Friday, November 13, 2009

Shoulders


The spaulders as seen from above. You can just see the feather tubes on the inside of the fence. You can barely see the feather tubes when you are wearing the armour. I suppose a leather cover could glued over the "plumbing", but it isn't needed.



The feather tubes had to be riveted on. Since I can't hide the rivets, I made them into a feature. Looks kind of steam punky...grin!


From the front and a bit to the side, all you can see is the fence.
From the back and inside, you can see the feather tubes. Neat eh! They have a little bit of movement in them to allow the feathers to rake backwards, forwards, or fan out, in any way Mr. A wants.
This is the left hand one, partially assembled. You can see all the rest of the stuff is there in the back. But it shows graphically how much goes into building a fence. Those outside curves are a real killer! Then the fence has to be folded to fit up against the spaulder on the inside. Inside flares and rolls are not so bad.


The big problem with fences is that once you have the fence installed, there is no going back...you can't pry the shoulders out any more to allow them to fit a little better, nor can you compact them in. OTOH, they make a very solid piece. The weight is never a problem of course since they fit so close to the centre chakra of the body.

I had a couple of ratty old feathers lying around to show how the mechanism of the feathers. I think a mix of short and long feathers would look nice, and maybe some curly ones to fill it in. That will be entirely up to Mr. A., he is the one who will finish this "look". I just made sure there was plenty of foundation to allow him to achieve his "look".

Yeah...you will want shorter feathers...but you get the idea.


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Wednesday, November 11, 2009

Shoulders...

From Ruth Thompson's great picture



This is the picture which the client sent me. Ruth Thompson's very lovely painting of the knight and his lady on horseback. Very angular, brass accents all over. Not really making this exact armour, but one similar to it. Well, except for the spikey knees. I drew the line at that. I made nice knees...with brass accents. Those were the ones I posted here a few days ago. Please click on the pictures to see them full size.
Please note that I have not yet obtained permission to use Ms Thompson's picture, so you will just have to click on the link.



Here is MY interpretation of the above shoulders. The brass was kind of fun...its bright yellow and high polish contrast nicely with the steel's matt finish and the leather picadills.

The leather is actually only there to keep the lames from scratching each other. They can be replaced very easily by the client if they wear out, become ratty, or otherwise do their job. They are only glued into place with contact cement. There are four eyelets up there at the top....two to hold the shoulders onto the gorget, and two to hold the laces for the arm harness.
These shoulders have been modified from the original to allow for more mobililty in the shoulders...though one might expect a fully armoured knight to be limited in his forward movement of his arms (in favor of protection) one can hardly expect the client to have such limited mobility. Therefore I have allowed a pivot rivet to take the place of two side rivets, the whole thing can now fold up on itself like a chinese fan.

The problem with the single pivot rivet is that it is inherently weak, as are ALL pivot rivets, and a fence is required to strenghten the large shoulder lame. My client (Mr. A.) likes the idea of a fence, not because he plans to actually FIGHT in this armour, but because a fence is very pretty, and will form a good base for "angel wing feathers". So, I shall remove the pivot rivet and install a fence, reinstall the rivet and see if I can have it all ready by the weekend.


In the interests of making sure this holds its shape, the steel and brass are all sixteen gauge. Don't let the prettiness fool you, this is real battle armour.




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Monday, November 9, 2009

1443



The book is dated 1443. The armour is awfully good for that date. Though I have no reason to doubt the provenance...the date is clearly written on the flyleaf. Two men are going to a formal duel. Above is the place where they will be fighting, their coffins have been brought to the site to drive home the serious nature of the situation. Talhoffer was part of the German school of fencing of Johannes Liechtenauer.

There were four main editions of Hans Talhoffer's fight book...1443, 1450, 1459, and 1467, and only six copies of any of them exist. Often the illustrations are the same, but done by different artists even in the same edition. Often, it seems, the artist who did the engravings were only slavishly copying another book, and very frequently, they get their right and left hands and footwork all wrong because they have to mirror image when they cut the engravings. Usually the illustrations are not captioned, you would have to go to the text, where he may or may not actually match up the plate number with the explanation of what is going on. Each edition bears little resemblance to the previous edition, and people who study the forms improperly tend to get quite proprietary over the "proper" way to do a particular move. Four books, four ways to do it. Also, the book won't tell you "everything". Some tricks are deliberately obscure, requiring a paid instructor to decode them.

