Review: Calligraphy Alphabets Made Easy, by Margaret Shepherd Sunday, Oct 19 2008 

This is not a straightforward review–I am reviewing this book strictly in terms of its usefulness as a reference for historical calligraphers. It’s set up for you to work through with an alphabet every day and a project a week, but I’m ignoring that and looking at it solely as an alphabet modelbook.

Calligraphy Alphabets Made Easy
Margaret Shepherd
Penguin, 1986, 112 pp.

This book provides little specific instruction for the individual alphabets, so I would not recommend it for a beginner. Of the 365 alphabets, most are modern or whimsical, but some are historical, historically based, or suitable as faux or pseudoscripts for SCA purposes (faux Chinese, faux Arabic, etc.).

Roman – A straightforward Roman capital hand.
Celtic Any Case – Based on Uncial, but not very historical; I wouldn’t use it.
Namor – Roman mirror writing.
Lower Kingdom – A nice faux Chinese script.
Coiltic – “A fanciful modern invented style, based on 8th-century coiled Celtic.” I don’t know enough about Celtic to comment on this, but it might be a good starting point.
Swash Capitals – Simple swash capitals suitable for use with Italic hands.
Split Swash – Wouldn’t be out of place for the Renaissance.
Basic Gothic – A fairly generic Gothic hand; not glaringly modern, but there are better ones.
Super Celtic – Stretched letters for filling the ends of lines. “Many of these letters come from the Book of Kells.”
Vivaldi – Decorative Italic-based capitals; not historical but would work as capitals with an historical Italic hand.
Swash Italic – A simple swash hand, not extremely historical but a good starting point.
Backward Italic – A back-slanting Italic hand “based on a 16th-century Italian style by Tagliente.”
Turned Celtic – A more historical Uncial-inspired hand.
Arched Italic – Looks a bit like a cross between Batarde and Italic; not historical to my knowledge but looks like something Renaissance calligraphers might have played with.
Caroling – VERY loosely based on Caroline Minuscule; please don’t use this.
Lag B’omer – A faux Hebew script
Jerusalem – A more obviously English faux Hebrew script.
Fraktur – A 16th century German Gothic hand.
Fraktur Capitals – For use with Fraktur.
Concave Gothic and Concave Scroll – A generic modern Gothic hand.
Half-Round Gothic – Somewhat similar to Early Gothic.
Rustica – “A 5th-century rendition of a 1st-century Roman.”
Split Swash – A nice swash capital alphabet for a split pen.
Gothic Caps – Generic Gothic capitals.
Endless – Capital letters made up of continuous lines. Not historical, but would work as a substitute for simple cadels or Italic swash capitals.
Dürer Caps – “Copies of 15th-century German woodcuts.”
Antiquarr – “A 16th-century design by Ludovico Arrighi.” Lowercase, missing j, v, and w.
Magdalene – Capitals “adapted from a 15th-century copy book.”
Frills – “16th-century capitals by Arrighi.” Simple cadels, no j, u, or w.
Florentine – “16th-century Italian style” with decorative descenders.
Russian – A faux Cyrillic hand, but based on modern Russian–not very similar to historical Cyrillic hands.
Delhight – A faux Sanskrit hand.
Upper Kingdom – Another faux Chinese hand. Some of the letters are real Chinese characters or partial ones, so I would be careful using this.
Shivered – A very decorative Gothic hand–similar to some in 16th century modelbook Mira Calligraphiae Monumenta.
Twinings – A generic Gothic hand with a variety of suggested decorative ascenders, some period, some not. Use with care.
Benedictus – “14th-century letters” with decorative ascenders.
Versals – Simple initial letters.
Gothic Initials – A not very exciting set of generic Gothic capitals.
Embellished Gothic – “Some of these ornaments came from medieval manuscripts; others are modern inventions.” A nice hand.

Please note that these assessments are all mine, and I’m not extremely familiar with all the Gothic hands. Overall, however, I think this book has enough historical or near-historical hands to be useful for the SCA calligrapher, and Lower Kingdom and Upper Kingdom are the best faux Chinese scripts I’ve seen so far.

