If the mic quality is like that, the video that long and the thumbnail as is, you know it's about to be a banger video. I expect this guy to know what he's talking about inside and out and I'm in for it.
It's so refreshing to see someone talking about the minute mechanics of something that has actually done it. Most of the time this kind of stuff ends up being like whisper down the alley as documentary after documentary cite each other without confirming the statements. This can often lead to distortion and simplification.
I liked knowing that you were presenting something with historical accuracy and you put in comments that reveal how much experience you have with these materials and processes. I learned a lot. Thank you.
What absolutely beautiful work. Thank you so much for sharing all the intricacies of producing these masterpieces. Working in the traditional manner and using authentic materials must give you such a feeling of continuity with the past and a bond with all those nameless artists and craftsmen who lived centuries ago. In these days of instant gratification and quick and easy access to ready-made supplies, it is sobering to remember just how long the process took, and how much work was involved, in gathering and preparing all the materials. It was also a real joy to see the Word of God being honoured in this way - such a beautiful Psalm being treated with love and respect. This was a very moving and beautiful video.
we tend to use special kind of bamboo and cut it in a certain shape to make our pens, as Arabic calligraphers and scribes did in the same time and era that you are talking about, bamboo has flexibility and can hold ink well.
Earlier western calligraphy on papyrus uses a reed pens as well. I find the ends of the reed tends to wear away a little faster than a quill, but is indispensable when I need to cut a wider pen. Bamboo holds up a little better than reed.
That was fascinating. I've always been interested in illuminated manuscripts and how they are made. So beautiful and the amount of work and skill that goes into creating these works of art.💖I subscribed.
Helloo I'm back! 😆 I was just wondering, for the gesso used for gilding, what would the composition of that be? I've read about lead white, would a substitute for that work or is the reaction with the lead essential in the making of the gesso? And also, you mentioned the averse reactions of some pigments to either egg yolk or egg white and other pigments, do you have an example of which pigments those would be? Thank you for the super helpful videos and your awesome response recently!
At 18:32 Fr. Rufilly or Fr. Rufilhy was the monks name? Do you know if there is any evidence of the Catholic Sisters (Nuns) ever working as scribes? How does one become a scribe? I am a silk painter by choice, but I've never worked on skins. Have you ever painted on fabric like silk? If yes, is it similar to painting or writing on skins? 19:38 Why does the finished page look sooo faded and old....assuming you are not trying to make it look ancient or old? 20:49 The photo on the far left is very interesting to me. The way that the twine(?) is shallowly embedded in the wood reminds me of the 1900's telephone wiring. On the back face of the backboard of the phone itself (the part of the phone that touches the wall when the phone itself is hung on the wall) where all of the wiring is shallowly embedded in the wood. Some phones actually used melted wax to fill in the area of the valley that held the wire. This way of embedding and wax filling is the first time I've ever seen that method....not that I would know all about it because I don't, lol😁!!! It's all so very interesting to me. Thank you for sharing! I'm a new subscriber 😊 God Bless 😃
There is significant evidence of Catholic sisters workign as scribes and illuminators, at this point one becomes a scribe by learning and practicing the skills. I have painted on canvas but not silk. The finished page looks faded mostly due to the highlights and the poor image quality.
@@denisestover2416 Lots of book, but modern from the likes of de Hamel, etc. and extant transcriptions and translations, and now I spend much of my time researching by staring at digitization of old manuscripts (and in person whenever I get a chance).
I’m making a personal illuminated manuscript and I was wondering if I could use gouache? Would that be an okay alternative? It’s going to be a large book, I don’t want anything to stick together or warp
I would like to make an illuminated manuscript as a gift for my son when he gets his PhD. I plan to make a full , genealogy family tree all hand drawn. Can I make one with the regular, everyday journals (65 lb. weight paper) or should I use a heavier paper? Would appreciate any suggestions.
It depends, but you would probably want to use nicer paper than normal paper. Generally, normal paper isn't used to wet inks, and tends to bleed on the edges. Uses as nice of paper as you can.
