Society for Creative Anachronism (SCA) Marketplace

Shopping The Known World Handbook is a must-have compendium for anyone interested or already taking part in the SCA. This new edition has been reworked from the ground up, and contains over 80 articles on a variety of topics. Available from the SCA Marketplace for $25/copy. Bulk prices are available. The SCA Marketplace The SCA Marketplace (on-line Stock Clerk) carries a variety of items: back issues of publications Official SCA Documents Officers' Handbooks, Participants' Handbooks books on medieval topics SCA merchandise You can order securely on-line, 24 hours a day. or through the mail. Purchase SCA Membership On-line Purchase subscriptions to SCA Publications Merchants' Listings These links lead to external websites and are provided as a courtesy to our membership. SCA, Inc. is not responsible for their content, and does not endorse the businesses listed. Individual merchants should contact the Merchants' Lists below to be added to the listings. Juried Merchants List these merchants have been evaluated to ensure they provide historically accurate items Merchant Listings on SCAToday.net links to over 100 SCA merchants, submitted by the staff and readers of SCAToday.net To order from the SCA Marketplace through the mail: Print the SCA Marketplace Order Form (10 page color brochure), and mail to the address below. To view PDF forms you will need to download the Acrobat reader. Adobe, Acrobat, and the Acrobat Logo are Trademarks of Adobe Systems Incorporated. OR Request the Marketplace Order Forms from the Stock Clerk: Stock Clerk Society for Creative Anachronism P.O. Box 360789 Milpitas, CA 95036-0789 phone: (800) 789-7486 or (408) 263-9305.

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Newsletter critique by DT&G Newsletter Makeover Clinic

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Fred Showker has helped hundreds of newsletter publishers
with this simple question...

Is your publication the best it can be?

For years, I traveled the country giving "Newsletter makeover clinics" for companies and organizations who publishing their own publications. If you publish a newsletter, and you're not quite sure if it needs help, you should be. Even if your newsletter is doing okay, and seems to work well, a professional critique can point out many ways to improve the results and make your readers happier.

Improve your Newsletter, brochure, catalog or other publication

A detailed critique will arm you with valuable information -- whether it is to validate your work, or the work done by contract designers. You really can't be sure until you get a professional third-party opinion.

Publication analysis and critique

We concentrate on the essentials and on the areas that need help the most. Your publication critique may include:

• Step by step review points about the publication
• Evaluations of layout, reader eye-flow, graphics and typography
• Suggestions on improvement or ideas for more persuasive content
• Suggestions for improving organization, typography or the use of images

The formal critique is initiated by your contribution to the Design Center using PayPal or your corporate check or money order. (See box at right.) Upon receipt and notification, we shall contact you for the details we'll need for a thorough critique. (No PayPal account necessary!) $150.00 U.S. dollars

In-Depth Newsletter Critique / Makeover

This is where we roll up our sleeves and go to work for you -- providing actual graphics, layouts, and visual examples of the how-to solutions found in the critique above. You'll also get organizational examples and editorial techniques to make sure your newsletter gets read and kept! You should first get the Newsletter critique, as we usually discover that a full scale makeover is not necessary -- unless you want one anyway!
      All of the materials purveyed to you in the process of a Formal Critique are your property, for your exclusive use. The In-Depth Newsletter Critique / Makeover fee is $350.00 U.S. dollars

Critique Team Leader, Fred Showker
Fred Showker has been in the graphic arts industry for more than 35 years. The job log for his graphic arts facility in Virginia totals more than 7,500 successful projects in those years. With the advent of desktop publishing, Fred hit the road with his "Newsletter Makeover Clinic", working 22 cities a year for Dynamic Graphics. He's helped thousands of independent publishers and in-house personnel across the country with such clients as Caterpillar, Ford Motor Company, Wired Magazine, The Chicago Herald Papers, Apple Computer, Snap-on Tools, Phillips Electronics, The United Way, Merck, Sysco, Virginia Newspaper Association, The Special Olympics, Harrahs's Casinos, U.S. Department of Defense, U.S. Government Printing Offices (GPO), The National Forestry Department, and the list goes on and on. "If I can't show you at least SIX powerful ways to improve your newsletter, I'll give your money back, and the report is your to keep!"

