The Lovers:
-Eyes still follow the nose, even with no mask on. Head is still independents and moves a lot.
-Lead with the sternum. The sternum is the heart. Collapse chest to pull heart away/hide it from breaking.
-Arms out as if you were the statue on the bow of a ship.
-Walk with toes. Ballet feet. Keep your walking feel always about hip space apart.
-Lovers can think about suicide, but they would always find reasons that are too dirty to do it.
-First act: least comic, mistakes are made, symmetry
-Second act: more comic, explosion of mistake, no symmetry
-Third act: very short, few words, crescendo, most comedy, symmetry
-Very hard not to parody the lovers. Let them have their own lives. Do not make them into something else. They are funny because they are naive, not because you make humor with them.
-All commedia characters are good characters. AKA All players play commedia characters well.
- Disguised characters still act as themselves: therefore all characters do not play all characters well. example: Capitano is a horrible Isabella. And vice versa. They can not act the part, only wear the disguise.
- Must always retain contact with the audience. Whenever there is a big change in a character, there should always be a small aside with the audience. The audience is seen as the only true friend of the character and so they are always to be kept in the loop when something changes: someone falls in love, had an idea, finds something, etc. Any change of movement (looking at the word 'movement' as in the art form of music) should be shared with the audience.
-There are no extremes in Commedia. This means no Kings/Monarchs/criminals/villains. No good or evil. And never any religion.
-Scenes must be symmetrical in the beginning as in the end. If two people walk on stage, two people walk off stage. But the stage must never be empty, even for a second. As two are walking off, two are walking on.
-Typically a scene end is an end for EVERYONE on stage. Do not stay as an aside while others leave as it only add dramaturgic that the scene doesn't need and may confuse the audience.
-Zanni know everything about beds. Everything. They know rich beds, poor beds, middle beds, etc. They sleep standing up (lift foot to cross over knee, balance on one leg, put head on fist and slightly cross arms) so they can jump when their master calls. But if there is more than one zanni, they usually all sleep in a cluster.
-We learned the Zanni tired walk: lead with head instead of feet. And the Zanni proud walk: thumbs in belt while leading more with knees and moving elbows slightly like a chicken.
- Servetta is not a Zanni. Zanni are like... rent a servant. Servetta are a little more clever, more beautiful, unmasked, and are a live-in servant.
Today we did three short little scenes:
The first- Two lovers are to meet at the same time and place as another two. Unfortunately the male and female lover, one from each set, meet in the dark and think it is their lover. They are then found by their actual lover and chaos happens (jealousy, anger, upset, etc).
The second- The zanni sleeping machine! Zanni got into a position to sleep, slept together like a machine, and then woke, went back to sleep, etc three revolutions.
The third- Two lovers meet in the dark but there is a problem. They wake a sleeping Zanni who then tries to help them with their problem.
Tuesday, February 9, 2016
Monday, February 8, 2016
Fava Class Day One: History of Commedia and Masks as well as Zanni work
-Until the 4th century when Romanization took over, masks were primarily used in religious ceremonies. Eventually they became more secular and then disappeared for a time before returning in a more social setting.
-Around 1530 we can see Commedia coming into the scene. The characters never defined Commedia; Commedia chose the characters.
-Different dialects are seen with different charaters. Dottore usually has a Bolognese dialect as he is from Bologna where the first university can be seen as well as a gastonomic capital. Pantalone, which stands for Plant a Lion (the symbol of Venice), speaks Venetian. In fact, all versions of the Pantalone character come from various different port cities, heavy in trade: Pancrazzio, Magnifico, Stefanello. The lovers spoke the language of Florence as it was the most common, plus had the most Latin and was mostly used for writing. Southern servents spoke Neopolitan and the Northern servents spoke Bergamesk.
-Commedia started in Italian and then went to Spanish, French, German, and then English.
-All Characters are part of the audience. In that sense, all the audience is part of the play. There is no fourth wall.
-Pulcinella stands for chicken, but not chicken like the animal, but more of a bird brain or a rube. In Italian, people will say they will trick that 'pollo' over there, for example.
-You need a zanni 1 (smarter/cleverer) and a zanni 2 (more foolish/stupid) for a play. They are the an integral part of the machine that is Commedia.
-Follow the rules of the mask at all times. If you wear a mask of that character, you are that character. Respect the mask. When it is on, talk and act in character.