I really enjoyed this and found it informative and am hoping you can answer a question that I’ve been wondering about as follows; I have been trying to make manuscripts as I find them fascinating. I shared a couple of my attempts on Instagram and a calligrapher told me that I should leave my guidelines rather than erase them.. supposedly that makes a manuscript more authentic! Is that correct? Also after examining many original manuscripts that do show guidelines, the writing does not sit on the line but rather in the middle between the lines. Yet the script is perfectly straight and maintains spacing perfectly with only the ascenders and descenders reaching upper and lower lines……. How did they do this? Was this the result of long practice or did they draw a centre line as a guide. It baffles me as there isn’t any evidence of any guide to keep the writing so perfectly aligned. I’d love your insight on this! The examples I’m looking at are actual size 14th century French batârde in books of hours of the Duke of Berry. Thanks so much in advance if you can shed some light on this.
There is variance on how the text is written on or between lines, but between does seem to be the most common. Also, leaving the lines is the norm, but some lining techniques rub away with time, some do not at all. There are different time periods and techniques that do write on the lines. Most of this come from time and practice. You can cheat this system in the Duke de Berry hour style by using brazilwood ink for the lines (as was done historically) and then drawing secondary lines for yourself in light pencil that you can erase aftwards. (this could have been done with lead and stale bread to erase historically, but most likely was not done)
I have not been there, I just looked they only accept paper submissions from PhD candidates or those who already hold a PhD. They wouldn't accept an article by me.
I know that if I do an acrylic painting in a book after some time of pages being pressed together they sometimes want to stick to each other. This wasn’t a factor with these manuscripts was it?
It can be if your paint recipes are too sticky for the storage environment, but generally speaking the tempera based paints with high pigment load don't show too much inclination to stick together, although staining can be a problem from facing pages depending upon the reactivity of the pigments. Acrylics are a polymer based film forming emulsion, which actually rely on the fact that they binder will chain entangle/become sticky, with time and proximity. It is one of the drawbacks of modern acrylic emulsions.
@@ScribalWorkShop Thank you for the feedback. I’m starting teacher training for art and we’re doing illuminated letters at the moment. Just wanted to learn some more. Thanks 😊
Imagine an entire team of scribes working full time for a year, with illuminators, illustrators, book binders and parchment makers to produce: 1 book for the annual product. I heard these books cost as much as a deacon or bishop's full annual salary.
Yep, it is wild. I have had people ask how much it would cost to produce a Bible and how long it would take me. I calculated about 7-10 years and my out of pocket expenses would be in the thousands for materials.
I was just wondering, I only recently started looking at writing with an actual quill pen. I like the way it feels a lot but, and to be fair my cutting skills are probably leaving something to be desired, but a problem I'm encountering is that the ink flow is very hard to control and runs out very fast.. I don't know if that second part is just a reality in quill writing, or if something can be done or not? And when starting off with writing, it seems like there is just a very large amount of ink at the tip that might drench my first letters but then, coming back to the other problem, runs out really fast after that.. Is this related to the way the quill is cut? I'd love to hear your thoughts, I can't seem to find a lot of information about it online!
@@MysticalFG I actually posted this one on Instagram a couple weeks ago, and went to tell you about it here on the you tube shorts and realized I had never posted it over here. So perfect timing!
Have you tried pelican feathers? I collect feathers just for fun and when i go to the beach pelican feathers are soooo gigantic and hard, it just popped to my head that it might or not help to your writing.
@@phinehas2 omg i didnt knew, not even if you find them on the beach? I find them all the time since they are so big and easy to spot. Well is nice that you guys proctect your pelicans :) anyways nice art!! Always loved your craft is one of the most beutiful things i have ever seen i hope you get to experiment with more materials around the world.
I have used real parchment once and also used modern synthetic parchment not parchment paper the real parchment was such a great medium to work with where the synthetic parchment was not a good medium as it did not react with the ink, but if you have never used parchment them you would not know that the synthetic parchment is a poor replacement
This was supposed to be a proof of concept for a lecture at a museum, but it became my best video, so I can't really edit it without deleting it. I may remake the video at some point.
@@ScribalWorkShop Excellent none the less. I am grateful for your gift of both the video and your response. I am trying to learn as much as I can of the pigments used in these works as I am, myself working in this direction. Thank you so much.