Fred Showker, Editor / Publisher: DTG Magazine

In-House Publication Workshops at your location

Yes, that's right! We can bring the "Fred Showker Show" to your facility, for a full day of training, tips, tricks and inspiration. Your on-location workshop can even be customized for YOUR publication (with sufficient advanced notice) where we take it apart -- and put it back together again, providing all the essential elements and steps for improvement. Fred can answer most questions about problems or situations on-the-fly, and your in-house team will benefit from an invigorating shot-in-the-arm of creativity and inspiration.
      Site workshop fees begin at $2,500 per day, plus expenses, negotiable depending on degree of customization, location, lead time and time of year. Please inquire

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About The Design & Publishing Center: First established in 1994 to provide an online web site for DT&G Zine. DT&G was originally published each month on AOL and Compuserve for attendees of Fred Showker's design and publishing seminar and conference appearances. Click here to contact us   DT&G welcomes your articles, comments and contributions. Our "Writer's Guidelines" are available for those of you who would like to be published in The Design Center Publications. This is a Spam-Free web site. Help support a healthier Spam-free environment! Please read our Legal Trademark Notice & Copyright Notices. The Design & Publishing Center is owned by Showker Graphic Arts & Design, Harrisonburg, Virginia, USA, established in 1972 -- 540-433-8402. ALL RIGHTS RESERVED, ©Copyright 1994 through present, Showker, Inc.

Current Location: Graphic-Design.com / DT&G Typography / Typography with Initial Caps 

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Designing with Initial Caps

DTG Magazine

A previous article on Initial Letters, by Ilene Strizver, inspired me to take another look at what we've got in the Publishers Warehouse to adorn holiday communications.
As I told my GRPH 243 class at JMU yesterday, while introducing them to Quark Xpress, page Layout programs have taken something that was once a tedious process and made it easy to make drop caps.
But I cautioned:
      If you want to do a really superb job, the automated functions of page layout programs, and yes, even word processors will never suffice.To make something really special, you need to place (import, etc.,) the letter with care, size it with care, then produce a runaround that really, really makes the initial cap do what you want it to do.
URTON INITIALS is an illuminated letter font included in this month's Publishers' Warehouse. It comes as both an actual font, and a graphic font. This makes it the ideal illuminated letters to demonstrate this month's technique.
Why load an entire font for one letter.
Since these letters are square, they're perfect for a standard placed picture block with a runaround. Be sure to scale the letter so that it occupies just the number of lines you wish, and them tweak the runaround so that the lines stay properly spaced.
In Quark I would rather use the Command/M dialog to set the scale than attempting dragging to scale. In the dialog I can quickly specify the exact depth I need. For instance, if the font in use is 12 points, set on 14 point leading, and I want a 4-line drop, then I know I need the block to be 54 points deep.
Using a graphic as opposed to an actual keyed in letter from a font offers some improvements over the software's "auto" drop-cap for more professional results. But either way will work.
In Quark Xpress the Initial Cap function doesn't allow proper kerning. (That's moving the rest of the letter closer to the cap letter.) When you kern via the built in kerning function, the second and third lines also kern and can mess up the intention of the drop cap.

Proper Initial Kerning in Quark Xpress

I've use the Command/Click technique to add anchor points to the runaround block (dotted line) Next I move the "urton" closer to the 'B' yet hold the other lines away form the letter block.
In Quark, I'll almost always give a "ZERO" offset in the Runarounds dialog to those sides where no runaround effect is desired.
This provides easy, quick recognition of the drop cap in terms of the word it begins.
You can't do this with regular runarounds.
Notice too, I've followed the traditional technique of capitalizing the opening phrase of the paragraph.
Using Typeset Letters for Initial Caps
In example #2, (left) you see I've used a single letter, keyed into a Quark text block.
That darn Quark wants to cause all kinds of problems just to get the letter to even appear in the block. Unless I go to a lot of trouble to raise the baseline, and lessen the leading, Quark will kick the whole letter out of sight.
Here, I've turned off the runaround so the letter overlays the text block. Remember that runarounds affect the objects behind, rather than in front. We'll put this important "Stacking Order" to use in a few minutes.
Now, I use the polygon tool and draw a polygon shape roughly following the contour of the letter.
Again, I use the Command/Click technique to modify and introduce more anchor points into the runaround.
Now I can configure this just as if it were a graphic, pulling the drop-word closer to the letter, while keeping the rest of the text away from the shape.
Stacking order is everything here, so to complete this set-up I bring the letter "A" to the front so it's ignored by the runarounds below it.
OMETIMES IT SEEMS like it takes a lot of time and effort, but the results are agreeably better. If the project is not that important to you, then use the internal drop cap function.
There are literally hundreds of wonderful illuminated fonts for use in decorative settings.
We've included a number of ideal fonts for drop caps, as well as dozens of initial cap examples and sample pages in the Publishers' Warehouse. When you arrive there, just check "fonts" or click on "clip art" and "Pictorials."
You've already seen Burton above, others include Caxton Initials, and Griffin Dingbats Caps as shown here.
We have many others, if you'd like us to post them, just let us know. You can pick up the fonts in the Publishers' Warehouse Loading Dock if you already read the newsletter and know the location. If no, just stop in and we'll give you the address.
Thanks for reading...

