Inks
Recipes for inks and paints; also a small treatise on "the ordering of wines." ;
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The full text of the English translation, featuring recipes for artists' supplies, and instructions for techniques.
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Where to get ink-making supplies, recommenda tions on tools & containers , acceptable substituti ons, and some issues related to oak gall ink and iron gall ink.
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The characteristics and preparation of gall inks.
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Some pre-17th century ink recipes.
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Links to images of medieval and renaissanc e containers used to hold ink.
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The science behind products used for illumination: slaked plaster, quill pens, iron gall inks, carbon inks, paints, and eggs.
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Includes recipes and instructions for drawing charcoal, gesso, a gilder's pad, glair, gum ammoniac, gum arabic, hide glue, iron gall ink, lampblack ink, shell gold, slaked plaster, and walnut ink.
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Written documentat ion from an A&S project involving the manufactur e of four variations of oak gall inks.
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Period recipes for inks, with other ink-related notes.
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Manuscript production in Anglo-Saxon England.
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The literature on Rembrandt's brown ink drawings traditionally has described them as being executed in bistre, a carbonaceous substance made from chimney soot. To determine the identity of these inks, non-destructive analysis of twenty-two Rembrandt drawings in the collection of the Metropolitan Museum of Art was undertaken, using x-ray fluorescence. Almost all the inks examined proved to be iron gall.
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A discussion group for SCA bookbinders and those interested in scribal sciences such as paper making, ink and pigment creation, pen and quill making, etc.
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Depictions of writers & scriveners at work include scribal tools in context (including pens, inkhorns, penners, and writing-slopes); a few links to ink containers (inkhorns, inkwells, and inkstands), pens, pen-boxes, and writing-desks.
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How did itinerant scribes of the Middle Ages and Renaissance carry their pens and ink supply with them? These scribes often carried their pens (i.e., quills), pen knife, and ink bottles by hanging them from their belts. The box that holds the pens and knife is called a penner, and the bottle of ink is the inkhorn. When was it used, how was it used, what was it made of, what did it look like, and what was inside the penner?
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Period and SCA inks for calligraphy.
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Who kane wyesly considere the nature of his colours, and kyndely make hys commixtions with naturalle proporcions and mentalle indagacions, connectynge fro dyvers recepcions by resone of theyre naturys, he schalle make curius colourys, etc.
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Recommenda tions on modern products for the SCA calligraph er.
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Although many fine commercial inks are available for sale to scribes and artists, making and using period inks can be an interesting and educational experience.
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This paper discusses producing ink from walnut husks. While walnuts trees were cultivated in Roman times and spread to the European and English countryside, there is no historic recipe pre-1650 of using walnuts as a source of tannic acid to make ink that I was able to find. There are numerous recipes for oak gall ink, both with and without the addition of iron. There are other recipes for tannic acid ink. That said, I opted to try to make walnut ink as an adjunct to dyeing with walnut hulls. The black tones of the tannic/iron ink should work well for calligraphy or outlines in illumination, having many of the same characteristics as the oak gall ink. The warm brown tones of walnut may lend themselves to illumination or the lining of the pages for writing.
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Listings: 25
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Last listing added: 02/20/18
Regular: 25
Last listing added: 02/20/18