Friday, December 30, 2011

This is Z end!!!

Project completed for 2011. What a learning experience!

I had such fun along the way. It was great to play along with my dear friend Dana.
Along the way I learned many new techniques which I merged into a new workshop offering, The Enchanted Letter. I found more avenues to explore in designing illuminated letters which can be used with script lettering. One of the books I discovered along this journey is called Guide for the Drawing the Acanthus, and Every Description of Ornamental Foliage by James Page. The complete text is available online as a download but I did get a good quality reprint of this book through abebooks. I have been enjoying studying the various ways of drawing acanthus.
Overall, I think the best part of this journey for me has been making friends with a pencil! My previous way of studying illuminated letters was to take an historic example and update it with my own colours. This helped painting skills but did nothing for the design process. It also locked me into looking for a style of letter that would match my text. It was very empowering to find that I could design my own letters and foliate work to use with my script. I read a very important article on The Painters Keys this year about learning through copying the masters. It is valuable as a learning process but out of respect for the master that you have studied, we should destroy the canvas. I keep that in the back of my mind now as I look at historic examples to study! The historic manuscripts provide so much in the way of inspiration. I see them now more as a springboard to creativity rather than trying to copy them. I especially loved looking through the Persian manuscripts. Like the Italian manuscripts, their love of pink draws me instantly!
My personal studies in 2011 were very fulfilling. I am sad to say goodbye to this project but I am really looking foward to expanding it and seeing where else it will go. Thanks for reading and chiming in now and then. Happy New Year dear friends!

Friday, December 23, 2011

Merry Christmas Dear Friends

As we go into a busy weekend, I just wanted to wish my blog friends a very Merry Christmas. Hope you find Peace.

Friday, December 16, 2011

Y not Pink?

Down to the home stretch with the illuminated letter project. I can hardly believe another year is nearly gone. While I spent the year exlporing techniques and learning more and more about the illuminated letter, one thing stayed consistent. My use of pink! I don't think I could ever give up pink in my palette or that Sakura clear stardust gelly roll pen. This letter is 3 1/2'' x 1 1/2" on Arches HP watercolour paper. I used alizarin crimson and carmine with a touch of bleedproof white to achieve the colour variations in the pinks. A very pale of wash of Hooker's green was used for the leaves. 23K gold leaf is flat and raised gilded. Raised gilding in the center was achieved with homemade gesso. Background burnish in Diane Townsend pastels. Finetec gold and Sakura clear stardust gel pen are added as accents along with silver hot foil.

Friday, December 2, 2011

Xperimental X

When teaching the Enchanted Letter workshop, our first letterform needed to combine a simple script letter with an open area to flourish and decorate. There are no foliate extensions on these letterforms. I call these Embedded Letters. They are based on Victorian Embroidery techniques. The embroiderer would build up the script letterform with a satin stitch and then decorate the open area with buillion stitch roses, French knots, leaf stitch and even little pearls. Back in my embroidery days, I would probably have done a motif like this in whitework and embellished with shiny rayon or metallic threads. Painting the letter is much quicker! This 2"x2" piece is done on Fabriano HP paper and is gilded with Pallaldium leaf. This was my first time using palladium which made the letter Xperimental! It is a very different effect to look at your paper and see siver reflected back rather than gold. Initially, I did all the accent strokes in the Steriing Silver Finetec that usually lies dormant on the end of my palette. I still felt it needed the intensity of the gold and added some gold strokes as well. Background is pastel burnished with Diane Townsend pastels and the Sakura Clear Stardust gel pen adds some sparkle along with the silver hot foil. I thought the simple shape of X would work well to capture the Embedded Letter technique before I complete the project in a few weeks.

Thursday, November 24, 2011

Pastel Studio Workshop: December 10th

For those of you in the Brantford, Cambridge Kitchener area, I will be doing a one day workshop at the Pastel Studio in Cambridge. I will be teaching Fascinating Pen Flourishing with Background Burnishing. The Pastel Studiois equipped with a beautiful classroom area. Class size will be kept small. You can email me with details about the class. All levels of student are welcome as I will be starting the flourish from basic concepts and expanding to more advanced techniques throughout the day.

