Bone Black

Bone Black Tempera on Bristol

 Although there were various methods of making a charcoal black (grape vines, walnut husks, etc.), I have been fascinated with making bone black lately.  This type of pigment can be made from any type of bone, though the bones of fish or birds are the easiest to use because of their size and increased surface area.  

Charcoalized chicken bones after removal from coals

For this experiment, I took the bones of a roast chicken and, after the meat was consumed, made a bone broth from the remnants.  This makes a healthful soup and also makes the bones soft and easy to clean.  Making bone black requires that the bones be entirely sealed off from air in order for them to charcoalize.  To accomplish this, I sealed them in several layers of aluminum foil before placing them in the coals of a fire.  I just left them there as we cooked dinner over the flames, and after we ate, I removed the foil packet and allowed it to cool.  The blackened bones within can then be powdered and worked up in the same method as any other pigment.

I decided to test mine out in an egg tempura that would seal the pigment in as it dried, avoiding any smudging later on.  It ground up so smooth and the warm black gave a rich, intense color.  I definitely look forward to making more of this in the future!

Elderberry Experiments: 2024

Sap green paint from unripe blue elderberries

In Theopholis' "Divers Arts" he mentions a green pigment from elderberry. The Sambucus nigra species is most common in Europe through the Middle East.  The most common in the United States is a sub-species of this, Sambucus canadensis, that does not grow as large, has a pale yeast that grows over the berries causing them to appear blue, with lower levels of total anthocyanins (provide pigment). 

Ripe and unripe blue elderberries along with a small piece of ochre.

In experiments this past summer I used what was available to me: blue elderberry.  Although the anthocyanin levels were lower, I hoped to get at least a paler version of the green that Theopholis might have used.  Since anthocyanin levels are at their highest when the berry is ripe, I suspected the ripe berries might be shifted with the addition of an acid to a green color like the purple of the iris.  However when I tested this, shifting through the pH range by addition of ammonia, and vinegar or lemon juice, I got shades of pink to a grey blue.  I decided to try the unripe berries.  These little orbs were mostly filled with hard, colorless seeds.  But the small amount of flesh and skin burst with intense, sap green!  

Columns of testing, from left: fresh green berry, fresh ripe berry, air dried berry

I tested with a variety of additives, and the most vibrant green seemed to be from adding a small amount of alum water.  Even after taping a sample in the window for several days, the color maintained surprisingly well!  Perhaps artists of Theopholis' time were using unripe elderberries to make their green paint?  To test further, I would like to repeat this experiment with Sambucus nigra next year to see if there is any difference.  

Freshly ground green elderberry paint

Mulling Stones: Earth Paints

The oldest art form we know of are cave paintings, some dated at more than 50,000 years old.  And the paint used in these paintings is usually ochre!  Ochres are earth pigments, highly silicate colored earth, found worldwide in clay beds.  It’s often perceived as “soft rock” or the pigment of the clay itself, it’s a mixture of ferric oxide (iron) and varying portions of clay and sand.  They will usually naturally be found in browns, yellows and oranges.

Pointing out ochre stones that the gophers have kindly brought to the surface.  It easily crumbles.

Ochres are very stable pigments that do not fade or dull in the presence of UV rays (like anthocyanin) or air (like chlorophyll).  The only instance where they may shift color is in the presence of intense heat.  In the middle ages in Europe, pigment makers would heat the natural gold ochre of the landscape, thus causing the ochre to change from gold to red. The process of turning yellow ochre red can be seen in areas that have just been afflicted with wildfire.  Natural ochres have been heated enough by the fire to turn red where they originate, probably because of copper inclusions that redden with heat.  This is also where we get modern paint terms like “Raw Sienna and Burnt Sienna” or “Raw Umber and Burnt Umber”. The raw refers to the ochre as it comes from the land, while the burnt refers to the color after heat is applied.  Those terms also not where the raw material originated.  “Umber” and “Sienna” are both locations in Italy.  So you can name your color by wherever you harvest it from (ie “Raw Cottage Grove”).  

The ochre stones at top have all been located on our property.  The lids contain the same golden ochre at different lengths of heat application.

There is a similar pigment whose slightly differed chemical composition alters its color greatly.  Often called “Green Earth” gets its color from iron silicates (glauconite and celadonite) rather than iron oxides.  Similar in its green color is copper carbonate, although this stone ends up being quite a bit hard, therefore taking more effort to prepare as a pigment.  Calcium carbonate (chalk), gypsum, and limestone are all soft whites that have been used as opaque whites.  