-There are six pillars of Commedia: Masks (on principle), Improv (to react with your partner, to know how to react on stage), Engage the Audience, Multilingual (as long as one person in the troupe is understood by each member of the audience, and it can be a different member for each person, you don't need everyone speaking the same language. Commedia is PHYSICAL not VERBAL), Fixed parts (the mask is the character), and the audience must be happy!
-You have to know 1/2 of the character and 1/2 of yourself to have the definitive to improvise.
-Commedia is based on a binary system. You should always be working in pairs.
-The finale of each act should be all actors and big confusion until the finale of the last act, which should be all characters and happy.
-It is not uncommon for the play to end with Dottore coming out and apologizing for the play not being on the same level as such a beautiful audience. Always leave the audience happy!
-The audience can see the creation of a mistake and will follow it to the inevitable conclusion. The goal of the players is to be more creative than the audience so they can make the mistake do things that the audience couldn't have imagined... and then resolve it.
-All scenarios almost exactly the same for the past 2 centuries: not written words but more focused on the physical comedy.
-Everyone in commedia is a protagonist. There is no good and evil. Cruelty and cynisism is not synonymous with evil.
-Typical commedia would be three hours long with 2 intermissions, making the full show time about 4 hours. There would be a tremendous amount of props, sets, and costumes.
-Commedia started on the street because it was an invention of a new type of entertainment and they had to invent and figure out the audience they needed. It could not stay there, though, because 5 minute skits, (which were all someone was allowed) would just confuse an audience.
-In 1560 we see women in public in theater and it was a big success. Immediately we see the professional term for an actress seen in writing.
-Use the language of the country. Italy has over 300 dialects of Italian. Use them all. Some will understand you, some wont, and that's okay. Your body should be telling the comedy.
-Isabella Andrini was a poet and playwright. She invented how to speak in love, upside down, term: mad for love.
-Each actor invents their own names.
-1st Zanni examples: Brighella, Finnocchio.
-2nd Zanni examples: (there are OVER 300 of these names) Alecchino (who is NOT separated from the rest), Pulchinella (who is a survivor of political change in creation and is the only zanni who is typically married to Dona Setza and has lots of children).
-Your mask is your face. It is not a mask. You do not touch, readjust, move your face. That is creepy. Do not speak normally in your mask. When you put it on, you are that person. Follow the rules of the mask.
-An actor is a worker making a mask do what it needs to.
-Social masks were invented to hide people, for secret rendevous. It was the same as if saying 'should I wear a hat today or not'.
-Ancient greek/roman theaters were open. Audience and their reactions were part of the show.
-Lights out theater did not start until Wagner. At that point, the audience was no longer a part of the show. They were simply there to watch the actors.
-Canovaccho is a more elastic term for a single scene as opposed to scenario which refers to the whole play.
Zanni stance and characterization:
-Your head is independent of your body and moves in a camera point and click action. Otherwise, with a mask on, you just look drunk. So small short movements. Your sight follows where your nose is pointed.
-Lead with your sternum. Push it out to accentuate spine curvature. The sternum represents the person. Your body moves in whichever direction your sternum is pointed in.
-Keep your elbows bent and your hands rounded.
-Pop out your butt to, again, accentuate spine curvature.
-Knees bent.
-Feet at oblique angle and kept close together.
-When moving, your arms and legs move opposite directions like a marionette.
-All masked characters follow the point and click so they don't look drunk.
-Actions happen in an upsidedown pyramid shape. You should act like you are floating, barely touching the ground. Take small steps but big movements to take them.
-Kick steps: always land with feet flat or lead with toe. Don't put down heel and stick toes in air.
-Grand Zanni walk - arch back inward and bend down slightly. Slow steps, big arms, high legs. Over accentuated creeping walk.
-Engage audience!! They are part of the cast!
-Masks hold no magic. They are a science and an art. Bad religious mask is still good because it holds magic. Bad commedia mask has no art and hence is a bad character.
-Too finished = naieve/obvious. Do not 'demonstrate' the character.
-Sprizatura = natural and being absolute in a natural way.
-Psychology is not inside the character. Everything is shown on the outside visibly. All wants/fears/etc are shown, visible, outside.
-Commedia is like jazz. Two people at the same time make a cacophony, but the harmony will come.
-When you have a fixed point (ie, two people grab the same thing or each other) all action happens around that point and the point stays as still as possible or the action will feel dirty.