Friday, November 18, 2011


All the way up to W in the Illuminated Letter Project. Winter is on the way and I was picturing the Wintergreen mints that come out around the holiday season when I painted this little letter. The Wintergreen mints come in packages with Green Spearmints, White Peppermints and beatiful Pink Peppermints. I put that colour combination to work in this piece. Finished project is 4"x1" on Saunders Hot Press watercolour paper. The pink is mixed with Rose Dore and Bleedproof white. Flat 23K gilding. The whole piece has been burnished with the white metallic Diane Townsend pastel.

Wednesday, November 16, 2011

The Enchanted Letter Workshop

As a result of my year long illuminated letter study with my dear friend Dana, I developed The Enchanted Letter Class. This past weekend it was my pleasure to return to Birmingham to teach it to the Pointed Pen Extended Study Group that was developed by Dana Jacobson. What a remarkable experience to teach a class of students who have devoted a year of intense study to the pointed pen. I was privileged to be counted among other artists asked to teach portions of the study which included Pat Blair, Gwen Weaver and Barbara Close. The goal of the class was to gild and paint a decorative letter that could be used with pointed pen script. The students learned how to draw their own unique letters as well as foliate extensions, leaf script and scroll work. We started a simple sketch which developed into an ornate decorative letter.
We then moved on to a free hand and flourished very simple foliate border. No initial sketch was made in this exercise. It was done directly on our watercolour paper.

On Day two we started by combining a ribbon script letter with a simple ribbon foliate extension. The initial sketch was just of the Ribbon script letter and cascading ribbon extension which was transferred to our watercolour paper. The foliate work was done with pen drawing and offhand flourishing. It was painted, gilded and embellished.

In the afternoon, we worked on designing a simple scroll foliate extension which was gilded, painted and embellished. Lots of sparkle and bling!

Lots of attention was given to drawing and designing unique letterforms. My sincere hope is that the students will be able to transfer these ideas to any letter they want to illuminate.
On the morning of Day 3 we worked on drawing and illuminating a Leaf script letter with a scroll work foliate extension. My original done in class was sold but I have the pencil drawing in my journal.

Winding down the class in the afternoon, we combined a leaf script letter with lower case and expanded a simple foliate flourish. It was gilded and embellished with swarovski crystals. It was such a pleasure to teach this class. It gave me great joy!

Friday, November 4, 2011

Vintage Victorian V

This is the final version of the Victorian V that I talked about in last week's gilding post. It was done on the White Somerset Satin paper rather than the Soft white. I prefer the vintage look of the soft white but wanted to experiment with the brighter white. I used Caran D'Ache water soluble pencils to colour the design. It was interesting to see how they reacted to the paper. When I applied the water to the pigment, I could see the pigment fade rather than brighten like the Albrecht Durer pencils. The pastel burnish stage also faded into the paper. Although the scan does not pick it up, the entire design was burnished with the Diane Townsend white metallic pastel. I used the pastel to burnish over top of the painted letter and the coloured background burnish stage. It gives the whole piece a glow. On to W!

Wednesday, November 2, 2011

Illumination Study Day

Three times a year I get the opportunity to study with my illumination teacher Debbie Thompson Wilson. Debbie is a master illuminator. Her work is an absolute delight. She finds us incredible projects to work on during our study days. This weekend's class was called Angels And Demons. I didn't try the grotesque or the Titivilus border design but I did work on the kneeling angel. The illumination is an interpretation of an embroidered ornament on a Bishop's hood. The angel was based on a Renaissance design. This particular angel is kneeling and rather than holding the lily in her hand, the lily decoration is coming out from behind her wings. Palette colours are mainly yellow ochre, brown ochre, burnt sienna, horizon blue and WInsor Violet. The most challenging part of the design was painting the background and leaving room for the goldwork flourishes. The piece is flat gilded with 23K gold.

Tuesday, October 25, 2011

Vintage Victorian Gilded Letter

In response to requests for my gilding method, I am posting this step by step procedure while I flat gild my Victorian Letter V. It will give you a sneak peak at my next Enchanted Letter.
Flat gilding is easier than raised gilding. If I were to raise gild a piece, I would use a traditional gesso for the gold size that I make myself. That procedure is a bit more involved so I thought I would begin with an easy and virtually fail proof flat gilding method. This morning' s process began with the underdrawing of the letter. I have been spending time with the Ames Compendium this week which worked out perfectly for the Victorian V. I penciled the shape of the V and the meandering ribbon and then went directly to ink for the flourishes and florals. This letter will only have slight hints of gilding in the three circles placed within the letter. When I gild the Enchanted Letter, I usually start with the inking process. If i am going to gild a painted miniature, I start with a pencil process and do not ink in the lines first.

