I specifically tried to seek out inspiration of English pieces, such as this marriage deed for Jane Seymour to Henry VIII c.1536:

And this stunning Ref: Add. Ms. 2605 Illuminated initial letter with portrait of Henry VIII from Letters Patent to Thomas Bowyer of London concerning the Manor of Runcton in North Mundham, 21 April, 1540. Unfortunately the original source I found for this image is missing, but it is available on Pinterest here.

Then of course there are the multitude of sources and text samples found on this website on Fifteenth Century English Patents of Arms. Go there and visit it! Great stuff! I was particularly inspired by the Grant of arms for Eton College (about halfway down the website referenced above):

Incidentally, Eton College still exists today, and claim to have their original grant available in their archives for viewing, but they don't have a digital copy on their website that I could find - pity.

A few things were clear in my design choices. I wanted a giant ornate cadel, and the first line to be a larger size nib, with additional capital cadels and flourishes. I wanted the rest of the illumination to be all about the display of arms. Mostly because Elyas's arms are gorgeous, and the supporters were chosen (not by me!) to be very personal to him. I modeled the pottery on his crest after the puzzle cup he made and baffled many an Artemisian with.

Finally, the cadel "D" was inspired by a letter from John Scottowe's book Alphabet of Ornamental Capitals c.1592 (I hope). I found this cadel on Pinterest, which I both love and hate because it can be so inspiring, but links and references can end up dead or circular. It took me some time to find a viable source of this image - and even then it's a partial guess because I've yet to find an actual copy of this book to make sure it's in there. Stylistically, it fits, but I could be perpetuating incorrect information. I'll keep digging for the truth, and if you find I'm wrong please let me know!! 

I did this piece on pergamenata with Pilot Iroshizuko Take-Sumi ink, Winsor and Newton gouache, and 23k loose leaf gold. I used minatatum ink as the binder for the gold. I tried to apply it using a dip pen, but it refused to flow at the angle in which I was working. Due to the size of the piece, changing that angle was non-negotiable. I switched to a cheap paintbrush and carried on. I applied the gold almost immediately, but in theory it should have remained tacky for about 24 hours.

Incidentally, the mermaid's jewelry is gold gouache, not leaf, because I'd already applied paint near there, and I didn't want to accidentally get gold sticking where it shouldn't be.

So what is my favorite part of this piece, aside from the wicked long text? It's a tossup between the tiny ermine spots on the mantle, and the red tiger's white beard. 

Gryphon and Tablet Scroll

I was most pleased to be asked to do the Gryphon and Tablet scroll for Fiametta da Trastavere, which is our Baronial award for teaching. Having the honor of being the premier member of the order, I have some vested interest in its membership. Baroness Magistra Fiametta has proven her worthiness of entering this order. 

I struggled with what kind of scroll to do, and even toyed with the idea of a non-traditional award. In the end, I went with tradition, when I found an inspiration piece that screamed Fiametta.

 AN II 3, p. 111v – Matriculation Register of the Rectorate of the University of Basel, Volume 1 (1460-1567)

Fiametta's name means "little flame" and her device includes a flaming heart. The decorative cadel immediately reminded me of flames, and while I didn't see it at first, others pointed out to me that the shape read as a heart, making it even more appropriate.

Close-ups, one with flash, one without

This piece is done on pergamenata with Pilot Iroshizuku Take-sumi ink and Winsor & Newton gouache. Gold accents are finetec pigments.

Golden Sun in Splendor Scroll

I recently completed another Golden Sun in Splendor scroll, this one for a very deserving Hauk MacLean.  This was kind of exciting for me to do, because in my early scribal days (11 years ago!) I did his Golden Pillar scroll (as shown here).  Both awards are for service to the Kingdom of Artemisia.  The Golden Pillar is an "Award of Arms" level, and the Golden Sun in Splendor is a "Grant of Arms" Level.  I personally feel both these awards are so very important and love seeing them given out!  Recipients are true nobles who give back to this society.

The pictures looked fine on my phone, but here are a touch blurry - how disappointing. I worked with Hauk's amazing lady to personalize it for him, using his colors, his device, and the ladybugs are representative of his two adorable daughters, whom he calls "little bug," and "big bug."

It was requested that I use a hand that was easily read - not needing a translation just to understand what it says.  I'm afraid my Uncial and half-uncial are under-utilized and I'm sorely out of practice.  It's not my best calligraphy, but I think it met the request.