-Disguises go around the character. Do not mask a masked character. Always have part of the character showing so we know who is disguised.
-Feet should -never- make a sound. It distracts the audience.
-La Servetta is LIKE a 1st Zanni. She has no mask. Beautiful. Columbina (dove), Olivetta (named after food), Rosetta (named after flowers), Emeretta (named after precious stones). They are always the first to recognize the imposter or plot.
-Can not couple two 1st zanni because both will want to be the leader. Always love between a 1st and 2nd.
-1st Zanni try to sound clever
-Try to create liberation of disasters. Example: Zanni is upset because he lost his love. So he decides he will try to kill himself and tries to punch himself, but that hurts. He tries to hold his breath, but that doesn't work. Tries to eat himself, but that doesn't work... etc.
-2nd Zanni can not lie
-Masks are not to be made on the actors face or with the mold of an actor. Then the mask will look like the actor.
-Never play as a parody of something else. Each character is serious in their life.
-Play emotions over the top, but you can interrupt for a serious moment. AKA Crying Zanni that can't be understand by audience called by his master. Turns and says 'in a minute' before returning to crying to the audience.
-Ignorance should be dynamic.
-Props are given the same dignity and respect artistically as the actors.
Themes of Commedia:
-Love
-War
-Hunger
-Poverty
-Money
-Richness
-Every character should have their breaking point. Examples: If I don't eat, I will die (Zanni). If I don't marry, I will die (lovers). If I am not seen as knowing all the history of humanity, I will die of shame (Dottore).
-Commedia is the poetry about surviving everyday life
We did two Canovacchio today.
The first was two Zanni, both of them having something that they found/were given/bought/etc. Each one searches their pockets and can't find it.
The other was playing as the Zanni of three different masters all searching Pantalone's basement, in the dark, to find a document (which they may not know what is) and none of them know the others are there.
-Around 1530 we can see Commedia coming into the scene. The characters never defined Commedia; Commedia chose the characters.
-Different dialects are seen with different charaters. Dottore usually has a Bolognese dialect as he is from Bologna where the first university can be seen as well as a gastonomic capital. Pantalone, which stands for Plant a Lion (the symbol of Venice), speaks Venetian. In fact, all versions of the Pantalone character come from various different port cities, heavy in trade: Pancrazzio, Magnifico, Stefanello. The lovers spoke the language of Florence as it was the most common, plus had the most Latin and was mostly used for writing. Southern servents spoke Neopolitan and the Northern servents spoke Bergamesk.
-Commedia started in Italian and then went to Spanish, French, German, and then English.
-All Characters are part of the audience. In that sense, all the audience is part of the play. There is no fourth wall.
-Pulcinella stands for chicken, but not chicken like the animal, but more of a bird brain or a rube. In Italian, people will say they will trick that 'pollo' over there, for example.
-You need a zanni 1 (smarter/cleverer) and a zanni 2 (more foolish/stupid) for a play. They are the an integral part of the machine that is Commedia.
-Follow the rules of the mask at all times. If you wear a mask of that character, you are that character. Respect the mask. When it is on, talk and act in character.
-There are six pillars of Commedia: Masks (on principle), Improv (to react with your partner, to know how to react on stage), Engage the Audience, Multilingual (as long as one person in the troupe is understood by each member of the audience, and it can be a different member for each person, you don't need everyone speaking the same language. Commedia is PHYSICAL not VERBAL), Fixed parts (the mask is the character), and the audience must be happy!
-You have to know 1/2 of the character and 1/2 of yourself to have the definitive to improvise.
-Commedia is based on a binary system. You should always be working in pairs.
-The finale of each act should be all actors and big confusion until the finale of the last act, which should be all characters and happy.
-It is not uncommon for the play to end with Dottore coming out and apologizing for the play not being on the same level as such a beautiful audience. Always leave the audience happy!
-The audience can see the creation of a mistake and will follow it to the inevitable conclusion. The goal of the players is to be more creative than the audience so they can make the mistake do things that the audience couldn't have imagined... and then resolve it.
-All scenarios almost exactly the same for the past 2 centuries: not written words but more focused on the physical comedy.
-Everyone in commedia is a protagonist. There is no good and evil. Cruelty and cynisism is not synonymous with evil.
