Kathryn Finter is a Canadian artist whose fifteenth-century materials and techniques of panel painting and manuscript illumination have earned her a place in the Medieval Academy of America, the Canadian Society of Medievalists, the Society of Tempera Painters, and the Calligraphy Society of Ottawa. She influenced this modern age. Around 1970s to now. Her fascination with medieval painting and illumination techniques has inspired an ongoing research project copying 15th century master works at the National Gallery of Canada and more recently at The Metropolitan Museum of Art in New York City. By studying how medieval miniature paintings were adapted to accommodate the differences in size, support, and medium between panel paintings, she is rediscovering how artists' styles evolved over time. Although not all artists were proficient in both mediums (such as Simon Marmion), little was known about how they adapted their painting style to suit different media until now. The techniques and methods learned over the course of this project have been applied to her own contemporary artwork. Not much is written about how Kathryn started painting or about her early life. Simon Marmion influenced her greatly though. Click here for her website.
If you’re still dreaming of French castles, monks, and luscious medieval gowns, imagine a woman artist delicately illuminating a book cover or names on birth commemoratives, or wedding invitations and diplomas by hand in this day and age. That is what Kathryn Finter has been doing most of her life. As I mentioned before she also loves replicating 15th century paintings and has also created original miniature paintings inspired by them.
Kathryn has made illuminated lettering techniques accessible to everyone by hosting classes at the National Gallery of Canada in the Scotiabank Great Hall in Ottawa, Canada. And at other locations. She also has a “How To” guide on her website that explains how she goes about painting an illuminated letter.
Kathryn inspired me to create my
stepdad’s family name, Quinn in an illuminated lettering style. I researched
the Quinn family crest colors and incorporated this in my digital rendering of
illuminated letters. I also made the triquetra knot the colors of the Irish
flag because Quinns are originally from Ireland. I added the Pegasus because a
Pegasus is also found on their family crest. The letter “i” has a Celtic
Sailor’s knot cross on the top where the dot should be. I then added Celtic
crosses on the border of the square. The majuscule Q is on a green square in
that same Kathryn Finter style and also in a The Book of Kells style. I
researched different ways to draw and paint the letter Q and the other letters
in the name Quinn. I added a long tail to my Q just like how Kathryn does on
her letter. I added orange dots all over the black “uinn” because each letter
in the Celtic style is decorated with similar dots, knotwork, and spirals patterns.
Just like the letters seen in Irish manuscripts like the Book of Kells and
Lindisfarne Gospels. Kathryn Finter also adds dots but on the border of her
majuscule letter in white. It is subtle. The Book of Kells is one of the most
elaborate manuscripts of its kind, created in a monastery. The four gospels are
compiled in this manuscript, and it has inspired not only the text but also the
ornate lettering which "illuminate" inspired words. Throughout the
manuscript, letters are lavishly decorated with tight and fluid Celtic knots
illuminated with bright pigments and gold leaf. It is an astonishingly creative
approach to letter construction for that Era. Kathryn Finter takes all these
influences and keeps that illuminated lettering art style alive in her work.
She is a treasure. She has made me appreciate and love illuminated typography.
I learned a lot trying to make the Quinn name have that style. It’s a beautiful
and dazzling look with a lot of history. Click here for a website that explains Irish Celtic symbols.
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| Kathryn Finter |
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| The Q letter made by Kathryn Finter |
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| I drew/wrote Quinn first |
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