- #TEMPERA ON VELLUM HOW TO#
- #TEMPERA ON VELLUM SKIN#
MINIMISE the use of water as this causes the vellum to cockle and lifts any paint already on the surface. Vellum is not porous like paper - so water (and paint) sits on top of the vellum. You need to practice colours on a seperate piece of vellum to get the right mix and effect. Many people talk about the colours "glowing". Colours can glow on vellum and appear much more saturated than when the same paint is used on watercolour paper. Just a light rub with pumice and chalk and its ready to go.įrom her comment in response to a query on Blackberries on Natural and Kelmscott Vellum Anyhow I've mounted quite a few pieces now and it works a treat if I'm not too ambitious with the size. I think from being slightly too damp causing shrinkage. To my surprise it was perfect but a very slight curve which is minor. I let it dry off and put tracing paper over the surface and pressed it under many botanical books.for good luck! and left it for about a week. 
Ideally you need about an inch spare all round for this. The board has a very slight key on the surface which helps - you cant detect it through the vellum once it's mounted.
I wrapped the vellum very tight around the edges. I think it's the aquaboard ( conservation quality ).
#TEMPERA ON VELLUM SKIN#
I made up the rabbit skin glue in advance so that it was cooling and pasted the back of the skin before laying it onto the ampersand. Then dried it off so it wasn't dripping wet, more damp.
#TEMPERA ON VELLUM HOW TO#
This is not a surface for tropical climates unless kept at all times in a controlled environment.ĭianne Sutherland discusses below how to remount vellum from a mounting disaster! I soaked (the vellum) in warm (not hot) water, say 5 minutes or just long enough to take the ripples out and wash of the glue off from the previous disaster.
Relative humidities above 40% increase gelation and opportunities for biological growth i.e. significant dimensional changes may occur in vellum bindings exposed to wide fluctuations in relative humidity, such as 25% and 60% Relative Humidity. This means any paint or ink applied to the surface may become detached. if vellum is kept in a very dry environment (less than 11%), the skin will start to shrink (unevenly) and become fragile and brittle. About 25% RH is the lowest level that can be tolerated without inducing large stresses in the material. This can mean painting in places where you can control the relative level of humidity. 
It is also VERY sensitive to environmental humidity levels. It needs a temperature which is fairly warm and constant. In addition, a calendar is inserted at the beginning of the book. The offices are composed around the Psalms of King David, and include hymns, standard prayers, and special lessons about the life of Saint Louis, with the Penitential Psalms at the end. 
This manuscript contains two different cycles of prayers, or offices one set is dedicated to the Virgin Mary, and the other to Louis IX, the sainted king of France (1214–1270) and Jeanne d'Evreux's great-grandfather. A Book of Hours such as this contains prayers to be recited eight times each day, mimicking the long-established practice of monks and nuns. It is almost certain that her husband, King Charles IV (1294–1328), commissioned the book from the artist Jean Pucelle. From "his tiny illuminated manuscript was made between 13 for Jeanne d'Evreux, queen of France, who died in 1371.
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