The next step for gilding is to apply a gold size. For flat gilding, I use Rolco Aqua Size. PVA will also work. I carefully apply the Rolco with a brush. The most important thing to remember about gilding is that whatever the gilding adhesvie looks like on the paper, is exactly what will be reflected in the gold leaf. Any brush strokes or dimpling in the size will show through the gold leaf. In this case, the small dots of Rolco were easily applied. I have tinted the Rolco which is a milky white colour with alizarin crimson watercolour so it is easier to see when I apply it. The size takes about 15 minutes to dry depending on the humidity in the air. It changes colour and appears shiny rather than cloudy when it dries.

Once the gilding size is dry, I apply my gold leaf. I use 23 K patent gold leaf for most of my gilding. I prefer this gold to loose gold for its ease of application. The gold is sold in books of 25 sheets.

The patent gold is attached to a sheet of lightweight paper and separated in the book between sheets of ruby paper. It is easy to handle this way. I cut the gold that I will use into tiny pieces similar in size to the area that needs to be gilded. This piece was cut to gild the centre of my Lombardic U for last week's Enchanged letter. I find that there is very little waste this way.

I use small scissors that are dedicated only to cutting gold. It is important that your scissors have not come in contact with any tape or adhesive as the gold will instantly stick to it.
I finger press the gold leaf (gold size down) on top of the gilding size . I lightly press it into place and then lift off the little sheet of gold. The gold leaf will have transferred to the adhesive. I continue to gild around all the areas that have size.

Once the gold is placed on the size there may be ragged edges of gold leaf where the gold has torn away from the transfer paper. I remove these ragged edges by using a very soft sable brush that is reserved solely for this purpose. If there is enough excess gold to save, I would keep it in a small container to use for touching up gilded areas or for very small areas that need to be gilded. I never waste the gold and try to keep all the excess.

You can see from this picture that I still have most of the gold from my original piece that I can save for my next gilded piece.

The final stage is the painting process which I will work on and post later.

Friday, October 21, 2011

Up To U!

Definitely coming down the home stretch with the alphabet project. My colour palette for this letter took on slightly darker tones. Floral petals are Purple lake blended with Payne's grey and the leaves are Perylene Green. The Lombardic style U is painted with Holbein's Horizon blue and shaded with French Ultramarine blue. Accent strokes are done with Finetec Gold. This piece was done of Somerset Satin Soft White paper. The Rolco gold size sat on top of the surface of the paper without being absorbed. It allowed for slight raised effects in the 23K Gold. Finished size is 6"x2 1/2".

Thursday, October 6, 2011

Tiny T

This little T is more Medieval than Victorian. I wanted to pull away from the ribbon script style for the letter T. This design is based on a 15th Century Italian manuscript. I used Pergamenata paper with a moist brush watercolour technique. Raised gilded using 23K American shade gold. Finished size is 6"x2".

Thursday, September 22, 2011

Stars And Stripes

When I was doing my initial sketch for this letter it struck me that the ribbon script took on a bit of a striped pattern. It almost seemed a Candy Cane. But as soon as I added the little star-like flowers, I immediately thought of Stars and Stripes.

When I started painted the letter, I had lots of colour combinations to consider. I did think of doing this design in Red, White and Blue but in the end, chose to stick with that Persian manuscript colour palette. The gilding stage of the letter immediately toned down that striped effect. The S and ribbon is done with permanent Sap green that I darkened with cerulean blue and lighted with lemon yellow. Opera Rose and Horizon Blue were used for the little florals. The piece is flat gilded using 23 K gold an Rolco aqausize. Diane Townsend pastels in the background as well as fine tec gold. The finished piece is 2"x7" on Arches HP paper.

Thursday, September 8, 2011

Restful R!

These days are absolutely packed with travel, study, commission work and teaching. But I still love the time I get to try to plan and design one of these Victorian style letters. I spent the day studying Persian manuscripts. I think I am so attracted to the strong, vibrant colours while they are still technically pastel colours. I see the underlying white in the palette and I have been doing some experimenting with it. The dark black calligraphic lines intermingled with the pastel floral flourishes are fascinating to me. I wasn't brave enough to do the script letter in black but maybe next time. After filling my mind with beautiful Persian manuscripts I tried to go sleep. I woke up in the middle of the night with an idea for my letter R. I recorded the sketch in my journal beside the bed and my little book light.
In the morning, I had the design ready and all I needed to do was transfer it to my watercolour paper and paint away! Finished design is 1"x 5" on Fabriano HP paper and is rasied gilded with 23 K gold leaf. I mixed bleedproof white with Sap Green, Hooker's Green, Rose Carmine, Alizarin Crimson, Winsor Blue and Horizon Blue to achieve the pastel colours. Diane Townsend pastel burnish in the background with Holbein Brilliant gold gouache accent strokes.