-Typical commedia would be three hours long with 2 intermissions, making the full show time about 4 hours. There would be a tremendous amount of props, sets, and costumes.
-Commedia started on the street because it was an invention of a new type of entertainment and they had to invent and figure out the audience they needed. It could not stay there, though, because 5 minute skits, (which were all someone was allowed) would just confuse an audience.
-In 1560 we see women in public in theater and it was a big success. Immediately we see the professional term for an actress seen in writing.
-Use the language of the country. Italy has over 300 dialects of Italian. Use them all. Some will understand you, some wont, and that's okay. Your body should be telling the comedy.
-Isabella Andrini was a poet and playwright. She invented how to speak in love, upside down, term: mad for love.
-Each actor invents their own names.
-1st Zanni examples: Brighella, Finnocchio.
-2nd Zanni examples: (there are OVER 300 of these names) Alecchino (who is NOT separated from the rest), Pulchinella (who is a survivor of political change in creation and is the only zanni who is typically married to Dona Setza and has lots of children).
-Your mask is your face. It is not a mask. You do not touch, readjust, move your face. That is creepy. Do not speak normally in your mask. When you put it on, you are that person. Follow the rules of the mask.
-An actor is a worker making a mask do what it needs to.
-Social masks were invented to hide people, for secret rendevous. It was the same as if saying 'should I wear a hat today or not'.
-Ancient greek/roman theaters were open. Audience and their reactions were part of the show.
-Lights out theater did not start until Wagner. At that point, the audience was no longer a part of the show. They were simply there to watch the actors.
-Canovaccho is a more elastic term for a single scene as opposed to scenario which refers to the whole play.
Zanni stance and characterization:
-Your head is independent of your body and moves in a camera point and click action. Otherwise, with a mask on, you just look drunk. So small short movements. Your sight follows where your nose is pointed.
-Lead with your sternum. Push it out to accentuate spine curvature. The sternum represents the person. Your body moves in whichever direction your sternum is pointed in.
-Keep your elbows bent and your hands rounded.
-Pop out your butt to, again, accentuate spine curvature.
-Knees bent.
-Feet at oblique angle and kept close together.
-When moving, your arms and legs move opposite directions like a marionette.
-All masked characters follow the point and click so they don't look drunk.
-Actions happen in an upsidedown pyramid shape. You should act like you are floating, barely touching the ground. Take small steps but big movements to take them.
-Kick steps: always land with feet flat or lead with toe. Don't put down heel and stick toes in air.
-Grand Zanni walk - arch back inward and bend down slightly. Slow steps, big arms, high legs. Over accentuated creeping walk.
-Engage audience!! They are part of the cast!
-Masks hold no magic. They are a science and an art. Bad religious mask is still good because it holds magic. Bad commedia mask has no art and hence is a bad character.
-Too finished = naieve/obvious. Do not 'demonstrate' the character.
-Sprizatura = natural and being absolute in a natural way.
-Psychology is not inside the character. Everything is shown on the outside visibly. All wants/fears/etc are shown, visible, outside.
-Commedia is like jazz. Two people at the same time make a cacophony, but the harmony will come.
-When you have a fixed point (ie, two people grab the same thing or each other) all action happens around that point and the point stays as still as possible or the action will feel dirty.
-Disguises go around the character. Do not mask a masked character. Always have part of the character showing so we know who is disguised.
-Feet should -never- make a sound. It distracts the audience.
-La Servetta is LIKE a 1st Zanni. She has no mask. Beautiful. Columbina (dove), Olivetta (named after food), Rosetta (named after flowers), Emeretta (named after precious stones). They are always the first to recognize the imposter or plot.
-Can not couple two 1st zanni because both will want to be the leader. Always love between a 1st and 2nd.
-1st Zanni try to sound clever
-Try to create liberation of disasters. Example: Zanni is upset because he lost his love. So he decides he will try to kill himself and tries to punch himself, but that hurts. He tries to hold his breath, but that doesn't work. Tries to eat himself, but that doesn't work... etc.
-2nd Zanni can not lie
-Masks are not to be made on the actors face or with the mold of an actor. Then the mask will look like the actor.
-Never play as a parody of something else. Each character is serious in their life.
-Play emotions over the top, but you can interrupt for a serious moment. AKA Crying Zanni that can't be understand by audience called by his master. Turns and says 'in a minute' before returning to crying to the audience.
