Outline the letter first and fill it in later. Here, if you had more time and supplies, you could use size and gold leaf, but I used gold paint. Measure the central square, either according to the diagram above or according to your own wishes and transfer the pencil letter to it. Here is a breakdown of the steps with Helen’s demonstration, but I’ll take you thru them with my piece just below. I think that, except for an “I”, “T” or an “O”, you just can’t measure the middle and have to eyeball it, but it’s such a precise little painting that you’ll probably get it spot on in that space. Now put the tracing paper on to the front of your card and go over it again tracing the pencil lead onto the card.
Maybe you could have a look on line for a template or write to Helen she might send you one.īut once you have a font, trace the letter on some tracing paper with a precise, sharp pencil, flip the tracing paper over and trace the letter to the back. I’m not sure what to advise you for the letter as we were given a printed page with the correct sized font, but for my next adventure, I’ll design the letter myself. The letter will sit in the middle of the square, so pick your letter first and them maybe cut your square. The dimensions of the square I used are in the image above. Once someone shows you how, it’s really easy. Putting this letter together was a bit like figuring out Celtic knots. Two very small, very precise paintbrushes So, if you’d like to have a go at making yourself an illuminated letter like I did, then gather your materials, you will need:Ī different colour to you card stock pencil or paint
The old Medieval artists used powdered earth pigments and real gold or silver, and I would have loved to mix my own pigments and use real precious gold leaf, but, again, this practical class was only 1.5 hour long, so had to settle for coloured card stock and metal based gold gouache paint from Winsor & Newton. I was thrilled to get into the Medieval manuscript decoration class, not only because it was something I had never done before, but also because here was my chance to learn about this from instructor Helen White, a master artist in illuminated manuscripts, with an amazing three decade long knowledge base. You know, huge books with torn pages and brown stains containing precious paintings. Old botanical illustrations or old maps do that for me too. Something about the illuminated letters just makes my heart sing. Each time I’m at a museum I search them out. You know, I’ve always loved that glowing, golden Medieval manuscript illumination. Practical class: Medieval Manuscript Illumination
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