|Harpsichord soundboard painted by Adrian Card *
|Flemish harpsichord with strapwork ornament painted by Adrian Card *
|Adrian Card at his drafting table, designing Delft-style ornamentation for a guitar.
Adrian became fluent in Dutch, which he learned by and for studying antique books on painting techniques.
|A corner of Adrian Card's Studio, filled with design books and inspiring what's-its.
|Reprint of De Hooge Schoole der Schilderkonst anders De Zichtbaere Wereld by Samuel van Hoogstraeten, 1678
|gilt and painted ornament for the inside of a harpsichord, painted by Adrian Card
"I have long been fascinated with historic ornament. A fellow-student and friend at SFAI and I both shared a passion for ornamental borders, which was something we needed to keep to ourselves, or risk the ridicule of our neo-neo-neo-expressionist fellow students."
|Historic woodblock-printed papers reproduced by Adrian Card for a harpsichord restoration.
|hand carved woodblocks for printing harpsichord papers
After graduating from SFAI, Adrian began to do some historic ornament work for a variety of applications, but when the opportunity to work for a prestigious animation company presented itself, he pursued it. He worked in animation for a number of years before returning to the world of ornament, starting his own business in 1999.
Adrian credits other harpsichord painters for helping him with his career: "... notably Janine Johnson and Sheridan Germann, who were generous with their time and knowledge, and instrument maker Kevin Fryer, who also taught me a lot."
His printmaking skills have been useful for creating the hand-printed papers for Flemish harpsichords, "a practice that dates back to the 1500s, when they were employed as an inexpensive way to imitate the expensive Italian custom of ebony and ivory inlay work."
|samples for the decoration of harpsichord and other furniture in Adrian Card's studio
|design in progress for a harpsichord case using strapwork ornament
|Pigment collection at Adrian Card's studio
|Historic Avocado Green.
During a recent meeting several kindred spirits discussed which animal's urine had the strongest ammonia content needed for making bluest Verdigris pigment. Ok well, maybe you had to be there.
|Adrian Card's studio Wunderkammer includes fluorescent rocks collected near his home town.
for a fantastic workshop on Strapwork Ornament,
a favorite of Flemish designers and a great trompe l'oeil device for any number of uses.
|Class panel for Adrian Card's Strapwork Ornament workshop
|pigments, and tiny bug art
De Hooge Schoole der Schilderkonst anders De Zichtbaere Wereld (The Esteemed School of Painting or, The Visible World) by Samuel van Hoogstraeten, 1678
Hoe Schilder Je Een Druif (How Does One Paint a Grape) by Karel van Mander, 1604 and yes, the title is a reference to Parrhasius
Verlichterie-Kunde of Het Regt Gebruik der Water-Verwen (Illumination or the Right Use of Water Colors) by Willem Goeree, 1697
A Treatise Concerning the Art of Limning by Nicholas Hilliard, circa 1600
Miniatura or the Art of Limning by Edward Norgate, circa 1627
Medieval & Renaissance Treatises on the Arts of Painting, edited by Mary P. Merrifield, originally published in 1849, now available as Dover reprint
Images in this post by Lynne Rutter except * ©Adrian Card
click on images to view larger
Limner is in the glossary! of course it is.