@@ScribalWorkShop I'll be there for sure! I just made some cinnabar watercolor, it was so sketchy, felt like I was diffusing an explosive. One pan was enough for my work. There is of course lead white, vermillion, Naples yellow, realgar and orpiment and...I think it might all be near fatal for a scribe who has the habit of licking his brushes or licking his fingers to turn pages. Perhaps a safety lesson in working with these compounds is in order. As you know we are few who pursue this art, and those who came before us did not always know the hazards, as result we don't have best practices. It would be an awesome video.
If the mic quality is like that, the video that long and the thumbnail as is, you know it's about to be a banger video. I expect this guy to know what he's talking about inside and out and I'm in for it.
It's so refreshing to see someone talking about the minute mechanics of something that has actually done it. Most of the time this kind of stuff ends up being like whisper down the alley as documentary after documentary cite each other without confirming the statements. This can often lead to distortion and simplification.
Thank you! I really enjoy the mechanics and the process of creating a manuscript!
I liked knowing that you were presenting something with historical accuracy and you put in comments that reveal how much experience you have with these materials and processes. I learned a lot. Thank you.
Thanks!
Beautiful and insightful video. Thanks for sharing
Glad it was helpful!
Excellent work. Thanks for sharing.
Thank you too!
What absolutely beautiful work. Thank you so much for sharing all the intricacies of producing these masterpieces. Working in the traditional manner and using authentic materials must give you such a feeling of continuity with the past and a bond with all those nameless artists and craftsmen who lived centuries ago. In these days of instant gratification and quick and easy access to ready-made supplies, it is sobering to remember just how long the process took, and how much work was involved, in gathering and preparing all the materials. It was also a real joy to see the Word of God being honoured in this way - such a beautiful Psalm being treated with love and respect. This was a very moving and beautiful video.
Thank you, I really enjoy it.
@@ScribalWorkShop Your enjoyment is very evident! This is done with real passion and it shows. Thank you so much for sharing your passion with us!
we tend to use special kind of bamboo and cut it in a certain shape to make our pens, as Arabic calligraphers and scribes did in the same time and era that you are talking about, bamboo has flexibility and can hold ink well.
Earlier western calligraphy on papyrus uses a reed pens as well. I find the ends of the reed tends to wear away a little faster than a quill, but is indispensable when I need to cut a wider pen. Bamboo holds up a little better than reed.
WOW!
This is such a great explanation. It just says everything in such a straightforward way. I have probably watched it before and likely to watch again.
Thank you! I'm glad it was informative!
So glad to have found you, I'm really wanting to learn and understand principles and techniques and tools for a rewarding pastime for evenings.
That was fascinating. I've always been interested in illuminated manuscripts and how they are made. So beautiful and the amount of work and skill that goes into creating these works of art.💖I subscribed.
Glad you enjoyed it!
@@ScribalWorkShop 🥰
THAT WAS REALLY INTERESTING - thank you
You are quite welcome!
This is a pretty cool experiment!
What a fascinating and insightful video, I really enjoyed it
So glad!
Fantastic work and research!
Thank you!
i used to write icons, the process is very similar especially the gold leaf and paint making!
Awesome!
Wonderful. Thank you very, very much 😊
You are very welcome! I love what I do!
Amazing video! Thank you!
Thank you!
Helloo I'm back! 😆 I was just wondering, for the gesso used for gilding, what would the composition of that be? I've read about lead white, would a substitute for that work or is the reaction with the lead essential in the making of the gesso?
And also, you mentioned the averse reactions of some pigments to either egg yolk or egg white and other pigments, do you have an example of which pigments those would be?
Thank you for the super helpful videos and your awesome response recently!
Just discovered your channel. Excellent video. New subscriber!
Thanks and welcome
At 18:32 Fr. Rufilly or Fr. Rufilhy was the monks name? Do you know if there is any evidence of the Catholic Sisters (Nuns) ever working as scribes?
How does one become a scribe?
I am a silk painter by choice, but I've never worked on skins. Have you ever painted on fabric like silk? If yes, is it similar to painting or writing on skins?
19:38 Why does the finished page look sooo faded and old....assuming you are not trying to make it look ancient or old?
