The Use of
Gold &
Colours in
Initial
Letters &
Simple
Illumination

Even a stalk and tendril (J, fig. 115j has the same
effect of giving intention and meaning to what
might otherwise be a mere blot.

When several spots of gold (or colour) are ar¬
ranged in a simple design, together they constitute
asimple form which does not require a background.
Thus the line-finishing .-. (a, fig. 126) has a formai
and intentional arrangement in itself, and therefore
need not be outlined.

BACKGROUND CAPITALS

Background Capitals or Initials frequently employ
burnished gold, either for the letters or the ground.
All the parts (including “solid” patterns) are gener¬
ally outlined in black, or dark colour.

The commonest colours for grounds are Reds and
Blues The grounds are frequently countercharged,
?r. ™ fi one c°l°ur inside and another outside the
initial (p. 156). Sometimes little or no gold is used,
and many fine white lines are employed to separate
and harmonise the colours of the Initial and the
ground. It is well, however, for the beginner to
keep the letter and the ground distinct, by observing
the Herald’s maxim, and using “Metal on colour
or colour on metal.”

The forms of the letters vary from those of ordinary
capitals in being thicker in proportion to their
height, and frequently in having no serifs. A
very thin line or serif is apt to be lost in the
background.

A very good form of background initial may be

154

J

Letters &
Simple
Illumination

made out of the ROMAN CAPITAL (a, fig. 116) The Use of

Gold &

A/Л A Colours in

/АХ /ѵ \ П Initial

(a.) (b.) (c.) (d)

T Ï IT IS.

VetsàI: Roman. Васкопжш
(e.) (£) (£•)

Fig. 116.

by thickening all its parts; in place of the serifs,
curving out and shaping the ends of the stems (b, d)
to a sort of “blunderbuss” pattern (g).

APPLYING THE BACKGROUND

It is well first to make the letter,1 and then to
apply the background to it (as though it were a sort
of mosaic). The background is packed tightly round
the letter, and the letter occupies the background,

1 In the case of a burnished gold background, the actual
painting of the Letter may be deferred until the adjacent gilded
parts are finished (see p. 117).

155