All of Talhoffer's fight books assume that you already KNOW how to fight, and these are only tricks which will help you win the duel. Therefore, "Talhoffer" is a really bad introduction to the art of fighting. His was an excellent "advanced" style, he was a professor in good standing of the German school of fencing (sort of an ad hoc organization made up of lawyers, diletanttes and ex soldiers who studied Liechtenauer's system and he was one of the founders of the "Brotherhood of St. Mark"...a gentleman's club who studied fencing.



As they march in, their seconds check out the ground, make sure there are no rocks or footing difficulties. The "ring" is pretty secure, and one reference suggests that if anybody gets thrown out of the ring, they will be summarily executed by the bystanders. The guy in front with the nice outfit is probably the bailif (sherrif's representative), the guy in behind is likely the fellow's lawyer, and the man to the armoured fella's left with his hands on his hips without a care in the world is the armoured guy's "second". Or possibly his surgeon.
Here they face off. The guy on the left drives a spear point at his opponent...
and his opponent ducks.

The parry swings around and its a shoving match. I have decided not to put the rest of the match up on these pages...not only can you find it yourself by googling "Hans Talhoffer, 1443", but it is too graphic for casual reading. If anybody "really" wants to see how this turns out, leave a comment to that effect down below, and I'll put the denoument of the fight up here.


This early book seems to be many things....a fighting manual, a warning about what can happen if you do things wrong, and in this case, even being dumb enough to get into a duel in the first place. Observing a century of development in style is a very fulfilling study.




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Saturday, October 31, 2009

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Pumpking Massacre

The Upcoming Pumpkin Massacre

http://www.whatsupdark.com/4.html

Cleek on zee Pumpkin for Zee fun!

Wednesday, October 28, 2009

Tuesday, October 27, 2009

Sonja, in her armour


This is Sonja. The armour is all done, and fitted to her now. There is a load of work left to do on this outfit of course....shoulder plates, vambraces, diadem, and so forth. The armour is being shown over her street clothes, she is expecting to wear a different (skimpier) top at the places where she would be wearing it. No, I don't know "where" those places are guys, you will just have to seek her out on your own.

The garter-scabbard thing matches her collar. I think it should be a bit higher on her leg. Perhaps when she has a different style skirt that will work.
In behind, the pieces come together with a lovely peak...tied all together with a corset style lace.

The fur is a nice touch....


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Monday, October 19, 2009

Sonja

Above is a view of the bottom faulds. It covers a skirt...okay! So its supposed to be sort of spread out like that! Above, we are looking at the back, the chain forms a long tail down the back. Below is the same piece but from the front. Very complex job....lots of laborious "quilting".



This is the top. Like most of these tops, they are sectional, with laces in the back and sides to provide lots and lots of adjustment potential. The design is the client's. I think it ows a LOT to Clyde Caldwell. I just hammed the blessed thing into place. The cups are nice and large, and should provide plenty of modesty. I am not quite sure yet if I will separate the two sides and insert a small centre triangle. We'll see.
The above closeup is of the little vertical tab which I added to help the cups stay upright, and in place. This will provide both a suspension system and a cantilever support. Everything should stay put now.
Note the leather and sheepskin lining. There are two shoulder straps on each side. They will form a design feature in their own right.

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Brass work

Wanted to see how fancy brass work would look on the leg armour. Its okay I guess...didn't take a lot of time. They lend a little bit of interest to what is otherwise a vast expanse of cuisse.

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Sunday, October 18, 2009

The brass is frosty from the protective coating.
Plenty of articulation.
Doesn't look too shabby.
Above is with no flash
And this one is with flash.

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Tuesday, October 13, 2009

Design ideas


Two armours on the design board....for some Ren Faire "participatrons". A couple who are looking at custom armours. She wants a custom "Phoenix" motif armour, and he wants a "Dragon" armour.

Thats a tall order. I mean, there are so many things I can do! Open dragon mouths with the client's arms coming out of them, high fences with dragon backs wrapping around the gorgets...the mind boggles. But then, I come down to earth a bit....and think about how to make armour which the average person would be able to afford. One way to make it affordable would be to pretty much do the tried and true patterns and tinker with the details.