20:49 The photo on the far left is very interesting to me. The way that the twine(?) is shallowly embedded in the wood reminds me of the 1900's telephone wiring. On the back face of the backboard of the phone itself (the part of the phone that touches the wall when the phone itself is hung on the wall) where all of the wiring is shallowly embedded in the wood. Some phones actually used melted wax to fill in the area of the valley that held the wire. This way of embedding and wax filling is the first time I've ever seen that method....not that I would know all about it because I don't, lol😁!!!
It's all so very interesting to me.
Thank you for sharing!
I'm a new subscriber 😊
God Bless 😃
There is significant evidence of Catholic sisters workign as scribes and illuminators, at this point one becomes a scribe by learning and practicing the skills. I have painted on canvas but not silk. The finished page looks faded mostly due to the highlights and the poor image quality.
@@ScribalWorkShop Oh, okay. That's interesting.
Where do you research, learn and practice your passion?
@@denisestover2416 Lots of book, but modern from the likes of de Hamel, etc. and extant transcriptions and translations, and now I spend much of my time researching by staring at digitization of old manuscripts (and in person whenever I get a chance).
I’m making a personal illuminated manuscript and I was wondering if I could use gouache? Would that be an okay alternative? It’s going to be a large book, I don’t want anything to stick together or warp
Gouache is frequently used as a substitute, it may not last as long or have quite the same colors, but should make a fine option for you.
Hi, do you have specific recipes for each color please.? Thanks.
Most of my formulas are derived from a few historic sources, The Craftman's handbook from Cennini is a great place to start.
I would like to make an illuminated manuscript as a gift for my son when he gets his PhD. I plan to make a full , genealogy family tree all hand drawn. Can I make one with the regular, everyday journals (65 lb. weight paper) or should I use a heavier paper? Would appreciate any suggestions.
It depends, but you would probably want to use nicer paper than normal paper. Generally, normal paper isn't used to wet inks, and tends to bleed on the edges. Uses as nice of paper as you can.
@@Jeremy_Fisher Thank you. I'll post pics and or video of it when I'm done.
If you can’t use actual vellum, check out Pergamenata parchment. This is probably the best paper that I use in my scribal work.
@@beforethemast3678 its definately one of the best alternatives
I'm definitely new to checking You Tube Comments, This is what I would use. www.scribalworkshop.com/shop/goatskin-parchment
Hello! Thanks for your video! Do you have any tips where to start learning of 15-16.th century, italian manuscript writing ("fonts")?
It depends in which one, but I like Marc Drogin's Medieval calligraphy.
I really enjoyed this and found it informative and am hoping you can answer a question that I’ve been wondering about as follows; I have been trying to make manuscripts as I find them fascinating. I shared a couple of my attempts on Instagram and a calligrapher told me that I should leave my guidelines rather than erase them.. supposedly that makes a manuscript more authentic! Is that correct? Also after examining many original manuscripts that do show guidelines, the writing does not sit on the line but rather in the middle between the lines. Yet the script is perfectly straight and maintains spacing perfectly with only the ascenders and descenders reaching upper and lower lines……. How did they do this? Was this the result of long practice or did they draw a centre line as a guide. It baffles me as there isn’t any evidence of any guide to keep the writing so perfectly aligned. I’d love your insight on this! The examples I’m looking at are actual size 14th century French batârde in books of hours of the Duke of Berry. Thanks so much in advance if you can shed some light on this.
There is variance on how the text is written on or between lines, but between does seem to be the most common. Also, leaving the lines is the norm, but some lining techniques rub away with time, some do not at all. There are different time periods and techniques that do write on the lines. Most of this come from time and practice. You can cheat this system in the Duke de Berry hour style by using brazilwood ink for the lines (as was done historically) and then drawing secondary lines for yourself in light pencil that you can erase aftwards. (this could have been done with lead and stale bread to erase historically, but most likely was not done)
Have you ever gone to the Medieval Colloquium at Sewanee? This would be a super cool presentation for that
I have not been there, I just looked they only accept paper submissions from PhD candidates or those who already hold a PhD. They wouldn't accept an article by me.
@@ScribalWorkShop What a shame. Sounds like intellectual snobbery to me. They should just see your work, and change their minds!
