CHAPTER XVIII
ILLUMINATION WITH GOLD AND COLOURS
The best material for the illuminator to work upon is undoubtedly vellum. No paper has ever been made that is equal to it. The chief drawback that this material has is, of course, the expense. Parchment is cheaper, but not nearly so nice.
In selecting vellum for illuminating, the ordinary thick kind, generally known as illuminators’ vellum, is to be avoided. This presents too much the appearance of shiny cardboard, the surface being much too hard and horny. This kind is prepared calf-skin, and it is most objectionable to work upon. A very fine vellum, known as “Roman Vellum”—probably prepared lamb-skin—has an ideal writing surface. It is perhaps best to get a slightly heavier vellum if it is intended to cover it with a lot of heavy work.
A very curious statement has found its way into a number of books on illumination to the effect that it is impossible to remove pencil-marks from the surface of vellum. It has been stated that all attempts to remove a pencil-mark with rubber or bread result only in producing a greasy smudge. The present writer has worked on a considerable quantity of vellum, but he has never come across any from which he has experienced any difficulty in removing pencil-marks. Of course it is not advisable to use a very soft pencil, such as a 4 or 6B, very freely on a piece of vellum, especially if it is at all inclined to be greasy. The use of carbon-paper is often recommended for transferring a design to vellum, but, generally speaking, the use of this material is not desirable. It is generally somewhat greasy, and it certainly is difficult to remove these marks from the surface of the vellum. The best way is to cultivate the habit of working straight away on to the vellum. Work that is carried out in this manner is generally characterised as having more vitality and displaying more freedom than when it is traced off from another drawing.
Some of the fine hand-made papers, specially prepared for writing and illuminating, make excellent substitutes for vellum, although, of course, paper is never as durable as vellum. Cold tea makes a very good and quite harmless stain with which the paper can be tinted a similar shade to vellum. When tinting the paper with tea, it is best not to use too strong tea for this purpose, otherwise the result may not be altogether satisfactory. The paper should be carefully fastened to a board with drawing-pins. A broad, flat camel-hair brush is useful for washing the tint on, care being taken to get this quite even. If the paper is needed to be used for a MS. book, both sides should be tinted, but this is hardly necessary if one side only of the paper is to be worked upon.
When using paper for large, important work it is best to stretch it before commencing to work upon it. This is done by damping it freely until it becomes quite limp. The margin is then coated with paste for about half an inch all round. It is then stuck on to the drawing-board by means of this pasted margin while the paper is still wet. Care should be taken that the pasted margin dries hard before the rest of the paper begins to dry, otherwise, when the paper starts to contract, it will come away from the board. This is obviated by re-damping the centre of the paper, so that the margin has a chance of becoming firmly attached to the board before the paper begins to pull.
The beginner is not advised to attempt to stretch vellum in this manner. It requires considerable experience to stretch vellum satisfactorily, and it is quite easy to spoil a large sheet in an unsuccessful attempt at stretching it. The best way is to fasten it to the drawing-board with plenty of drawing-pins. If the sheet of vellum is placed in a damp place for some little time before pinning it on to the drawing-board, or placed for a short time between damp blotting-paper, it will, if stretched tightly on the board with the drawing-pins while it is slightly damp, be found to be stretched quite well enough for all practical purposes when dry.
Perhaps it would be as well here to have a word to say about brushes. The best kind for the illuminator are red sables. These are made both in quills and with metal ferrules. Some prefer one kind and some the other. Two or three of the smaller sizes should be selected, with a larger one for bolder work. The student will soon find out which size is most convenient for him to use. The present writer uses a No. 1, metal ferrule, for most of his work, using a larger brush for filling in broad masses of colour and larger work. To ensure getting the best service out of brushes they should be taken care of. After using, they should be carefully washed by shaking vigorously in a jar of clean water. Brushes soon spoil if they are put away dirty. The colour gets between the hairs and prevents the brush from coming to a point. If the colour dries in the brush it is very difficult to get it quite clean afterwards. One would think it was hardly necessary to state that brushes should not be placed so that they are resting on their points, but they are often left in this way by careless people. When a brush has been used for Indian ink it will be found that washing in ordinary water will be insufficient to clean it. In this case soap and water may be used, carefully washing the soap out afterwards with clean water.
Vellum is generally pounced before working upon it. A very good pounce may be prepared by mixing equal parts, by measure, of pumice powder and french chalk. When pouncing vellum it should be spread out flat on a board covered with a sheet of clean paper. The pounce is sprinkled over it and rubbed in with the palm of the hand. Care should be taken not to pounce too long, or the vellum will be roughened and spoiled. After the vellum has been well pounced, the pounce is shaken off and the vellum carefully dusted with a soft handkerchief.