In the sketch above, I have assumed a standard South Tower pattern shoulder armour. Like this one....
http://www.southtower.on.ca/armour/images/NewSpaulder6.jpg

Then, lets see...the phoenix and the dragon are both fire animals, so perhaps a common fire motif...say, the top lame being cut into a flame shape. The other lames would be underneath that, so it looks like their feathered or scaled hide is coming out from the flame. We could make the flames out of brass. Hey, we could make another lame underneath that to support the "flames" and make that lame out of black steel.
Other lames coming down could have a feathered motif, or alternatively a punched dragon scale motif. The lames are small, and would not cost much to do.

How about a fence up top? Mound a phoenix or a dragon on the fence...perhaps have some nice cut outs? Or perhaps not....that might be overkill. Like the idea of a dragon snaking over the shoulder up there though.

Hmmm.....

Keep the ideas reined in...smile!

I am sure there are lots more ideas....gosh knows these motifs can be transfered anywhere else...flame forming a necklace around the openings of the breastplate and backplate, great wings being embossed into the backplate, dragon claws forming the wings of the knee cops and elbow cops.
Looking forward to this one.






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Knee cops...in transition

These are the knee cops I am making for Mr. Albrecht. The raised flutes were flattened between them, forming a sort of plateau in between them. They need a little more grinding work to make them look nice though. I personally like the "hammered" look of the flutes, but I suspect Mr. A. will not. Maybe he will leave a comment here....
After the pieces were made, I sanded it all over with 240 grit. You can see how much shinier the 240 grit finish is compared to the untouched plateau. Mr. A. wanted the shining armour of legend, and was more than a little taken aback by the discovery that although I could do it, a mirror finish would pretty much double the price. We compromised...a fine grit finish, a lot more pieces for the money, and stay within budget. He can always get them mirror polished sometime in the future, but this way, he gets the whole suit!

The articulation (shown here only half done and with pop rivets no less,) but by the time I write this post, they are all fully articulated with proper solid steel rivets in place. The bottom lame is solid brass, and shows really well. Each 16 gauge steel lame is compound curved to a 10 inch ball, though of course, such a flat profile is hard to see in the picture. But it doubles the stiffness. This won't dent or squash on him.

The inside of the leg armour. I decided to just go ahead and make these out of sixteen gauge steel...there is no particular compound curving in them, and they will need to be tough enough to be tossed into the trunk without squashing.
The outside...showing the cut outs for the hinges. These are harder to get co-axial than you might think! The top edge is flared outwards, just to keep his pants from getting cut by the top edge.
And a closeup of the knee cops. Looks nice...good articulation. Hmmm...possibly the best articulation I have ever done.
Well then!!!!
Stay tuned for more installments.


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Saturday, October 3, 2009

The Staffordshire Hoard

The Staffordshire Hoard is the largest find of Anglo Saxon gold since the excavation of Sutton Hoo. The items are not quite as pretty or as well made as the Sutton Hoo artifacts, but they are just fine by me! The interlocking gripping beasts are wonderous. You can study the whole thing here
http://www.staffordshirehoard.org.uk/
I have included a couple of paragraphs of Beowulf to provide some context.

Enjoy the eye candy.....