Historical Sewing Books: Medieval versus Tudor Tailors Wednesday, Jul 2 2008 

I have pretty much gone from Not Sewing to being fairly decent in the last year. This is almost 100% due to The Medieval Tailor’s Assistant. The reason I love it is because it has very, very clear instructions for drafting a body block, sleeves, and hose, and it gives detailed instructions with every garment on a) how to modify the block appropriately and b) how the garment should fit. Thus far, we have used the instructions to fit me for a kirtle/cote (including sleeves, which aren’t 100% perfect in the wrist/hand region–they were supposed to have mitten cuffs and I had to end them at the wrists–but which are close-fitting and comfortable enough for archery) and F. for a pair of footed hosen (we had some trouble with the feet, but I think that’s inevitable). I also just used the sleeve instructions (which are BRILLIANT) to draft a straight sleeve for my Tudor kirtle.

It’s not a totally comprehensive or perfect book when it comes to medieval clothing–I wish it went far enough back for bliauts, covered other cote construction methods, and went into a crapload more detail on headwear, especially fitting hoods (which still defeats me), but it’s a really, really good basic introduction to drafting and fitting your own patterns.

So, when The Tudor Tailor came out I was really excited. I’m a fan of Ninya Mikhaila, and I was hoping for something similar for 16th century clothing. Unfortunately, not only does it not really discuss fitting very much, much less provide fantastic instructions on how to draft the patterns from a body block, but it doesn’t even tell you much about how the clothing should fit most of the time. Plus a lot of the garments are patterned very oddly when compared to the extant garments they’re based on–this is particularly evident with the loose gown.

I look at The Tudor Tailor a lot for inspiration, and it does have some good technique discussions, but I find it a lot more frustrating–it would almost be easier for me to work from Janet Arnold in some cases (okay, it definitely is).

I really hope the Renaissance Tailor book materializes one of these days, because I think her approach is much closer to that of Medieval Tailor, and the body block approach to sewing works well for me.

Linen! And sewing and scrolls Wednesday, Mar 26 2008 

It appears after burning that the mystery dark wine-purple linen or linen blend fabric I picked up on the Joann remnant table for $5/yard a couple weeks ago (I think I got almost 8 yards) is probably 100% linen, and definitely contains nothing melty. It’s got a nice hand, much heavier than the linen/cotton blends I’ve bought before. Anyway, yay for nonmelting! I think I shall use it for a boned kirtle/basic camping dress, and I’ll have a bunch leftover I can use for lining things.

Definitely need to sit down and actually sew, stop buying fabric.

Today I finally got up the nerve to cut out the Anglo-Saxon overtunic pieces from the embroidered wool tablecloth. Whew. I need to wash the linen for the undertunic and cut it out, but it will be nice to do a genuinely quick and easy project. I have some lovely inkle-woven trim I bought to sew on by hand, but I may just do that on the undertunic and use the rest for a belt.

Last weekend I started working on a Dorothea-based pair of bodies. I did the first fitting of a mockup (based on the Reconstructing History pattern, modified to bring it more in line with the original in Janet Arnold) and it’s pretty off in some ways but should be fairly easy to fix. Once I have a pair of bodies, I shall ask a kindly local Laurel to fit me for a doublet and then I can make some serious inway on the fabric stash, I hope! In the meantime, I have a kirtle and cotehardie to put together. This cotehardie will be based on a Spanish painting in Anderson’s Hispanic Clothing, which has the open hanging sleeves like a bliaut. I imagine the sleeves will annoy me to no end, but I want something distinctively Spanish, and I don’t have any plaid in my stash to do the parti-colored plaid cotehardie. :D Someday.

Melchior put up the wire shelves, so I’m (slowly) working on turning the boxes and piles of fabric and craft stuff into something resembling organized. I think some of it will end up free to a good home. Yay for organization, slowly as it comes.

I have a scroll assignment for Kingdom A&S. I’m very excited–it will give me a chance to try some neat Ottonian stuff if I can get it to work. I really need to figure out a Gothic hand, though, since there’s a lot of illumination I really want to do that requires a Gothic hand. Bleh, Gothic.