Editor / Publisher: 60-Second Window, DTG Magazine, the User Group News Network, and Photoshop Tips & Tricks

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Participate in your Design Center

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• Ask for the DT&G Monthly: to receive news about DT& headlines, happenings in the Design Center and regular columns like the "Mail Bag" and "Cool Sites"
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About The Design & Publishing Center: First established in 1994 to provide an online web site for DT&G Zine. DT&G was originally published each month on AOL and Compuserve for attendees of Fred Showker's design and publishing seminar and conference appearances. Click here to contact us  

DT&G welcomes your articles, comments and contributions. This is a Spam-Free web site. Help support a healthier Spam-free environment! Please read our Legal Trademark Notice & Copyright Notices. The Design & Publishing Center is owned by Showker Graphic Arts & Design, Harrisonburg, Virginia, USA, established in 1972 -- 540-433-8402. ALL RIGHTS RESERVED, Copyright ©1994 through present. Showker, Inc.

The Society for Creative Anachronism (SCA)

The Society for Creative Anachronism (SCA)

Organisation dedicated to researching and recreating pre-17th century European history.
www.sca.org/

How to Find Your Local SCA Group Geography Events Membership	Photo Gallery Activities & Events Shopping Directory SCA, Inc. | About the SCA Society for Creative Anachronism, Inc. P.O. Box 360789 Milpitas, CA 95036-0789 (408) 263-9305 (800) 789-7486 Fax: (408) 263-0641 Email: membership@sca.org

Illumination & Crayon Resist ~ Ken Schwab

Ken has retired now, but You can find resources from Ken Schwab by visiting these links:

• High school lessons
• middle school lessons
• Teaching art with ease

Crayon Resist Illumination posted on IncredibleArt.org

http://www.princetonol.com/groups/iad/lessons/high/ken-illumination.htm 

Lesson: http://www.princetonol.com/groups/iad/lessons/high/ken-illumination.htm 

Submitted by: Ken Schwab, formerly of Leigh High School, San Jose CA
Unit: Painting/Design - Illumination
Lesson Plan: Illumination - Crayon Resist
Grade Level: High school 9 thru 12 (adaptable to middle school)
Ken's Web Site: http://www.artteacherplans.com/

Alternate Lesson - Illumination - Calligraphy Self Portrait

Teacher Preparation:

Make some handouts of Illuminated Manuscripts for students. Font style handouts can easily be made using various fonts on your computer. Dover Publications have some nice books on border designs (See below for list)

Click on the images for full size.

Resources:

• Illuminations Handouts - Font styles handout -borders
• Medieval Manuscripts Lesson [PDF] Utah Museum of Fine Art
• Getty Exhibit of "Illuminating the Renaissance"
• "Understanding Illuminated Manuscripts: A Guide to Technical Terms" by Michelle P. Brown. It's a soft-cover handbook written like a dictionary that explains how the pages are "read", parts of the page, how the book covers were made, symbols, etc.

Materials

Newsprint (18 x 24 (46 x 61 cm) - or whatever size you wish)
HB Pencils - Graphite Sticks (or Saral Transfer Paper) Thick felt Markers
Good Drawing Paper 80# (18" x 24" (46 x 61 cm)
Set of Crayons, 24 colors
Black Tempera Paint - Water
Soft Sable Brush #5 or better

Border Design Books

New Art Deco Borders and Motifs - This collection of 72 full-page Art Deco designs offers artists and craftspeople copyright-free, ready-to-use borders, frames and motifs. Abstract geometric forms contrast with foliate and floral elements in dynamic designs.

Full-Color Frames and Borders CD-ROM and Book - 12 full-page and 24 half-page designs incorporate a rich profusion of flowers, butterflies, fans, and other Victorian images. Each border devoted to specific themes: Christmas, music, gardens, birthdays, and more, with several topic-related images included with the frame. Over 200 copyright-free designs for art.

What is a Crayon resist?

The word resist is used to describe the action in which two materials or media repeal each other either chemically or physically. In this art piece we are using wax and water based paint to resist each other and repel. The repelling of the water in the paint with the wax of the crayon allows paint to be used between shapes of crayon and shows a black line around the edges of the crayon. This mixed media work is using the black paint to show a contrast between the shapes of crayon and gives the illusion of a stained glass window. Some artists apply the paint over the entire crayon area and scrape the paint off. We will be leaving a space between shapes and then painted in the lines the paint will resist the wax and only go onto the raw paper.