This sample of copper carbonate is more vivid in person and was found In the Oregon Cascades.

Then theres the famous ultramarine from lapis lazuli.  This was a precious color in the middle ages because it was both difficult to obtain as well as difficult to prepare.  In the middle ages, lapis was only mined in what is presently Afghanistan, so most of Europe had to have it shipped in.  Only the highest quality would make a vibrant blue.  To prepare this ultramarine blue, the very hard stone had to be mulled, but not over-mulled.  Once the particles passed a certain size, the refraction changed, causing the pigment to appear more and more ashy the smaller it got.  In some manuscripts, you can see the texture of the paint as it could not be mulled finer without loosing vibrancy.  And in the European middle ages, vibrancy was equal to beauty.   Malachite performs in a similar way to give a bright green.

While just about any stone can be used to make a paint pigment, there are many that were used, created bright, vibrant colors, but many modern scribes refuse to use due to potentially negative health effects if not handled properly.  Vermillion is the name of the pigment made from naturally occurring cinnabar (Includes sulphur and mercury) or from heating sulphur with mercury.  Vermillion gives a red color that was used in both medieval Europe, Asia,  as well as pre-Columbian Americas. Realgar is more of an orange red, but is very arsenic laden.

Orpiment gave a clear, sparkly yellow and could be found near volcanos, but its main component is lead.  Azurite was often used as a budget ultramarine.  It couldn’t attain quite as vibrant a blue, but it was close and much more ubiquitous.  However, when it was ground into a powder to use as pigment, it off-gassed mercury cyanide.   And then lead white has it’s warning in it’s name.  To create lead white, lead strips were fumigated over vinegar or urine.  

The process of mulling stone pigments is largely the same, just the duration will differ.  Aside from your pigment material, you’ll need a hammer and cloth, mulling board and muller, as well as safety equipment of dust mask and safety glasses.  Concerns include bits of flying rock as well as inhaling the dusts that can cause silicosis.  Mulling boards and mullers can be found by glassworkers, but a smooth, tempered glass cutting board and flat-topped (no embossed numbers) glass electric insulator can work just fine.  

You will also need to add some type of binder during the mulling process.  What you add will determine your end product.  If your goal is simply to grind the pigment powder or make a very basic paint, water will suffice.  Eggs are also a common binder.  In the pre-colonization Pacific Northwest, fish eggs were added with the albumin stabilizing the paint.  In Europe, chicken and quail eggs were used in a couple different ways to create paint.  Eggs were used in glaire and tempura as well.  More binders include hide glue, gum arabic, and seasoned linseed oil.  For more information on the different binders and the paints they create, check out my article here: http://www.growwildmychild.com/2024/06/historic-paints-on-metal.html

For the sake of brevity, this article will discuss the use of water as binder, to create a pigment powder that can be reconstituted with any binder again at any future date.  To begin, chip off the amount of pigment you’d like to use, usually no more than a couple tablespoons worth.  If the original material is hard, I like to wrap it in a stout cloth, don protective equipment, and chip pieces with a hammer over a harder rock.  If available, sometimes it’s helpful to further reduce the particle size by grinding in an iron or hard stone mortar and pestle.  Once your materials particle size has reduced to sand or smaller, place it in a mound in the center of the mulling board.  Indent the top and prepare about half as much binder as you have pigment.  This amount will vary, but it’s easier to add more than have too much.  If you’re concerned, reserve a small amount of ground pigment off the board. 

Mulling the pigment can take anywhere from ten minutes to an hour, depending on the hardness of the stone.  The finer the pigment powder, the smoother and more uniform it will act as a paint.  Traditionally, this mulled pigment was put into small pans or shells for storage.  To reconstitute plain dry pigment, return it to the mulling board and re-mull with your binder of choice.  Once it’s fully blended, it’s ready to be used as paint!  Be aware that some binders (such as gum arabic and egg glaire) can be allowed to dry and reconstitute indefinitely, while others (such as tempera and egg yolk) must be used when they are made.  

***Word of warning: there are paint pigment sellers that claim "earth pigments" who only use a natural ocher base and add modern chemical compounds to give them vibrant colors.  From what I've seen they usually list their processes somewhere on their website.  These are still really fun to play and paint with!  Just know what you have.  

