SIMPLE ILLUMINATION IN BLACK AND RED
A good deal of very effective work can be done by using black and red
only. The student should be able to do good work in this way before
attempting to use gold and colours.
A method for setting out the page, before commencing to write, is shown
plainly in Fig. 25. For this purpose a tee-square and set-square are
required, together with a pair of spring dividers and a sharply-pointed
HB. pencil. The approximate size of the page and the distance between
the lines of lettering must be decided. Then the margins at the top and
the two sides must be marked out, and the upright lines drawn in by
means of the set-square. The distance between the lines of lettering
is then pricked off down one side with the spring dividers. The lines
can then be ruled across against the tee-square. A word of caution is
perhaps needed here: the pencil should be held as shown in the diagram,
and kept at the same angle during the ruling of the line. If this rule
is not carefully observed, it is possible to start with the point of
the pencil close up against the edge of the tee-square, or set-square,
and finish the line with it about one-sixteenth of an inch away from
it. If this habit is developed, the lines of lettering will hardly ever
be quite straight and even. Another important detail is to see that
the tee-square rests tightly against the edge of the board, and the
set-square against the tee-square.
[Illustration: FIG. 25.]
It will be found that an HB. pencil is the most satisfactory grade for
ruling the lines with, as if used lightly the lines can be cleaned off
quite easily afterwards with a piece of soft rubber. Some illuminators
recommend an H. or HH. pencil for this, but, although these keep a
sharp point longer, the lines produced are not so easily erased.
After ruling the page the next thing to be settled is the size of the
initial letter. It should be lightly sketched in with the pencil. It is
best to use the writing lines to govern the size of this. For example,
the size of this letter might be four or five lines down.
It is very effective to have the first few words in capitals. Several
different arrangements are shown in Fig. 25. The position of these
may be roughly planned out in pencil. They may then be written in red
straight away, or may be left until after the black lettering is done.
It is best not to finish the initial until after the lettering is done.
When the position of the initial and the opening words is determined,
the black lettering should be proceeded with. The student should
endeavour to ensure perfect freedom in working, also to aim at
preventing the writing from looking as if a great deal of trouble had
been taken to make it fit and space well. For anyone to derive any joy
out of it, there must be a feeling of spontaneity and freedom about it.
He should allow his imagination to work when writing. If he studies
the words that he is writing he is bound to have suggestions come
to his mind. For example, perhaps one verse seems to stand out very
prominently, and it is felt that it would be better if written entirely
in red. Or, again, another verse seems to start a new line of thought,
and a fresh initial is suggested.
After the writing is completed, attention should be paid to the initial
and the decoration. A good method for the beginner is to fix a sheet of
tracing-paper over the page; as the lettering shows plainly through,
there is plenty of opportunity for experimenting with decoration.
Some good types of letters suitable for initials are shown in Fig.
26. The first alphabet is based largely on a type of letter used in
the eleventh century, while the second one is a free rendering of
thirteenth-century letters. These letters are all built up. They may be
made with either pen or brush.
[Illustration: FIG. 26.]
Building up these letters with strokes made with the pen or brush is
excellent practice for the student. For constructing the letters in
the first alphabet the pen will probably be found to be the best tool.
These letters are constructed in a similar manner to that described in
an earlier chapter on forming Roman capitals. Some suggestive details
are shown in Fig. 27.
The letters in the second alphabet may be formed much more easily with
a brush than with a pen. It will be seen in Fig. 27 how naturally the
letter is filled in with the brush, the end of the stroke terminating
in a small knob. For filling in the letters in this way a brush should
be used quite full of colour, and it should also have; a good point.
[Illustration: FIG. 27.]
After having a fair amount of practice in forming letters in this way
the student will soon be able to produce them quickly and easily.
The terminals of these letters may be drawn out if necessary, or they
may be joined up with the border. The student should take note, from
the examples given in the previous chapter, of the manner in which the
initial was used in the past as a starting-point for the decoration.
Vermilion is a good red for this purpose. There are several varieties
sold, known by various names, such as scarlet vermilion, orange
vermilion, vermilion, and Chinese vermilion. The kind known simply as
vermilion seems to answer best of all. Scarlet and orange vermilion
are liable to look somewhat weak. This also applies to the Chinese
vermilion we are able to get in this country. Some illuminators prefer
to add a little crimson to the vermilion.
It is important that the red should be painted in solid, and not be
thin and washy in character. This also applies to the black, which
should be a decided black, not inclining to brown or grey. The red
should be kept quite bright and clean, care being taken not to get
it mixed up with dirty colour in any way. A great deal of the effect
depends on the strong black and brilliant red.
In Fig. 28 an initial with a simple border is shown in (_a_). The
initial letter and the decoration may be done in red, and also the
opening words.
Very decorative arrangements are possible with simple lettering and a
fine initial, as in (_b_). When an initial letter is used in this way,
without any border, it is best to fit it in with the lettering so that
the line of the letter does not project beyond the line of the black
lettering. When, however, a simple border is added down the side, it
may project, as shown in (_c_).
An interesting arrangement is shown in (_d_), where two columns are
used. By the judicious use of red, a fine decorated page is possible if
carried out in this style.
[Illustration: FIG. 28.]
The initial O shown here is an example of what can be done with simple
pattern work in the way of diapers. In the illuminated manuscripts
from the twelfth to the fourteenth centuries a great number of these
were used. This simple pattern work is very pleasant, and the student
is recommended to study these for himself. He should also study the
fine initials with pen-work in red and blue. He can then vary his
work by adding blue in addition to red, using a red initial with blue
decoration, or _vice versâ_.
The various forms of simple pattern work, made with simple
pen-strokes, and shown here, should also claim his attention. He should
endeavour to make borders for himself in this simple way. They may
serve as tail-pieces and line finishings, and the construction of these
is all good practice in design.
It is excellent practice for the student to write out a number of
quotations in this way, in black and red, with nicely-drawn initials
and borders of simple pattern work. He should endeavour to guard
against making them too florid in treatment, and, above all, should
be careful not to employ a lot of meaningless flourishes. The work of
the mediæval period affords the best examples for study that he could
possibly have.