Stylized design

The mode of design called stylization means to simplify things to their most basic components. Cartoons are stylized and simplified versions of real things. Sometimes when we stylize you can use less detail to show the same thing. For instance, if you were stylizing a bird and the feathers in the wing, you would simplify the number of feathers to a smaller number in order to see that it is a wing but not have to show every feather. Make some thumbnail sketches on newsprint - Create a letter design on newsprint with stylized objects to illustrate the letter. Use the handouts for ideas. Work on border designs. Borders should relate to the letter in some way.

Click on the images for full size.

Creating a space between shapes

Materials needed:

Black Felt tip pens - Graphite Sticks - Ballpoint pen -Good Drawing Paper 80#

1. After the design is finished as an outline we want to make the line thick and create a space between shapes. An easy way to do this is with a large felt tip pen.

2. Go over the pencil lines with the marker making a 1/8” to ¼” (3 mm to 6 mm) wide line around each shape. This dark, thick line will be the space between each shape.

3. Transfer the design onto a piece of good drawing paper around 80# by using graphite on the back and tracing over the newsprint with a ball point pen onto the white paper. Place the drawing paper on a drawing board or flat surface. Next tape the newsprint with graphite on the back over the drawing paper and tape it down on the top edge in two places. (Seral Transfer Paper may be used to transfer if available)

4. Trace over the edge of the black line with a ballpoint pen on both sides of the line. When you are finished and remove the newsprint you should have a space between each shape and you are ready to apply the crayon.

Applying the Crayon and using a color scheme

Materials needed:

Crayons - 24 color set - X-acto Knives

1. You can choose any color scheme to work with I am going to use a double complement scheme for this picture that will use two complementary pairs of colors as well as black and white. The complementary pairs have a warm color and a cool color to use. These will be my contrast between the background and the foreground.

2. By using a Color Wheel I will be using red-orange-Blue green and Orange-Blue. I will be trying to use warm colors for the objects and cool colors for the background.

3. Applying the crayon is going to be done with layers of soft color followed by white crayon and the use of greater pressure to finally have a good amount of wax for the resist. Start with the lighter colors first and apply a layer softly creating a gradation or slow change between colors. Overlapping the colors to change between one color and another should be a slow transition.

4. You can use white crayon to keep a color at the intensity that you like or add more layers of crayon to make it deeper in color. We are using the crayon like a colored pencil or paint in that you can blend and mix colors. The complimentary pairs will make browns and grays with careful mixing these can show darker areas and shadows as well as give a variety of colors to be used.

5. Use the wax of the crayons in every shape so that they are thick and shiny. Use enough wax to be as thick as possible. Check the edges of the shapes for stray crayon lines and clean it off with an X-acto knife.

Making the resist

Materials needed:

Palettes -- Water -- #5 redSable Brushes -- Paper towels

1. In a palette for mixing paint add a small amount of black tempera and add a small amount of water to thin it down to a milky consistency. It should be able to drip of a loaded brush slowly.

2. With a brush, usually a #5 red sable brush, dip it into the paint to charge the brush and lightly apply the paint into the spaces between the crayon. It should resist the wax and pull away, only going into the spaces that don’t have any crayon. Make sure that the paint covers the space with a good black line. If it is too thin add more paint. Don’t press hard with the brush and go back for paint often to keeping the brush full and touching the paper lightly. Do this over the entire paper and paint outside the circle for a small distance.

Submitted by Ken Schwab
UNIT: Design - Lettering
Lesson: Illumination - Self Portrait Name
Grade Level: High School (adaptable to lower grades)

Click images for larger views

Materials:

Illustration Board (or heavy drawing paper), Pencils, Newsprint (for planning), Saral Transfer Paper (or Graphite for transferring), Tempera Paint (or Watercolor Paint), assorted Brushes, Sharpie Ultra-Fine Markers (or Pen and India Ink). Gold markers.

Objective:

Create a name design that reflects self through images and symbols.

Procedures:

1. Students brainstorm on images and symbols that represent who they are. Make sketches on newsprint.
2. Decide on using first or last name for Illumination lettering assignment.
3. Design first letter of name incorporating the images and symbols. Plan remaining letters to blend with the first initial.
4. Transfer initial to illustration board - transfer symbols images to create a pleasing arrangement (remembering principles of design).
5. Draw in remaining letters of name. Embellish negative space if desired - adding border etc.
6. Paint with thinned tempera paint or watercolors
7. Render lines with pen and ink or ultra fine point Sharpies... Add interest with cross hatching and parallel line shading.
8. Student write a reflection on meaning of work. Meaning of names could be included.

---


 

Illuminations Handouts

http://www.princetonol.com/groups/iad/lessons/high/ken-illum2.htm