Resources

1. King, H. (2024). “Malachite” from geology.com. Last viewed 5-20-24 from https://geology.com/minerals/malachite.shtml
2. Royal Tennis (2003) “Color Stories” Last visited 5-20-24 from https://www.royaltalens.com/en/inspiration/tips-techniques/colour-stories/
3. Albee, S. (2022) “How Many Artists Were Poisoned by their Paints?” Last visited 5-20-24 from https://medium.com/@sarahjalbee/how-many-artists-were-poisoned-by-their-paints-346a93459b7e
4. Douma, M., curator. (2008). Pigments through the Ages. Retrieved 5-20-24 from https://www.webexhibits.org/pigments
5. Cochran, C. (2024).  “The Deepest Black” Retrieved 5-20-24 from https://christophercochran.me/color-history/bone-black/
6. Webster, S. (2012) "Earth Pigments: Hand-Gathering & Using Natural Colors in Art" Schiffer Publishing.

Tenth Century Bone Comb Recreation with Period Paint and Bag

 Bone Comb

Muirenn inghean Uí Cléirigh

2024

Where combs are found, archaeologists and historians find the society of a culture: they  interpret that the previous owner cared about their appearance.  While combs have been made from several materials (antler, horn, wood), bone is common for its strength and carvability. (3)  The comb created for this display was inspired by a find from Knowth, Co. Meath (fig.1), and is a single piece comb (“ci”) with no side plates.  This style comb had dimensions of 41-56 mm in length. 35-43 mm in depth and between 4-5mm thickness with short tines. (1). Based on similar finds, it is estimated to be from the 7th-10th C. AD. (2) In early period (before the 11th C.) there were also references to comb bags (ci orbholg, “keer-wolg” {7,9) and these were highly prized among women along with their distaffs.  (1)  

Process:  This bone was acquired from our local butcher and after the dogs had cleaned the flesh and marrow to the best of their abilities, the rest was placed in the ground to let worms and grubs finish the cleaning process.  When I was ready to carve, I retrieved it and cleaned the remaining dirt.  In the “Trials of Ireland” mentioned by Dunlevy, comb-makers were known to leave their materials in the dung heap to keep it soft until it was time to carve. (1) Only the outside of any bone or antler can be used for this type of carving as the center is either too soft or porous. (3)

Since I don’t yet have hand carving tools (period files and saws), I did use a Dremel (and  modern eye and lung protection) to carve the comb.  This took several hours with an electric tool, so I can only imagine how long it took  with hand tools.  While a pronged drill would have been used to get the circle engravings, I did as similar shapes and designs as I could based on the findings in Ireland.  The length of the tines are curious to me, but after some experimentation, we found that it worked perfectly as beard comb.  It could function for long hair, but not as well as a comb with longer tines.    I utilized motifs from Irish comb finds in my design. (Fig 2.)

 

 

After carving, I polished all edges of the bone and gave it a thorough cleaning.  To further decorate, I prepared pigments.  The ochre was harvested from the ground near our home. This was one of the earliest pigments used, and is found as a silicate compound in clay beds. (6) The verdigris was made by suspending copper wire over a basic (high pH) solution.  I used ammonia, but stale urine was often used in period.  Alternately, a more green pigment can be produced by following the same process over an acid like vinegar.  (5)  After left for a few weeks, I could scrape the pigment powder from the wire.  And finally the bone black was made from the trimmings from the comb.  After fully sealing them from air, I left them in the fire for a few hours.  This charcoalized the bone and I could then crush it into a pigment powder. (4) All pigments were then mulled with quail egg white.  This strengthens the paint and allows it to seal to some extent.  Although some bone from historical artifacts has been stained, I was unable to locate examples of painted bone.  However, the carved wells hold the egg tempura so perfectly, it seemed the logical next step in decor.

With the comb completed, I cut and sewed a simple comb bag, or ciorbholg, for it from leather and sinew. I created it very simply so the comb would fit snuggly into it.  Since none of the comb bags have been identified in archaeological excavations, I did some assuming with this design.  I wanted it snug enough that the comb would not easily fall out.  Many pouches of this time included a drawstring or a flap, but there are some examples of open topped bags from Gokstad and Birka.  (8,9)

Now I can add this as part of my eleventh century Irish garb. Or, perhaps since it seems to work better as a beard comb with its short tines than long hair, my husband Eoghan will wear it with his kit, as these combs were known to be worn by both men and women.  In the future I would also like to attempt a longer comb, perhaps with scales or folds.  Possibly, eventually I could graduate to more period tools as well.   

