The History, Theory, and Practice of Illuminating: Condensed from 'The Art of Illuminating' by the same illustrator and authorWyatt, M. Digby (Matthew Digby), Sir
History
The History, Theory, and Practice of Illuminating: Condensed from 'The Art of Illuminating' by the same illustrator and author
Wyatt, M. Digby (Matthew Digby), Sir
Alphabet; Illumination of books and manuscripts; Initials
As it is by no means easy to remove pencil-marks from vellum (and indeed it
is never wise to attempt it, for the black-lead unites with the animal fat,
which can never be entirely got out of the material, and rubs under the
action of Indian-rubber or bread into a greasy smudge), it is always well
to set out the design in the first instance upon drawing-paper. The best
mode for good work is to complete the outline on drawing-paper, and then to
trace it carefully with a hard pencil on a piece of tracing-paper, about
one inch larger each way than the entire surface of the vellum; then cut
out, the exact size of the vellum, a piece of tracing or tissue paper,
rubbed evenly over with powdered red chalk.[116] Lay the tracing down
(pencilled side upwards) in its right place upon the vellum, and fasten
down one edge with pins, gum, or mouth-glue. Then slip the transfer-paper,
with the chalked side downwards, between the vellum and the tracing until
it exactly covers the former--touching the back of the transfer-paper with
two or three drops of gum on its margin. Then lay the tracing over, and
fasten down another of its edges. The gum drops will prevent the
transfer-paper slipping away from the tracing-paper, when the drawing-board
or strainer is placed upon a sloping desk or easel. Taking care to keep a
piece of stout card or pasteboard under the hand, go over all the lines of
the tracing with a blunted etching-point, or very hard pencil cut sharp.
This having been done, on removing both the tracing and the transfer-paper,
it will be found that a clear red outline has been conveyed to the surface
of the vellum. At this stage of the work, as nothing dirties more readily
than this material, it will be well to fasten over the surface a clean
sheet of paper with a flap cut in it, by raising up and folding back
portions of which, the artist may get to the part of the surface upon which
he may desire to work without exposing any of the rest. As the effect of
the writing on the page gives as it were the key-note for the general
effect of the illuminated ornaments, it will be well to complete the former
before proceeding to the latter.[117]
Public-domain text, read in full here on John Shaqi.
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