Thursday, August 25, 2011

Q is for Quick!

Still exploring the foliate elements of Persian Manuscripts and the influce can be seen in this piece. Although I simplified the shapes of the flowers and leaves I love the colouring style of the Persian illuminations. I am working with transparent watercolour instead of gouach but the colours are similar to the ones I have seen online. This Q was done quite quickly! Although I had the design drawn on my Fabriano watercolour paper, I didn't have time to paint it. This morning I used Albrecht Durer watercolour pencils for the design. The letter Q is mainly Cobalt Turquoise (a nice Fairy Tale colour) and was shaded with Pthalo Blue. The ribbon is Magenta and shaded with Red Violet. The leaves were done in Leaf Green and Light Green. McCaffery brown is used in the desing and flourishes and outlining were done in shell gold. The piece is flat gilded with 23k American shade gold. Finished size is 5"x2".

Tuesday, August 16, 2011

Illumination Class Day Two: The Fox and the Rebec

I enjoyed my last day of illumination class painting this little fox. Usually we spend a week in illumination class but this year we reduced the class to two days. This little fox was based on a 15th Century French Manuscript. I worked on goat skin from Pergamena for this piece. I prepared the skin with pumice and gum sandrac and found it held the painted lines beautifully. The finished size is 3"x2" and is flat gilded with 23K gold leaf. Such a wonderful day spent illuminating.

Illumination Class Day One: Leo the Lion

Three times a year I get the opportunity to study with Master Illuminator Debbie Thompson Wilson. She has a knack for finding the most whimsical medieval manuscripts to work from. She sees the beauty and potential in images that I would probably not give a second glance to. It is so inspriting to be able to spend time with her.The classes focus on painting techniques. We don't create an original image to work from but we take an existing medieval or renaissance image and try to transform it in some way. This little Leo the Lion is 1 3/4" x 1 3/4" on Arches HP paper. The lion is painted with Yellow Ochre, Brown Orchre, Burnt Umber and Burnt Sienna. We did light washes of the yellow ochre and then built up the fur in layers with a dry brush techqnique and 10/0 brush. This small little guy took nearly 4 hours to paint. I tried out Debbie's Haff ruling pen for the outline guilding. I had a hesitation with the ruling pen that is reflected in the gilding but next time I will be more confident! The background was painted in washes of cobalt blue, followed by French Ultramarine blue and then a shadow layer of Paynes Grey. Talons Rich Gold was used for the pattern work in the background which don't show up too well in the scan. On to a larger project today!

Friday, August 12, 2011

P is for Purple

I tried my hand with the painting the letter in gouache. While I like gouache, I am not thrilled with it on HP paper. I tend to get nicer effects of vellum. I miss the transparency of watercolour in the letter but the gouache stands up as a good foil to the bright gold leaf. Finished size is 4" x 1 3/4" on Fabriano HP paper. The foliage is painted with Holbein Leaf green and Winsor Newton Sap green. The lavender roses and buds were painted with my Diane Townsend Pastels and darkened slightly with Winsor Newton Mineral Violet. McCaffery brown and Finetec gold were used for accent strokes.

Wednesday, August 3, 2011

Back to Flourishes!

I am very happy with Old World Iron Gall ink. It was such a treat to meet David Spitzer who creates the ink at the Phoenix conference. I came home well stocked up with the ink and wanted to try my line and wash technique with it. So far, I only use McCaffery's brown for this technique, but the Old World Ink seemed to do the job. The ink is more densely black than McCaffery's Penman's Black. It holds beautiful hairlines and shades. It is becoming a studio favourite of mine. This little bird flourish is 5x7 on Somerset Satin Soft White Printmaking paper. Another treasure from The Pastel Studio. The paper is very soft and slightly textured but is a perfect surface for flourishing. This piece was done entirely with an Esterbrook 357 pen point which is extremely sharp and flexible, but the paper did not resist the nib. The flourish is tinted with Derwent Metallic Watercolour pencils and then blended with a moist watercolour brush. Great fun on a rainy Wednesday afternoon.