I know that if I do an acrylic painting in a book after some time of pages being pressed together they sometimes want to stick to each other. This wasn’t a factor with these manuscripts was it?
It can be if your paint recipes are too sticky for the storage environment, but generally speaking the tempera based paints with high pigment load don't show too much inclination to stick together, although staining can be a problem from facing pages depending upon the reactivity of the pigments. Acrylics are a polymer based film forming emulsion, which actually rely on the fact that they binder will chain entangle/become sticky, with time and proximity. It is one of the drawbacks of modern acrylic emulsions.
@@ScribalWorkShop Thank you for the feedback. I’m starting teacher training for art and we’re doing illuminated letters at the moment. Just wanted to learn some more. Thanks 😊
Imagine an entire team of scribes working full time for a year,
with illuminators, illustrators, book binders and parchment makers to produce:
1 book for the annual product.
I heard these books cost as much as a deacon or bishop's full annual salary.
Yep, it is wild. I have had people ask how much it would cost to produce a Bible and how long it would take me. I calculated about 7-10 years and my out of pocket expenses would be in the thousands for materials.
I was just wondering, I only recently started looking at writing with an actual quill pen. I like the way it feels a lot but, and to be fair my cutting skills are probably leaving something to be desired, but a problem I'm encountering is that the ink flow is very hard to control and runs out very fast.. I don't know if that second part is just a reality in quill writing, or if something can be done or not? And when starting off with writing, it seems like there is just a very large amount of ink at the tip that might drench my first letters but then, coming back to the other problem, runs out really fast after that.. Is this related to the way the quill is cut? I'd love to hear your thoughts, I can't seem to find a lot of information about it online!
I am uploading a short explaining this right now!
@@ScribalWorkShop What an awfully well-timed coincidence, haha! That's awesome, thanks!
@@MysticalFG I actually posted this one on Instagram a couple weeks ago, and went to tell you about it here on the you tube shorts and realized I had never posted it over here. So perfect timing!
Have you tried pelican feathers? I collect feathers just for fun and when i go to the beach pelican feathers are soooo gigantic and hard, it just popped to my head that it might or not help to your writing.
I have not, as they aren't legal to possess in the USA.
@@phinehas2 omg i didnt knew, not even if you find them on the beach? I find them all the time since they are so big and easy to spot. Well is nice that you guys proctect your pelicans :) anyways nice art!! Always loved your craft is one of the most beutiful things i have ever seen i hope you get to experiment with more materials around the world.
Look at me replying with the wrong account.
Check my book tour here, My style is little different, but illuminated none the less!
ua-cam.com/video/F1pzZEu8seI/v-deo.html
Interesting. Definitely a hybrid fantastical aesthetic.
I have used real parchment once and also used modern synthetic parchment not parchment paper the real parchment was such a great medium to work with where the synthetic parchment was not a good medium as it did not react with the ink, but if you have never used parchment them you would not know that the synthetic parchment is a poor replacement
Very true, and pergamenata (the synthetic) is aggressively abrasive to the end of a quill and requires more frequent recutting.
Going to college on UA-cam
Sure costs less.
Edit your um and uhs its friggin kills your brilliance
This was supposed to be a proof of concept for a lecture at a museum, but it became my best video, so I can't really edit it without deleting it. I may remake the video at some point.
@@ScribalWorkShop Excellent none the less. I am grateful for your gift of both the video and your response. I am trying to learn as much as I can of the pigments used in these works as I am, myself working in this direction. Thank you so much.
@@pootnikalexander Absolutely! I have a lecture I should record called beautiful colors and how they can kill you all about the fun pigments.
@@ScribalWorkShop I'll be there for sure! I just made some cinnabar watercolor, it was so sketchy, felt like I was diffusing an explosive. One pan was enough for my work. There is of course lead white, vermillion, Naples yellow, realgar and orpiment and...I think it might all be near fatal for a scribe who has the habit of licking his brushes or licking his fingers to turn pages. Perhaps a safety lesson in working with these compounds is in order. As you know we are few who pursue this art, and those who came before us did not always know the hazards, as result we don't have best practices. It would be an awesome video.
Is that really all you can find to say about this amazing video? What a shame. I hadn't even noticed any ums and uhs.