 

Resources

1. Dunlevy, M.  (1988) JSTOR.  “Proceedings of the Royal Irish Academy: Archaeology, Culture, History, Literature.  Vol. 88C, pp. 341-422.  Last visited 2-29-24 from https://www.jstor.org/stable/25516048?seq=5
2. Bermingham, N “Fermanagh in 100 Objects: The Drumclay Bird Headed Comb.”  Last visited 2-29-24 from https://www.enniskillencastle.co.uk/media/34463/Drumclay-Bird-Headed-Comb-Research-Report.pdf
3. Levin, B. (3-31-2003) Regia Anglorum Publications.  “Bone and Antler Working”. Last viewed 2-29-24 from https://regia.org/research/life/bonework.htm
4. Cochran, C. (2024) “Bone Black: The Deepest Black” Last viewed 2-29-24 from https://christophercochran.me/color-history/bone-black/
5. Douma, M.  (2001).  “Pigments through the Ages: Verdigris”. Last viewed 2-29-24 from https://www.webexhibits.org/pigments/indiv/overview/verdigris.html
6. Douma, M.  (2001).  “Pigments through the Ages: Yellow Ochre”. Last viewed 2-29-24 from https://www.webexhibits.org/pigments/indiv/overview/yellowochre.html
7. Archaeological Consultancy Service (2024), ACSU in Archaeology Ireland.  Last visited 3-6-24 from https://archaeologicalconsultancyservices.ie/acsu-in-archaeology-ireland/
8. Vikings Wiki (5-22-2020) Pouches.  Last visited 3-7-24 from https://wiki.vikingsonline.org.uk/Pouches *** Not that this had references to the Swedish History Museum whose page I could not translate or search in English
9. Bartlett, S. (2006)  “Early Gaelic Dress: An Introduction”— pg 17.  Last visited 3-7-24 from http://www.coblaith.net/EarlyGaelicDress/EarlyGaelicDress10col.pdf
10. Riddler, I. and Trzaska-Nartowski, N. (2013)  “The Insular Comb” (from Early Medieval Art and Archaeology in the Northern World.). last visited 3-7-24 from https://books.google.com/books?hl=en&lr=&id=taSGEAAAQBAJ&oi=fnd&pg=PA259&dq=Medieval+Irish+comb&ots=zaV1VHVFRB&sig=wxH5ACH6z6_g2K3ztyZjKrOilOk#v=onepage&q=Medieval Irish comb&f=false

Color Path Labyrinth

 This is a pretty personal post. and I know it won't be for everyone.  But I know I'm not the only super-visual person out there, so hopefully it will help more.  

I had a super unique opportunity to share this at our church yesterday.  It's sort of like a super-simple labyrinth or color path that you can paint your way through.  Labyrinths have been used in the church for hundreds of years and have been helpful to many as a way of visually and physically coming before God in prayer and worship.  They have been so helpful to me to quiet my mind when I meditate or come into worship.  Then add color associations in paint!

I'm just going to share here what I shared yesterday and let you run with it creatively however suites your needs.  I don't have any pictures of doing this as a group because it felt too personal, but my heart is full to bursting hearing the experiences of everyone who chose to share with me!

Supplies: watercolors, water, brush, template and/or blank paper, paper towel, possibly tape and pen.  There’s lots of paper, so feel free to use several pieces!

Template

Watercolors: this paint is very forgiving.  But I want to encourage you this time to try using more water than you think you need, until it moves easily and flows.  Feel free to mix colors in the wells or on the edges of the palette or on the paper.  There are lists of color associations to give you a starting point, but I left blanks under each color.  This is because we all likely have unique color associations, so you can write your own.  They may even be associated with people or places.  I don’t think we need to get into it too much today, but shapes could also be representative (I.e. disconnected, sharp edged, smooth, large/small, etc.)

A. Left, open space: options

1. Get comfortable adding paint to paper

2. Just doodle

3. Paint what you’re experiencing this week or day in color  and shape

B. Path in:  From the entrance at the bottom left of the circles, follow the path with paint toward the center.  This is a place to lay down your burdens, joys, thoughts, or whatever is popping up in your mind.  As things come to mind, pick a color for it and paint it along the path as you go.  In this, we are laying these things down before Jesus. 

C. Center Circle: In this place we will just be together with God.  We can listen or sing along with the music.  You can paint in color any thoughts or feelings or impressions you experience., how you feel, how you feel about God, right now in this time.  You can hold your paintbrush still in the center or let it dance around.  Just be.

First, give the area a light wash with water.  I always think of water as representing the Holy Spirit, and this place is awash with Him.  If you dab on color, allow it to move with the water, and feel free to add more water as you like.  This thick paper can hold quite a bit, and if it can’t, these tables are easy to clean later.  