Friday, July 29, 2011

Overly Ornate Orbed O

This design started out as a sketch in my journal. I kept distractedly doodling on it and wondered what it would look like if I added more pen work filigree than usual on the gold orbs. When it came time for the gilding, I used a little jar that I keep for my tiny fragments of gold leaf. Somehow, there was a scrap of copper leaf in the jar, and one orb was gilded with the copper leaf. Nothing left to do except add more copper leaf to the piece. I also decided to add some lemon gold to the mix. So this 6" x 1/2"piece on Arches HP was gilded with 22K American Shade gold, Copper leaf and Lemon gold. Still being influenced by the intense colours of Islamic manuscripts, this peice is painted with Mineral Violet, Sap Green, Leaf Green and Opera Rose. Highlights are added with Permanent White.

Sunday, July 17, 2011

Nearly lost N

Just returned from the Iampeth conference and searched frantically for my letter N. It was the only one not properly adhered in my journal and I thought that I might have lost it along the way. But after rifling through all the luggage, loose papers, class samples and notes, I finally found it. This little N is 4"x2" and is done on Arches HP paper. I used Holbein Horizon blue on the letter and ribbon and Carmine and Alizarin crimson for the roses. The leaves are sap and leaf green. Background technique is pastel burnished with my favourite Diane Townsend Terrages pastels. They were great to pack along to Iampeth for very quick embellishments during demonstrations. Glad to be home. Hope to post the pics of my Iampeth studies very soon.

Friday, July 1, 2011

Meandering M....marks Mid-way!!!

I can't believe this is half way through the alphabet and the first of July! Happy Canada Day! This year is going by so quickly but I am really enjoying the process of these letters. Looking forward to teaching them as a workshop towards the end of the year!
This one is larger than most of the others. 5 1/2 x 2 1/2 on Arches HP paper. I did both flat and raised gilding on this piece. The plum colour for the ribbon script letter was mixed with Rose Dore and Winsor Blue. The little flowers were painted with Sleeping Beauty Turquoise and Winsor Blue. I finally found a delicate pink Diane Townsend Terrages pastel and used it for the shadow effect of the ribbon.

Friday, June 17, 2011

Little Leaf Green L

Nearly half way through this illuminated letter project and the letterforms are starting to flow a little more freely.I wanted the L to be a Lombardic letter but didn't like any of my sketches so I went back to my ribbon script letters.I wanted the foliate extension to look a little older than the Victorian era. I have been looking at a lot of Persian illuminated manuscripts online and I think that influenced my colour choices,the use of Permanent White and the extra touches of gold. Sleeping Beauty Turquoise mixed with Permanent White and Winsor Blue were used for the larger flowers.The smaller flowers are Permanent White, Opera Rose, Carmine and Alizarin Crimson The leaves and letters are painted with Holbein Leaf Green, Permanent White and Sap Green. Finished size is 4"x 1 1/4" on Arches HP.

Wednesday, June 8, 2011

Bejewelled Heart

Taking a time out from working on notes for an upcoming workshop to flourish a summer heart design. The background is done with a pastel burnish technique and the florals are painted with Winsor Newton Opera Rose, Carmine, Terre Verte and Holbein Lilac. After adding the accent strokes and gel pen, I decided to adhere some swarovski crystals in a Medium Sapphire colour. Finished size is 4"x4" on Fabriano Tiepolo paper.

Thursday, June 2, 2011

K.....Kouldn't think of a Katchy Kaption

I worked on the letter K by grabbing the closest piece of watercolour paper. It turned out to be Saunders 140 lb hot press paper. The white is slightly warmer than the Arches HP but the texture of the paper is quite soft with almost a suede feel to it. It took the Rolco gilding size wonderfully . This letter is gilded with 23K loose leaf lemon gold so it has a little extra shine to it. The K and ribbon are painted with Winsor Newton Purple Lake using a moist brush technique. I found that the paper fought against the Purple Lake with this moist brush technique but the wet brush caused some feathering. I wrestled with that portion of the design but the flowers, leaves and pastel burnish were not a problem. The flowers are painted with WN Opera Rose and Carmine and the leaves are Holbein Leaf green with some Winsor Newton Terre Verte shading. Pastel background is done with Diane Townsend Terrages Pastels, my new favourite tool in the studio. It really helps that Canada's only Pastel Studio is only a 12 minute drive from home.The finished size of this piece is 5" x 1 1/2"

Thursday, May 5, 2011

I is for Incandescence

I guess I should be used to my indecision (another good i-word). All I knew for sure when I was designing these initials was that I wanted meandering foliage in the design. It was difficult to design a ribbon script letter because it resembled a J. I finally opted for a block type letter but feel that they look a little like a Victorian candlestick. The lavendar initial is gilded with 23K lemon gold leaf. The finished size is 4"x2" on Arches HP paper. I wanted the vinework to take a slightly different shape than my other initial designs.