-Ignorance should be dynamic.
-Props are given the same dignity and respect artistically as the actors.
Themes of Commedia:
-Love
-War
-Hunger
-Poverty
-Money
-Richness
-Every character should have their breaking point. Examples: If I don't eat, I will die (Zanni). If I don't marry, I will die (lovers). If I am not seen as knowing all the history of humanity, I will die of shame (Dottore).
-Commedia is the poetry about surviving everyday life
We did two Canovacchio today.
The first was two Zanni, both of them having something that they found/were given/bought/etc. Each one searches their pockets and can't find it.
The other was playing as the Zanni of three different masters all searching Pantalone's basement, in the dark, to find a document (which they may not know what is) and none of them know the others are there.
Saturday, February 6, 2016
Kataryn Mercer's Maunche scroll
The second I was asked to do this particular scroll, I knew EXACTLY the inspiration that was pulling me forward. It took me a day or two before I could say yes because I honestly had to weigh my ability against what I was hoping to accomplish. I finally decided that when it comes to friends, any amount of time is well worth my while.
The inspiration that I went with was Aristotle's Nicomachean Ethics, circa around 1500.
I have always wanted to make this particular scroll, having been a fan of the bright and vibrant colors as well as the abstract manner in which it is depicted.
I only planned to do the top half of the manuscript and have the words take up the same amount of space. So the white space on the left that would be left is where the maunche symbol and the signatures would go.
The original is from Italy, where Kataryn's persona is from, although the words are in greek. So I nixed the manuscript writing and went for a bastarda script instead.
For the words, I went to my favorite source of beautiful poetry: Lord Tristan le Chanticler.
He decided on a sonnet and took a lot of time carefully wording it along the lines of the age long debate of the rose vs the holly.
The words read as such:
"Shall we appeach young excellence as passing like the rose?
That bursts in color early, woos, wanes, and leaves us wanting?
We oft prefer the holly that endures through winters daunting.
A frock's one dance leaves much to chance, as time yet onward flows,
But mason's ton is bulwark when every blossom goes.
Then is the seamstress’ hand but ephemera and flaunting?
Like a bud of vain display, void of virtue vaunting?
Or a lasting green that shades suns sheen in natural repose?
Scrutiny of her art reveals this choice is false diversion:
Each careful cut is jewel craft, as long the hours take her,
As chipping at a ruby yields a permanent conversion.
So cast perhaps the dress aside: the true stone is its maker.
This We gather to Us, as a great career is launched,
And with this gem crown We now Our Order of the Maunche.
Done by the hand of Their Royal Majesties of the Laurel Kingdom of the East
Brennan Rex and Caoilfhionn Regina for Lady Kataryn Mercer
at Their King’s and Queen’s Arts and Sciences Championship
in the Barony of Barren Sands this Sixth day of February A.S. L."
With the words created, it was time to work on the manuscript. I wanted it to be as close to the original as possible, so I decided to create a see through overlay to place over the picture of the manuscript and then create a grid work on my paper and work from there. This is what I came up with:
I decided to make the dress after one that I particularly like on her and instead of putting a sphinx on her lap, I placed a cat there instead since she does have and likes cats.
Now it was time to get to work. This is the first time I have ever taken daily photos of my progress, but that is because it took the full two weeks of around 6-8 hours a day of work to complete. But by the time I was finished, I was very happy and felt that it certainly was a scroll that would fit her persona and the inspiration that she is.
Here is the final product:
The inspiration that I went with was Aristotle's Nicomachean Ethics, circa around 1500.
I have always wanted to make this particular scroll, having been a fan of the bright and vibrant colors as well as the abstract manner in which it is depicted.
I only planned to do the top half of the manuscript and have the words take up the same amount of space. So the white space on the left that would be left is where the maunche symbol and the signatures would go.
The original is from Italy, where Kataryn's persona is from, although the words are in greek. So I nixed the manuscript writing and went for a bastarda script instead.
For the words, I went to my favorite source of beautiful poetry: Lord Tristan le Chanticler.
He decided on a sonnet and took a lot of time carefully wording it along the lines of the age long debate of the rose vs the holly.
The words read as such:
"Shall we appeach young excellence as passing like the rose?
That bursts in color early, woos, wanes, and leaves us wanting?
We oft prefer the holly that endures through winters daunting.
