The Making Of An SCA Scroll, Part 2
My last post,, was about the research, design, and calligraphy of my most recent scroll. This post will be about its illumination.
After the calligraphy, I penciled in my design concept. Then I used a black 005 Sakura Micron Pen to make chosen lines permanent. I then erased the pencil with a white eraser.
My next step is to paint all the mid-tone colors using as large a brush as possible for the area. Here I used a Winsor and Newton Sceptre Gold Pointed Round Series 101 size 1.
My gouache is mostly Winsor and Newton, but some I have made from natural pigments like in the class I taught.
For this scroll, I also used shell gold on Beitriz’ heraldic arms. Although expensive for the amount you get, it handles just like gouache.
After the mid-tones and shell gold, I painted the white work. That included tiny lines over the already light beige vines.
For this, I used a 2/0 size of the W&N Sceptre pointer round brushes. They’re my favorite. I have them in many sizes.
I then outlined all the edges with a black 01 Sakura Micron Pen and used it to scatter some tiny bees around.
I shaded the folds in the dress on the lady at the bottom of the page with a wash of black paint. With more shell gold, I also painted what passes for tiny bees on her dress.
Finally, I got to what I think is the most fun, the minuscule details. Using my favorite Winsor and Newton brush, like I used for the white work, I painted the lady’s face, her hair net, and tiny white flourishes throughout the blue border.
After looking at my reference, I added the red dots to the trefoils. It’s those exceedingly tiny details that make the difference and add to any scroll’s medieval orthodoxy .
This is the result.
Accomplished by ten fun filled, stiff back and frustrating days.
But, I can’t wait to be assigned my next one.
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