|
|||||||
|
|
|
|||||
|
|
|||||||
BEFORE.....
Flourishes on ascenders are not on yet - neither are crosses on t and f (lengthwise flourish).
How it happened:
3/9/04: This morning while nearing completion and approaching
the vertical and horizontal crossbars inside, a dime-sized drop of gold
ink fell onto the page.
Immediate reaction - run to bathroom, grab toilet paper, and allow
it to soak the ink from the edges of the paper. When the puddle was low
enough, blotted up the rest, and went at it (gently) with the Xacto knife.
Fiber is scraped up and rough in that one spot and a couple of other (minute)
others, but once it was done, almost none of the gold remained. I'm just
left with this patch of paper that's kinda rough.....
AFTER
BTW. Technique is period. Documents to 4th c. BC. Greek poet Simias
used to write his poetry in the shape of an egg, a double-axe, or a pair
of bird wings. Visuals of this technique can also be found in plate 103
of Albertine Gaur's "History of Calligraphy" (p. 150), ISBN 1-55859-870-7
-- depicting a 14th c. Hebrew pentateuch with Masorah, written in the shape
of different animals (lines of calligraphy forming outlines of the animals),
including one with a knotwork tail.
Now You See It....Now You Don't.
Looking closely at the page, you can see by the reflection on the page where the linework was done. Unless you're standing at an angle to the page, or are deliberately reflecting it like here, you might not see the swirling lines (used as camouflage for the earlier mistake), or the 4 "swooping falcons" at the center. My maker's mark is also hidden in one of the outer chambers. Linework was done in spectrum violet gouache (lightened to match page color), with an 18/0 brush.