Calligraphy and illumination class! Monday, Mar 10 2008 

I’m going to take a calligraphy and illumination class in May, which I expect to be fun. Here’s the class description:

Celtic And Historical Calligraphy

During this course you will learn the skills of the masters of European Calligraphy. We’ll cover historical inking colours, their origins and how they are made. Parchments and vellums, various papers, quill types, quill cutting, scripting tables, layout geometry, and related themes will be demonstrated and discussed. Period scripting and styles, including Celtic, Ottonian, Renaissance, and others, will be explained and illustrated. Skill in scripting, design, illustration, and illumination is used in historical reproduction work as well as modern art. The information presented will surprise modern digital graphic ad layout artists, enhancing their knowledge and depth in their own professional fields. Please bring $10 to class for materials.

It’s a two-day workshop taught by Dan Cheatham II, who’s clearly trying to spin it to appeal to modern graphic artists, but his real interests are historical. So more practice making period paints, AND he has genuine lapis and malachite to play with, which will be exciting since there is no freaking way I’m going to buy lapis to grind up myself at the current prices. So this may be my chance to find out how genuine lapis looks and handles differently from synthetic ultramarine.

Dan also teaches a longbow making class, which would really tempt me if I liked shooting longbows, which I don’t. But I am tempted by the leatherwork class, since several people have suggested tooling as an alternative to stamping for the Gothic-lettered motto belts I want to make from Dress Accessories, and Melchior and his boss don’t do tooling at work on account of things like profit margins. So getting some instruction in that might be a good idea. I’ll have to see how finances and time go.

There’s a baronial corset workshop coming up, so I need to do a mockup fitted as far as I can get without help on the modified Dorothea bodies.

Golden Horde yarlik project: the idea Monday, Mar 3 2008 

So, I used to have a 14th century Ilkhanid Mongol persona (Mongol-dominated Persia). Ever since I found out about yarliks (decrees, usually granting authority) of Golden Horde Russia (the qatuns even issued them, not just the qans), I have badly wanted to do an SCA award scroll in the style of a yarlik. I was fortunate enough to see one in the State Historical Museum in Moscow three years ago, and I have some blurry pictures to remind me. Fortunately, it’s all text. Here’s the best picture I have:

Yarlik of Timur-Kutluga Qan (it’s sideways)

The label said, approximately, “Yarlik of the qans of the Golden Horde, which confirmed the rights
of Russian princes to rule(?)” (I’m not sure about the last word; need to look it up). It dates to 1397 C.E.

And here’s a picture from Wikipedia of an Ilkhanid Quran.

Both documents seem to have the alternate scripts going on. At first I thought they might be different languages, but after reading the Wikipedia entry on Islamic calligraphy, I think it’s actually Kufic for the main text, with cursive Naskh (similar to the modern Arabic script I learned in college).

So then the question becomes what language the yarlik is in (or what language yarliks were commonly written in). There is all but nothing online about yarliks, so I’m going to have to get a stack of books out of the library again and hit the journals. I’m not sure any of the sources I looked at a few years ago said much about either language or style.

There are three possibilities:

-Arabic (unlikely)
-A Mongolian language (most likely)
-Russian (possible, since yarliks were often given to grant authority to Russian nobles, but unlikely)

So, stuff I need to do:

1. Find out what language yarliks were typically in (let’s assume Mongol for now).
2. Find out the style of Golden Horde yarliks.
3. Write an alternate SCA award text in that style.
4. Get it approved.
5. Find someone to translate said text into Mongol.
6. Transliterate said text phonetically into Arabic (ideally, I’d like to find period rules for this, but I’m not holding my breath on the likelihood of that).
7. Learn to write Kufic.
8. Brush up on Naskh.
9. Wait for someone with a Mongol persona who’s into authenticity to be up for an award.
10. Make scroll.

…good thing this is a long-term goal.

But oh, it would be SO FREAKING AWESOME, ‘cos I don’t think anyone’s ever done this in the SCA before. There have been Persian scrolls and Russian scrolls and Chinese-style Mongol scrolls (three that I know of), but I’ve never heard of anyone doing a yarlik in Arabic script before.

(So in other news, I decided to take up bobbin lace, calligraphy, and illumination. Right now I’m playing with Ottonian, because I heart Carolingian miniscule.)