A frock's one dance leaves much to chance, as time yet onward flows,
But mason's ton is bulwark when every blossom goes.
Then is the seamstress’ hand but ephemera and flaunting?
Like a bud of vain display, void of virtue vaunting?
Or a lasting green that shades suns sheen in natural repose?
Scrutiny of her art reveals this choice is false diversion:
Each careful cut is jewel craft, as long the hours take her,
As chipping at a ruby yields a permanent conversion.
So cast perhaps the dress aside: the true stone is its maker.
This We gather to Us, as a great career is launched,
And with this gem crown We now Our Order of the Maunche.
Done by the hand of Their Royal Majesties of the Laurel Kingdom of the East
Brennan Rex and Caoilfhionn Regina for Lady Kataryn Mercer
at Their King’s and Queen’s Arts and Sciences Championship
in the Barony of Barren Sands this Sixth day of February A.S. L."
With the words created, it was time to work on the manuscript. I wanted it to be as close to the original as possible, so I decided to create a see through overlay to place over the picture of the manuscript and then create a grid work on my paper and work from there. This is what I came up with:
I decided to make the dress after one that I particularly like on her and instead of putting a sphinx on her lap, I placed a cat there instead since she does have and likes cats.
Now it was time to get to work. This is the first time I have ever taken daily photos of my progress, but that is because it took the full two weeks of around 6-8 hours a day of work to complete. But by the time I was finished, I was very happy and felt that it certainly was a scroll that would fit her persona and the inspiration that she is.
Here is the final product:
Saturday, January 16, 2016
Arne Ulrichsson's Order of the Silver Tyger
I was requested to make a scroll for one of the premier orders that were just created: the Order of the Silver Tyger. This is the new AoA level award for martial skill and prowess. I know little about such a thing, but I have always wanted to use manuscript 1.33 for a long time now.
Arne is described as 14th century Swedish, and it was requested that his scroll be in a 14th century style. Yes! Manuscript 1.33 to the rescue! Manuscript 1.33 (also know as the Walpurgis Manuscript of the Tower Manuscript) is one of the oldest surviving martial arts manuals, dating to 1300. I felt this suited my needs well.
Or course, I thought finding words would be difficult, but I turned to the manuscript. And there, in the first pages, was what I felt would be perfect wording for a scroll of martial ability! The words are as follows:
"Brennan Rex and Caoilfhionn Regina, King and Queen of the East, to all whom these present letters come: greetings.
It is to be noted, how in general all men holding a sword in hand use these six wards, of which we have these verses:
Six wards there are, under the arm the foremost,
to the right shoulder is given the second, to the left the third,
to the head give the fourth, give to the right side the fifth
and finally, to the sixth, have you the breast.
It is to be noted, that the art is so described as the ordering of diverse strikes. Note that the center of all the art with sword consists of practice, persistence, and prowess. All actions of the wards or of the swords are determined by it; they end in it and not in others. Therefore, do first consider well this above-mentioned.
It is three that precede, the remaining do follow
These seven parts are executed by the common,
but Arne Ulrichsson has the defense and the means.
We find great delight that Arne holds not just the wards, but the knowledge of that art proper to heart. Duly, We find it right and just to award, endow, and authorize Arne Ulrichsson to bear the sign and insignia of a companion in Our Order of the Silver Tyger. Done this day by Our hand, January 16, A.S. L at Our Kingdom 12th Night in Our Incipient Shire of Midland Vale."
During this time, there was a lot of talk about people carving wood to do block prints on scrolls. The idea was very up in the air. It just so happened that a friend of mine, Kathyrn "Kit" Mercer ((visit her own blog here)), had asked if next time I received a scroll assignment if I could let her know and we could collaborate on something. I felt that this idea would work well for this scroll and sent her towards the manuscript for her to design the two men sparring.
I wanted to keep as true to the manuscript as possible, trying to work my words size-wise around the size of the printing, and then I shaded in the print in the style that it appeared in the manuscript. Eventually I had all of that complete, but I still felt I was missing something. I felt there needed to be some sort of border at the top.
Again I turned to the manuscript, scouring it for ideas, but it only appeared to be writing and form structures of men sparring. Until a friend pointed out a small little design in the corner. And eventually I found another. I decided to alternate the little marginalia at the top and it really pulled everything together quite nicely.
Edit: I decided to add the actual wording from the manuscript for compare and contrast visual.