images from

http://www.flickr.com/photos/finds/sets/72157622378376316/


The death and burial of Beowulf, from

http://classiclit.about.com/library/bl-etexts/beowulf/bl-beowulf-all.htm

XLII

A PERILOUS path, it proved, he[1] trod
who heinously hid, that hall within,
wealth under wall! Its watcher had killed
one of a few,[2] and the feud was avenged
in woful fashion. Wondrous seems it,
what manner a man of might and valor
oft ends his life, when the earl no longer
in mead-hall may live with loving friends.
So Beowulf, when that barrow's warden
he sought, and the struggle; himself knew not
in what wise he should wend from the world at last.
For[3] princes potent, who placed the gold,
with a curse to doomsday covered it deep,
so that marked with sin the man should be,
hedged with horrors, in hell-bonds fast,
racked with plagues, who should rob their hoard.
Yet no greed for gold, but the grace of heaven,
ever the king had kept in view.[4]
Wiglaf spake, the son of Weohstan: --
"At the mandate of one, oft warriors many
sorrow must suffer; and so must we.
The people's-shepherd showed not aught
of care for our counsel, king beloved!
That guardian of gold he should grapple not, urged we,
but let him lie where he long had been
in his earth-hall waiting the end of the world,
the hest of heaven. -- This hoard is ours
but grievously gotten; too grim the fate
which thither carried our king and lord.
I was within there, and all I viewed,
the chambered treasure, when chance allowed me
(and my path was made in no pleasant wise)
under the earth-wall. Eager, I seized
such heap from the hoard as hands could bear
and hurriedly carried it hither back
to my liege and lord. Alive was he still,
still wielding his wits. The wise old man
spake much in his sorrow, and sent you greetings
and bade that ye build, when he breathed no more,
on the place of his balefire a barrow high,
memorial mighty. Of men was he
worthiest warrior wide earth o'er
the while he had joy of his jewels and burg.
Let us set out in haste now, the second time
to see and search this store of treasure,
these wall-hid wonders, -- the way I show you, --
where, gathered near, ye may gaze your fill
at broad-gold and rings. Let the bier, soon made,
be all in order when out we come,
our king and captain to carry thither
-- man beloved -- where long he shall bide
safe in the shelter of sovran God."
Then the bairn of Weohstan bade command,
hardy chief, to heroes many
that owned their homesteads, hither to bring
firewood from far -- o'er the folk they ruled --
for the famed-one's funeral. " Fire shall devour
and wan flames feed on the fearless warrior
who oft stood stout in the iron-shower,
when, sped from the string, a storm of arrows
shot o'er the shield-wall: the shaft held firm,
featly feathered, followed the barb."
And now the sage young son of Weohstan
seven chose of the chieftain's thanes,
the best he found that band within,
and went with these warriors, one of eight,
under hostile roof. In hand one bore
a lighted torch and led the way.
No lots they cast for keeping the hoard
when once the warriors saw it in hall,
altogether without a guardian,
lying there lost. And little they mourned
when they had hastily haled it out,
dear-bought treasure! The dragon they cast,
the worm, o'er the wall for the wave to take,
and surges swallowed that shepherd of gems.
Then the woven gold on a wain was laden --
countless quite! -- and the king was borne,
hoary hero, to Hrones-Ness.

[1] Probably the fugitive is meant who discovered the hoard. Ten
Brink and Gering assume that the dragon is meant. "Hid" may well
mean here "took while in hiding." [2] That is "one and a few
others." But Beowulf seems to be indicated. [3] Ten Brink points
out the strongly heathen character of this part of the epic.
Beowulf's end came, so the old tradition ran, from his unwitting
interference with spell-bound treasure. [4] A hard saying,
variously interpreted. In any case, it is the somewhat clumsy
effort of the Christian poet to tone down the heathenism of his
material by an edifying observation.

XLIII

THEN fashioned for him the folk of Geats
firm on the earth a funeral-pile,
and hung it with helmets and harness of war
and breastplates bright, as the boon he asked;
and they laid amid it the mighty chieftain,
heroes mourning their master dear.
Then on the hill that hugest of balefires
the warriors wakened. Wood-smoke rose
black over blaze, and blent was the roar
of flame with weeping (the wind was still),
till the fire had broken the frame of bones,
hot at the heart. In heavy mood
their misery moaned they, their master's death.
Wailing her woe, the widow[1] old,
her hair upbound, for Beowulf's death
sung in her sorrow, and said full oft
she dreaded the doleful days to come,
deaths enow, and doom of battle,
and shame. -- The smoke by the sky was devoured.
The folk of the Weders fashioned there
on the headland a barrow broad and high,
by ocean-farers far descried:
in ten days' time their toil had raised it,
the battle-brave's beacon. Round brands of the pyre
a wall they built, the worthiest ever
that wit could prompt in their wisest men.
They placed in the barrow that precious booty,
the rounds and the rings they had reft erewhile,
hardy heroes, from hoard in cave, --
trusting the ground with treasure of earls,
gold in the earth, where ever it lies
useless to men as of yore it was.
Then about that barrow the battle-keen rode,
atheling-born, a band of twelve,
lament to make, to mourn their king,
chant their dirge, and their chieftain honor.
They praised his earlship, his acts of prowess
worthily witnessed: and well it is
that men their master-friend mightily laud,
heartily love, when hence he goes
from life in the body forlorn away.

Thus made their mourning the men of Geatland,
for their hero's passing his hearth-companions:
quoth that of all the kings of earth,
of men he was mildest and most beloved,
to his kin the kindest, keenest for praise.

[1] Nothing is said of Beowulf's wife in the poem, but Bugge
surmises that Beowulf finally accepted Hygd's offer of kingdom
and hoard, and, as was usual, took her into the bargain.







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