D. Path out: As we leave the center at the upper right, listen to what God is giving you to pick up on this path as you journey out into this week.  The old things will still be there, but pick them back up along with this moment you just had in the center.  Bring the use of water, bring the Spirit with you.  

E. Right, open space: Express yourself going back out into our week remembering God with us!  And no matter what comes in the week ahead, you have this physical, visual reminder of this moment with God and Him going with you

Verses:

Isaiah 55:1-2

John 4:13-15, 7:37, 8:1-11

Revelation 21:6

Manuscript Anatomy for the Beginner Scribe

 Over the last year or so, our family has immersed ourselves in the wonderful world that is the SCA (Society of Creative Anachronisms)!  We've jumped in with both feet with all the garb creation, archery, thrown weapons, armoring, sword fightings, arts and sciences, and (my favorite) scribal! But researching manuscripts is a whole new world that felt completely overwhelming.  There's a lot of information out there and much of of it is misinformation.  

Next week I'm gathering a group of scribes together to learn and grow together.  I couldn't be more excited!  They'll be coming from all artistic background and skill levels, so I'm trying to gather helpful info for them.  This morning I put together this little zine of terms and concepts that were new to me last year.  I'm hoping is will be useful!  What would you add?  References below.  Click on image to enlarge.

1. "A Beginner's Guide to Working With Manuscripts" ( ) Wordsworth Collections.  Last viewed 9-14-23 from https://collections.wordsworth.org.uk/GtoG/home.asp?page=ABeginner%'H27sGuidetoWorkingWithManuscripts

2.Doyle, Lovett ( ) "How to Make a Medieval Manuscript."  British Library.  Last viewed 9-14-23 from https://www.bl.uk/medieval-english-french-manuscripts/articles/how-to-make-a-medieval-manuscript

3. Hindman (June 3, 2021) "A Beginner's Guide to Medieval Manuscripts." Abe Books.  Last viewed 9-14-23 from https://www.abebooks.com/books/rarebooks/beginners-guide-to-medieval-manuscripts

4. Kwakkel, (Sep. 7, 2018) "The Architecture of the Medieval Page." Medieval Books.  Last viewed 9-14-23 from https://medievalbooks.nl/tag/layout/

5. Ray, (Sep. 27, 2021) "Reading the Manuscript Page: Design Features of the Medieval Book." Trinity College, Dublin.  Last Viewed 9-15-23 from https://www.tcd.ie/library/manuscripts/blog/2021/09/reading-the-manuscript-page/

6. Getty Museum, (Jan. 27, 2009).  "The Structure of a Medieval Manuscript."  Getty Museum.  Last viewed 9-14-23 from https://www.youtube.com/watch?v=HKBJkf2xbqI

 

Phew!  This flu season has been the worst!  Since the New Year we have been taking turns being flat-on-our-back sick in this house.  I think I can officially say that we've all made it through the flu and so the worst must be behind us.  It sure makes me grateful for our overall health and the incredible ability of our bodies to heal.  And also good friends who patiently rearrange plans, send essential oils, suggest alleviating concoctions and bring elderberry syrup.  What a blessing to have them in my life!

It sure got me itching to finish some projects, too.  Why is it that I become most motivated when I can't possibly work on a project? =)  As soon as the dizziness left me and I felt safe to drive again, we hit the craft store, thrift store, and recycling center to restock and get to work on some projects.  I don't really have an instructible this week, but I just wanted to let you know that I haven't dropped off the face of the earth.

First, I've managed to keep up on our rabbits and continue to learn about them daily.  I've discovered we have a flighty one in the bunch and have already received many a nip from little Bobbin.  Trying to handle him more so that he becomes more used to us.  I found some wire mesh at the recycling center and have been attempting to secure our little porch for them to stretch their legs in a little.  Now all I need is a gate!

The Oregon Poultry Swap has chosen one of my paintings for their 2017 special edition print for this year!  I'm very honored and am looking forward to my tee shirt with the design on it!  I decided to sign up as a vendor for their Winter Swap here in Eugene and so a lot of my time has been put toward getting ready for that.  I found this awesome, weathered plank at the recycling center.  Gwen and I sawed it down into reasonable pieces and I've been painting barn art on them.  I've already received a great response and several pre-orders!

Then some more painting, crocheting, baking dipping tallow tapers, and practicing face painting for the meet.  It sounds like so much fun!  There's going to be a kids area, seed swap, scavenger hunt, raffle, demonstrations, decoration competitions...   If you happen to be in the area February 11th you should really look it up!