This second design was actually my first attempt at the letter I. I had just been looking through Mira Calligraphiae Monumenta which influenced my decision to incorporate a little snail into the design. It is flat gilded with 23 K gold. The initial is painted with Windor Newton Rose Dore and the flowers are painted with Holbein Horizon blue. Finished size is 5" x1 1/2" on Arches HP paper.

Thursday, April 21, 2011

H Bookplates?

Working through my H designs, I decided that they both could function as bookplates. Both designs are a bit larger than my other initials. The heart is 4" x4". Sleeping Beauty Turquoise from Daniel Smith is the main colour in the design which is flat and raised gilded.

The Art Nouveau-ish design is flat gilded on Pergamenata paper and is 3 3/4" x 2 1/2". The design is a combination of Walter Crane's style with Kate Greenaway's palette. I can see my longing for Spring in both of these designs.

Monday, April 11, 2011

The Medieval Bestiary

Sunday was a wonderful day spent at Fieldcote Museum in Ancaster with my teacher and Master Illuminator Debbie Thompson Wilson. Debbie is a brilliant and generous teacher. She is truly eager to share her expertise and knowledge and genuinely wants her students to learn medieval illumination techniques. We were given numerous inhabited border designs to try in class. I opted a 15th Century Dutch border design which took nearly 5 hours to complete. Finished size is 4 1/4 x 1 1/8".
I had enough time left to start the Italian Rabbit design. Finished size is 1 3/4" x 1 1/2". Both were a pleasure to paint. The day flew by.

Thursday, April 7, 2011

G is for Guess Who

I had an enchanting childhood. My mother is an artist and my Dad ran a print shop in the basement while I was growing up. I was always surrounded by artistic people, papers, inks, pens, pencils, and a large library of illustrated books. I was influenced by the illustrators of my fairy tale books such as Walter Crane and Randolph Caldecott. Victorian illustrated books still hold a prominent space on my bookshelves. This little cherub carrying the G is in homage to one of my all time favourite illustrators. She was known for her enchanting childhood vignettes in outdoor scenes. Garlands of roses and ribbons would appear in her work as well as delightful floral studies. These appealed to me first as a child, then as a florist and now as a pointed pen artist. She still enthralls me and influences my work. The cherub is based on one of her illustrations. Although I couldn't capture the same delightful features that she could create in her illustrations, I enjoyed working in her style and trying to capture the essence of her work. The finished piece is 3x3 on Pergamenata paper. I used shell gold highlights in the cherub's hair and wings and added flat gilding highlights to the initial. Pastel and watercolour accents were added to the composition. G is for.......

The Gilded Flourish

Trying to figure out the Pergamenta paper and how it reacts to flourishing. I used a Gillott Principality pen point and McCaffery brown ink on this flourish. I wanted a very sharp and flexible point to see if the paper caught the nib at all. It almost glides effortless on this paper even though there is texture to the paper.(Could be the Principality!) I added tiny dots of raised gilding to the flourish and used watercolour pencil on the florals. The piece is matted to 8x10.

Saturday, March 26, 2011


Just finished my workshop notes for the Iampeth conference in Phoenix. This year Iampeth is offering something new with a review class for beginners in Script and Flourishing. I am honoured to be co-teaching with my friend Bill Kemp. This morning I did a little flourish for the review handouts. This is on white Pergamenata paper with my favourite McCaffery's brown ink and watercolour.

Friday, March 25, 2011

Finding F

Still not entirely satisfied with any of these attempts. The shape of F seemed to disappear in each one but I had fun playing with colour in each of these. The Leaf Script letter features Daniel Smith Sleeping Beauty Turquoise and Winsor Newton Opera Rose with Holbein Leaf Green. It turned out pretty bright! Each design is on Pergamenata paper with raised gilding. The floral F has flat as well as raised gilding.