Gryphon & Candle Scroll

I took notice that Michelle of Harris upon York had been improving leaps and bounds in the arts, particularly when she showed me the blackwork partlet she was making as a gift for the Baroness of Loch Salann, Jennet, as a stepping down gift.  It's truly lovely and documented.

I wrote a letter of recommendation for her to receive her Baronial Arts & Sciences award as a result of my observations.  Being a sneaky person, I offered to do the scroll if his was deemed appropriate.  I had several days off for Thanksgiving, and worked hard to get this done quickly in order to focus on other things (like the napkins I already posted about).

This is based on a page in the Master of Mary of Burgundy.  With the exception of the pink ink, of course, which I had to do because it's Michelle's favorite color.  Authenticity gods will have to forgive me for that move.  It's done in Winsor & Newton Scarlet ink.  Which, as you see, looks like a lovely bright pink that does not resemble scarlet in the least.

Showing different angles of photos so you can see how shiny the gold is.  For the curious, no this is not gold leaf.  I wanted to ensure proper shading of the acanthus, and my skill at leaf is not to the level that I can do this.  So I used a combination of gold gouache and gold inks which simulate shell gold, and added shading with ocher and brown gouache.

Thank you, Bethany and Vilhelm, for allowing me to make this happen.  It had been far too long since I've painted (shame).

Versatile Blogger

Aww!

My beautiful Noelle-friend from Adventures of a Wanna-Be Seamstress nominated me for the Versatile Blogger Award.  Such a sweet thing, especially considering my activity here has been very slow ever since my basement flood.  Thank you, Noelle.  You have totally made my day.

Now we're in the process of buying a home, and will be moving in two weeks!  Eek!  But once things are settled there, I'm planning to be much more active here.

The rules are:

1) Thank and link back to the person who nominated you
2) Paste the award to your blog
3) Tell 7 things about yourself
4) Nominate up to 15 other blogs

Seven things about me!

1) I'm a member of the SCA, and have been for about 16 years. I became a member of the order of the Laurel for my calligraphy and illumination, but since about 2004 I've been obsessed with costuming (but not so quick with the learning and applying my education to making things).

2) I'm a newlywed, and my hubby is very supportive of my insanity.

3) I have a dangerous addiction to buying fabric. I'm going to have to put a moratorium on buying anything until I've used up stuff from the stash.

4) My mother taught me some basic embroidery skills when I was about 10; something I have built on a bit but have goals to use more in my costuming. Like my mother, however, I have a large unfinished cross-stitch project that stares me in the face.

5) My sewing skills are largely self-taught... I'm not sure I can count that 7th Grade home economics class too much. I remember sewing a "C" shaped pillow in that class, that most thought was a neck pillow.

6) I would love to start doing calligraphy on a professional basis. Not sure how to get to that point, but it's a goal.

7) I have recovered from Graves' Disease. One of my most prominent symptoms was hand tremors, which for someone who loves being creative with my hands, was most devastating. I feel very blessed that this appears to have passed without surgery or drastically killing my thyroid.

Nominate other Blogs

• Opusanglicanum - Aside from being delightfully charming, her embroidery knocks my socks off.
• Mistress of Disguise - Entertaining and ridiculously skilled at both costuming and prosthetic makeup. Quite the repertoire!
• Eulalia Hath a Blog - Her research is detailed, and she makes me want to do earlier period dress. Not many can do that!
• Romantic History - She does a wide variety of periods in her dressmaking, and her finishing work is impeccable, all while caring for a house full of children. Amazing!
• Dragon's Scriptorium - A place for the SCA Scribes of Drachenwald to post their works. I wish Artemisia would do this.
• Caravan of Elephants - Hannah's work never fails to impress me. I hope to meet her soon; we live in the same Kingdom, after all!
• See Jane Sew - Jane is a total riot, and ambitious as hell. Love this lady.
• TrulyHatBlog - Truly's skills as a hatmaker blow my mind. She has invested so much into her craft, I am in awe.
• HollyIggyMom - Holly's zibillino are THE standard to meet (except you don't have to, because she'll sell you one).  Her jewelry is seriously the bomb.  She makes me feel pretty.  If I manage to get myself together to do what I want for Solstice Court, I totally want her to make me one of her new bird guys.  Work on a bluebird, Holly!

I follow about eleventy-gazillion other blogs, and they all deserve some kudos, but this time, I'm hanging my hat up here.