This versatile blank was designed by Master Giles de Roet based on several late 15th century Books of Hours. The illumination can be completed in one of three distinct styles popular throughout Europe during the mid 15th to the early 16th centuries. All three options are described below.
The hand is based on the elegant batarde hand of master scribe Nicolas Spierinc, used for the Prayer Book of Charles the Bold (MS 37) c1470, held in the Getty Museum, Los Angeles.
The calligraphy on the blank was penned with a size 4 William Mitchell nib, with a pen angle of 40 degrees to the vertical. The letters are penned within 5mm wide lines, spaced 10mm apart. Follow these dimensions precisely.
A simple mid-Gothic style ivy design in the counter of the capital is often found against gold backgrounds in period examples, or fine line work in white on coloured backgrounds.
The branches should be coloured pale brown, although white shaded with pale grey against a gold background is also found.
Foliage colours included red, blue, green, yellow, pink, gold and white. Be guided by period examples- green was often paired with rose pink, blue with deep pink or deep yellow, all shaded with white where the light would strike real leaves. You might also add a faint brown 'shadow' against the gold background for an even more realistic effect.
The flowers-from the bottom left borage (blue), stock (pink), violet (purple), rose (red or white), wallflower (pink), strawberry (red), pink (pink or white tipped with red) and heartsease (purple and yellow)- should be painted in their natural colours in all three styles.
You could also include additional flowers and strawberries or even tiny animals like ladybirds, butterflies, bees or flies in the border if you are feeling creative. The aim should be the illusion that they have settled for a brief moment on the page.
The branches should be coloured pale brown, although white and grey against a coloured background is also very effective.
Foliage colours included red, blue, green, yellow, pink, gold and white. Be guided by period examples- green was often paired with deep rose pink, blue with deep yellow or gold, white with pale blue-grey, all shaded with white where the light would strike real leaves. You might also add a faint ‘shadow’ against the background in a complementary colour for an even more realistic effect.
You could include additional flowers and strawberries in the border, insects such as ladybirds, speckled moths and iridescent dragonflies, badges or emblems, even everyday objects- some Hours feature borders filled with initials, painted pilgrim medallions, earthenware plates and vases, scallop shells and peacock feathers.
The overall effect should be lavish and rich.
The branches should be coloured pale brown or pale grey, perhaps shading into pale green at the flower stems. Foliage colours included red, blue, green, deep yellow and pink. Be guided by period examples- green was often paired with soft rose pink, blue with deep yellow, all shaded with white where the light would strike real leaves. Red foliage is also seen, but should be used sparingly.
Scatter tiny gold dots with black squiggly tails in the background. You could also include heraldic badges or other emblems, additional flowers or strawberries, initials or mottoes, or tiny animals like ladybirds, parakeets, snails or monkeys in the border if you are feeling creative.
The overall effect is still colourful but lighter than the Flemish treatment.