Helm Crests: October 2013

Monday, 21 October 2013

Hide glue how-to

http://www.stewmac.com/shop/Glues,_adhesives/Wood_glue/Behlen_Ground_Hide_Glue.html?tab=Video

Here is a video showing how to make up hide glue. It follows a process I have seen in a few other places. You can also buy hide glue from the online shop. Luthier suppliers are a good place to get hide glue, which comes in amber coloured flakes.

Paint colours according to Cenninni

I am getting towards the painting stage of my first helm crest so it is time to start thinking about pigments. I have some ready ground pigments to mix into tempera paints and other forms of decoration, but want to check out what Cenninni has to say on the subject.

There is a long list of colours that Cennini instructs his readers to mix and use in specific styles of images. I like reading about the words he uses to describe different colour beards - ruddy, russet, black.

"Chapter XXXVI

Know that there are seven natural colors[23], or rather, four actually mineral in character, namely, black, red, yellow, and green; three are natural colors, but need to be helped artificially, as lime white, blues--ultramarine, azurite[24]--giallorino"

He lists violet, blue, green, purple, 'ocher', ash grey, greenish grey, red and black made from a combination of lac, ultramarine blue, orpiment, pink, flesh colour, vermilion, red lead, white lead, verdigris, indigo, hematite, lime white, terre-verte, charcoal, malachite, turnsole, black, giallorino, cinabrese, sinoper, ocher, and azurite mixed with lye, water, egg yolks, egg whites, gum or size.

"This Shows you the Natural Colors, and How you Should Grind Black.

Chapter XXXVI "

To find out the Cenninni's recommended method for mixing black relies on the purpose. He says to mix it on a hard flat stone using another, rounded stone. Amusingly, Cenninni says that if you were to grind it for a year, it would only improve the depth of the colour - I have an image in mind of a team of apprentices working around the clock, trying to beat the boredom. Once ground, it is to be stored in a pot of water with a dust cover over the top. He talks of using burnt peach stones, vine twigs and almond shells, as well as a black stone.

I will need a decent volume of both white and black paint for the badger crest. Hopefully the weather will stay good so I can work on it some more tomorrow.

Monday, 14 October 2013

Sculpting in plaster

I've been trawling Youtube for some sculpting info. However, it is late at night and the sound on my computer is busted, so I have been watching these clips without any volume. I have no idea if the commentary is any good. The visuals tell me what I want to know, so turn your speakers off and enjoy.

Using a butter knife, a chisel and a foam rasp to carve a simple shape from a block of plaster. The last minute is sped up, so skip to here if you like.

http://www.youtube.com/watch?v=C2pvq_RC3uw

Saturday, 12 October 2013

Leather helm crest: Part 7 Preparing gesso sottile...still

The plaster is soaking to saturate it, making gesso sottile. You can see that the plaster and water have separated. It will be ready in a week or two.

Clothing for 1420-1482: A veil style

1. This method uses two large square veils. Place the first veil on your forehead, just below the hairline.

2. Wrap and pin the veil in place.

3. Roll/fold up the tail of the under veil, to help create bulk at the back of the head.

4. Pin this roll up so it is clear of the neck.

5. Centre the second veil so it is slightly further up the forehead than the first.

6. Use a large pin to secure the two sides of the veil at the nape of the neck. Make sure the head of the pin faces down and the point angles slightly away from the head. Make sure this is tight.

7. Find the centre line of the second veil, a few inches up from the hanging hem.

8. Pin this above the forehead.

9. Use more pins to arrange the veil into a whole range of rumples and bumps, as seen in various illustrations from 1450, especially those of Rogier van der Weyden.

Clothing for 1420-1482: One outfit from 1450

Here is an outfit I wear regularly. It is based on images from 1450 in Franco-Flemish artwork. Last weekend I attended a 3-day camping event - it was hot so I wore the layers up to the kirtle, without sleeves. Yesterday, I presented a unit, for a school group, on life in the Middle Ages - these photos were taken straight after that event.

First layers

Smock/sherte - Linen with embroidered neckline and cuffs. A high scooped neckline without embroidery would be more common in most lower to middle class outfits.

Shoes - These leather poulaines are by far my most comfortable shoes. It took a few events to get used to walking, as the soles are very slick and the pointed toes collect long grass. Now, they are by far my favourite to wear. They have been worn in all weather, including under ankle deep water and mud at a very wet Great Northern War. A great purchase!

Hosen - woollen knee high hosen. The garter is unnecessary for this pair and was only being worn to as part of the demonstration.

Veil - this headwear is a combination of two veils. It is a middle class style, and can be altered to many other styles, by ruffling the outer veil and pinning into different bumps. I will detail the method in another post.

Structure - underskirt

This under skirt adds structure to the kirtle skirt. It keeps my legs warm and creates a solid base for the kirtle. There is less evidence in the mid 15th C in the low countries for this layer. It appears to be a common French practice of the time to wear multiple long sleeve kirtles at once, negating the need for the underskirt. It was 37 degrees Celsius last time I wore this outfit, so I must admit that it is a very rare event (maybe once a year) that is cool enough to wear multiple full sleeve kirtles. This layer is a compromise, rather than a strict reconstruction.

Kirtle layer

The green kirtle is laced in the front, using solid brass rings. When put on, it laces smoothly. After wearing it for a day, the lacing shifts to gap over the bust. The skirt is tucked up, as seen in illustrations of ladies working in doors. Those working in fields often only show the kirtle layer, and are tucked up to bare the lower legs for ease of movement. I wear a small purse on my belt - there are images in Boccaccio's Decameron of two girls with pouches in this position. There are other images of women with purses hanging on the kirtle layer, showing beneath their lifted gowns. These other styles seem to hang more to the sides, and do not show their attachment to the belt or kirtle. The sleeves are pinned on, and come in a range of colours and materials. None for dirty kitchen work, rich silk brocade for under a gown with hanging sleeves.

Gown

This black woollen gown is in the middle class houpeland style. It originally had a fur lined bodice, but it turned out to be too hot. The fur is now a trim around the neckline and cuffs.