Arne is described as 14th century Swedish, and it was requested that his scroll be in a 14th century style. Yes! Manuscript 1.33 to the rescue! Manuscript 1.33 (also know as the Walpurgis Manuscript of the Tower Manuscript) is one of the oldest surviving martial arts manuals, dating to 1300. I felt this suited my needs well.
Or course, I thought finding words would be difficult, but I turned to the manuscript. And there, in the first pages, was what I felt would be perfect wording for a scroll of martial ability! The words are as follows:
"Brennan Rex and Caoilfhionn Regina, King and Queen of the East, to all whom these present letters come: greetings.
It is to be noted, how in general all men holding a sword in hand use these six wards, of which we have these verses:
Six wards there are, under the arm the foremost,
to the right shoulder is given the second, to the left the third,
to the head give the fourth, give to the right side the fifth
and finally, to the sixth, have you the breast.
It is to be noted, that the art is so described as the ordering of diverse strikes. Note that the center of all the art with sword consists of practice, persistence, and prowess. All actions of the wards or of the swords are determined by it; they end in it and not in others. Therefore, do first consider well this above-mentioned.
It is three that precede, the remaining do follow
These seven parts are executed by the common,
but Arne Ulrichsson has the defense and the means.
During this time, there was a lot of talk about people carving wood to do block prints on scrolls. The idea was very up in the air. It just so happened that a friend of mine, Kathyrn "Kit" Mercer ((visit her own blog here)), had asked if next time I received a scroll assignment if I could let her know and we could collaborate on something. I felt that this idea would work well for this scroll and sent her towards the manuscript for her to design the two men sparring.
I wanted to keep as true to the manuscript as possible, trying to work my words size-wise around the size of the printing, and then I shaded in the print in the style that it appeared in the manuscript. Eventually I had all of that complete, but I still felt I was missing something. I felt there needed to be some sort of border at the top.
Again I turned to the manuscript, scouring it for ideas, but it only appeared to be writing and form structures of men sparring. Until a friend pointed out a small little design in the corner. And eventually I found another. I decided to alternate the little marginalia at the top and it really pulled everything together quite nicely.
Edit: I decided to add the actual wording from the manuscript for compare and contrast visual.
Saturday, October 3, 2015
Drake Oranwood's Troubadour Scroll
Given the opportunity to do Drake's troubadour scroll meant finally getting work from an illumination that I have fancied for a long time: The Sforza Hours.
The Sforza Hours (1490) often have a very particular way in which the borders are set with blues and reds and planters and vases lining the sides. The one that I loved, though, also had an angel at the bottom beside an open book and a cup. A cup that would be perfect for a troubadour. And it was perfect for Drake: something bright and colorful like the ribbons on the mugs he sings about.
For the words, I decided to tap someone I hadn't tapped yet before: Lady Olivia Baker. She was much more versed in the kind of poetic manner in which Drake seemed to enjoy than I was, and she was happy to oblige. The wording ended up as such, written fully in iambic pentameter (information on the words and how they were created):
And here is the finished scroll:
The Sforza Hours (1490) often have a very particular way in which the borders are set with blues and reds and planters and vases lining the sides. The one that I loved, though, also had an angel at the bottom beside an open book and a cup. A cup that would be perfect for a troubadour. And it was perfect for Drake: something bright and colorful like the ribbons on the mugs he sings about.
For the words, I decided to tap someone I hadn't tapped yet before: Lady Olivia Baker. She was much more versed in the kind of poetic manner in which Drake seemed to enjoy than I was, and she was happy to oblige. The wording ended up as such, written fully in iambic pentameter (information on the words and how they were created):
"Ryght true it is and said full yore ago,
“Take hede of him that rounde thy fire dothe presenteth”;
Thys Goldsmithes worke and goodley song dothe gro
Both voyce and visage for all deliteth.
Full many a wondrus tale he recounts
Woven stronge wyth thredes of thyne and Owre owne
Memoryes. Lo! Have We cause goode to dance,
Syng and rejoyse in tyme-cloth he hath sowne.
For as wyth cause We, Brennan and Caoilfhionn,
Nobyll King and true Quene of the Eastern
Landes do inducte to the Order herein
Of the Troubadour, Drake Oranwood done
On thys third day of October, A.