Clothing report (and a new name) Monday, Dec 3 2007 

14th century European

I’m basically done with my 14th century outfit–wore it to Caer Galen Toys for Tots in October. I need to take in part of the waist a tiny bit more so it will hang right, but that’s it. I may eventually rip the sleeves out of the kirtle and redraft them to have mitten cuffs and use wood-cored buttons, but they’re serviceable and I may use my leftover blue linen/cotton for a summer camping event doublet instead.

I got more comments on the belt (which took about three hours total) than anything else, probably because belts are more arcane to most people than sewing. Anyway, I’m pretty excited about it–I dyed it myself (modern dyes), finished the edges with wax (speculative, plausible, and easy to rewax when they get fuzzy–modern Edgecoat looks really, well, modern), and attached mounts until my arm hurt, at which time I handed it over to my lord to finish. The buckle, strap end, purse hanger, and mounts all came from Fettered Cock Pewters. I’m very pleased with the mounts and purse hanger, especially for the price, but pewter is a bit soft for buckles and strap ends, especially since each only has one rivet. Still, you get what you pay for, and FCP is the most affordable source of replica fittings I’ve found. I still need to attach buckle and strap end to my stamped belt a la Museum of London.

I also made a downright hideous tasseled brocade pouch from a remnant someone gave away at fighter practice. It’s handy to have somewhere to shove a wallet, not so handy the way the cords twist up and it bangs against my leg when I walk.

I figured out how to pin my veil pretty nicely (reproduction wimple pins from FCP = also great, but I’m going to order some plain brass reproduction clothing pins from Historic Enterprises for general non-decorative use. I definitely need to make some veils out of silk and lighter-weight linen, and probably a bit larger.

Number one thing I learned: USE WOODEN CORES for cloth buttons (it’s documentable, at least for men, and makes buttoning them much easier. They also look neater).

Pictures when I get around to getting them.

15th century Italian

I’m working on research and patterning for a 15th century Italian gamurra and giornea. Both will be reversible and made from fabric I already have. The hitch is that I want my gamurra to be red, not screaming salmon pink, and I’m not tackling home dyeing until after Christmas. But it should help clean out my stash, and be less of a PITA than the cotehardie (no cloth buttons!). I should have some time to work on this before spring semester starts.

Goal: Done by Caer Galen A&S, January 27

Anglo-Saxon

Ordered some dirt cheap cadet blue linen for the under tunic. Took measurements for the overtunic to be made from embroidered wool (!) tablecloth. Low-priority project.

Elizabethan caul

Since I have a farthingale, underskirt with forepart, and overskirt (and material to make new sleeves) for my Elizabethan doublet, I really need a fancier piece of headwear (not counting my disatisfactory first attempt at a tall hat). I started a caul out of dark blue cotton (horror!) leftover from the underskirt. I laid non-metallic gold soutache down in a grid pattern over it and tacked the intersections down with glass pearls. Now I’m sewing down spangles in every other square. Then I just need to decorate and attach the band. It’s much, much slower than I expected and makes my fingers and back hurt, but it will be insanely ostentatious and probably the simplest piece of headwear I can get away with to go with that dress.

If my lord weren’t planning on making a doublet out of the remaining fabric (I begged enough for the overskirt), I’d consider making a low-necked doublet or gown bodice to wear with the overskirt because I’m itching to embroider a partlet, but honestly, I don’t like the fabric that much–it was given to us and it isn’t totally inappropriate, but it’s a little rubberized and the pattern is off. I should just put my energies into a properly cut Elizabethan gown, if I ever get around to making a corset. Although given my figure, it might be easier and more comfortable to just lightly bone and interline my bodices and doublets.

Might try to put together some paned sleeves before Saturday….

New name

I’ve decided to change from 14th century Mongol to 14th/16th century (depending on my mood) Spanish, on account of accidentally falling in love with European clothing, and also because I’m so compulsive about authenticity with the Mongol stuff I don’t get around to making it. Someday I will. But I think Spanish is more appropriate, given the majority of my SCA interests.

Makes me glad I never got around to submitting a name and device.