S. L, Owre joyus
Coronation in the northerne Baro-
Ny of Owre Concordia of the Snows."And here is the finished scroll:
And a quick shot just to see the shine of the gold. Oh it was so pretty held up and shining!
Saturday, September 12, 2015
Olivia Baker's Order of the Pine
I have been suffering with a lot of medical aliments recently, the most recent of which being a broken arm. It put a halt on nearly all of my creating which threw me into a sadness of epic proportions. That is until I got a request to do a scroll for the neighboring Barony, Concordia of the Snows. It wasn't just that it was a request, but it was a scroll request for someone I dearly adore and I just couldn't say no. I was going to pour my heart into this scroll just in case the rest of my body wasn't up to it.
I requested words from Mistress Ysemay Sterlyng, who is also a good friend of Olivia, knowing that she would enjoy helping out here. The words she wrote were as follows:
"With a song on her lips and generosity in her heart, does Lady Olivia Baker serve Our Barony of Concordia of the Snows. Whatever she does, whether organizing events, fulfilling the duties of exchequer, or encouraging and inspiring others, Lady Olivia toils with style and grace. Thus do We, Baron Jean-Paul and Baroness Lylie, induct her into the Order of the Pine, so that all may know her as a valued asset to Concordia. Done this day September 12th, at the Arts and Sciences Salon, A.S. X."
For inspiration, I turned to one of my favorite pieces: The Hours of Engelbert of Nassau, circa 1470-1480. It is one of the most beautiful pieces I have ever run across, using trompeloi in the borders to beautiful effect.
Here is the original inspiration:
This ended up being the finished product:
I requested words from Mistress Ysemay Sterlyng, who is also a good friend of Olivia, knowing that she would enjoy helping out here. The words she wrote were as follows:
"With a song on her lips and generosity in her heart, does Lady Olivia Baker serve Our Barony of Concordia of the Snows. Whatever she does, whether organizing events, fulfilling the duties of exchequer, or encouraging and inspiring others, Lady Olivia toils with style and grace. Thus do We, Baron Jean-Paul and Baroness Lylie, induct her into the Order of the Pine, so that all may know her as a valued asset to Concordia. Done this day September 12th, at the Arts and Sciences Salon, A.S. X."
For inspiration, I turned to one of my favorite pieces: The Hours of Engelbert of Nassau, circa 1470-1480. It is one of the most beautiful pieces I have ever run across, using trompeloi in the borders to beautiful effect.
Here is the original inspiration:
This ended up being the finished product:
Edit: I am not perfect. No scribe is. There are plenty of imperfections and misspellings, etc, even in period. Yes. I wrote the wrong AS year. I was never taught roman numerals and wasn't really thinking. I apologize. I assure you it is year 50, though. I wish I could write the actual date instead. I apologize for the error.
Wednesday, September 9, 2015
Finán mac Bressail's Silver Crescent Scroll
I was given an assignment for a Silver Crescent scroll for someone I did not know well and knew of another Silver Crescent who missed doing scrolls due to a variety of reasons. But Aislinn loves the research as much as I do, so together we worked together to make a wonderfully researched scroll for Lord Finán mac Bressail.
The words were created by Baroness Aislinn Chiabach, heavily inspired by The Brus by John Barbour. She wrote it in a particular style to medieval Scottish poetry, called "octosyllabic".
The words were created by Baroness Aislinn Chiabach, heavily inspired by The Brus by John Barbour. She wrote it in a particular style to medieval Scottish poetry, called "octosyllabic".
"As we King Omega of East
And Queen Etheldreda attend
Of good Lord Finán mac Bressail
Who’s become known to royal ears.
That in this land this worthy man
became, a haven for those new.
Ah, Service is a noble thing!
Armor, weapons, made by his hands
Grace gentles and children alike.
Grace gentles and children alike.
Children, the heart's blood of the East,
Must be supported and taught.
He teaches, practices and leads
Our youth sparkle under his care
He teaches, practices and leads
Our youth sparkle under his care
Some think service is marred by praise
Nay, say we! For all the silver
Shall be worn by thee on this day
In Crescent form with golden crown
For service is solace to all
Without which we could ne'er go on
The silver crescent We do give
On this day, July eleven
At the Great NorthEastern War in
On this day, July eleven
At the Great NorthEastern War in
Province of Malagentia."
The illumination and calligraphy style was based on the Winchester Bible, dated 1160-1175.
Subscribe to:
Posts (Atom)