Plate Armor - Tumblr Posts
I have been watching both Dungeon Meshi and Nausicää lately - so naturally I felt like drawing an elf fighter with insectoid carapace armor! WIP WIP WIP
More WIP of the elf fighter with insectoid carapace armor! I'm kinda psyched to try out some colours.
More WIP of the elf fighter with insectoid carapace armor! I'm kinda psyched to try out some colours.
Now the elf fighter with insectoid carapace armor has a bit of colour. I still feel like I want to do a simple background of some sort. Maybe.
Knight - Leg Armor Detail, Metropolitan Museum of Art
“THE PATH OF SLAUGHTER
Arms and Armour of Dark Elf Nobility
1 Main figure - Lord Yeurl of Clar Karond. Cold One Knight arrayed in full harness of war; double swords a sign of noble birth, trophy head bound in flesh thorns a symbol of taking the soul as well as the life of the victim. The knight does not arm himself but is arrayed by two squires in a ritual sequence. The leg harness (a) is strapped on first and attached at the top to an underbelt, then the rere brace (upper arm armour) is laced in position. The knight's chest is then anointed with the symbol of Khaine in purified blood. A long, flowing robe known as a khaitan is then worn. The khaitan is often made from rich silk patterned with spells and charms. This robe is a Dark Elf symbol of war, and is worn by knights as a sign of martial status and prowess when not armoured.
2 Over the tunic, a padded aketon with mail sleeves and a long mail skirt is worn (a). Called a dalakoi (lit. strength against death), the mail is lined with soft leather such as human or doeskin. This helps hold the mail in place. Back and breast plate (b) are then laced over the upper torso, sometimes these are one piece or also laminate strips for more flexibility. A short gorget (c) is then added. The pauldrons, or shoulder guards, appear to be more aesthetic than functional (d); they are laced directly to the breastplate through the gorget. Occasionally they are one piece but normally are made from two or three connected plates; the laces are often left visible at the front, and are decorated with flesh hooks at the ends.
Long gloves with armoured hands are laced tightly to the forearm, and over these are fitted vambraces (e). These appear to be one piece and held in place purely by the spring of the metal. They are often adorned with fighting spines — razor sharp blades which can trap and hold enemy blades as well as being weapons in their own right.
3 The helmet is a composite of separate parts. The main skull (a) follows a typical Dark Elf shape. The visor (b) is laced onto rings on the helmet (note the mail collar worn under the gorget), although often this is left off in battle to allow for maximum visibility in combat. The bevor (c) is laced directly and rigidly to the breastplate and makes a very effective guard for the vulnerable neck area.
4 Daggers and swords are slung on narrow crossbelts (a). The number of weapons a knight carries is a symbol of his status at the Witch King's court, with two blades being the most common. Shields (b) vary enormously in shape, though all seem to have a recurved tip at the base chat can be used as an offensive weapon. Lance tips (c) vary in shape and usually a long ribbon or pennant flutters beneath the tip. Runic script is often embroidered onto a knight's pennant, proclaiming their dedication to Malekith, their great deeds in his service and the noble history of their forefathers.
Also shown are two archaic weapons, only rarely seen in battle now, which are mostly used for ritual combat and duelling between the nobility. The shorter is known as a ghlaith (d), which means spineblade, and is used for a paralysing blow to the lower back or limbs. The longer blade is called a soultaker (e), lakelui in the Druchii tongue, and is used to dispatch the foe once they have been rendered defenceless. In such duels, failure to properly immobilise the foe before death will earn the displeasure of the audience and quite often leads to summary execution of the knight.
5 Flesh hooks — a selection of. Each is shaped as a Druchii rune, and the place and manner in which they are hung can tell a lot about a knight's allegiances, battle honours and family. With the flesh hooks are also hung janglers, known as keikalla or ‘spirit bells’, which serve a two-fold purpose. Firstly, the Druchii believe they ward away the most malicious of the magical spirits and entities that inhabit barren Naggaroth. Secondly, they serve to announce the presence of the knight, for unlike an Assassin or Shade, a knight rides proudly to battle in full view of his foes."
From pp. 76-77 of Warhammer Armies: Dark Elves – 6th Edition, written by Gav Thorpe, Space James McQuirk and Tuomas Pirinen; art by David Gallagher
A set of Arm Splints or Almain Rivets,
Length: 29.1 in/79 cm
Width: 5.9 in/15 cm
Depth: 3.5 in/9 cm
Weight: 2.25 lbs/1020.6 g
Germany, ca. 1520-1530, housed in the Higgins Armory Collection at the Worcester Museum of Art.
The progression of the Knight. It’s hard not to admire the intricacy of this armor. It’s easy to see that these men were practically walking tanks on the battlefield.
“THE PATH OF SLAUGHTER
Arms and Armour of Dark Elf Nobility
1 Main figure - Lord Yeurl of Clar Karond. Cold One Knight arrayed in full harness of war; double swords a sign of noble birth, trophy head bound in flesh thorns a symbol of taking the soul as well as the life of the victim. The knight does not arm himself but is arrayed by two squires in a ritual sequence. The leg harness (a) is strapped on first and attached at the top to an underbelt, then the rere brace (upper arm armour) is laced in position. The knight’s chest is then anointed with the symbol of Khaine in purified blood. A long, flowing robe known as a khaitan is then worn. The khaitan is often made from rich silk patterned with spells and charms. This robe is a Dark Elf symbol of war, and is worn by knights as a sign of martial status and prowess when not armoured.
2 Over the tunic, a padded aketon with mail sleeves and a long mail skirt is worn (a). Called a dalakoi (lit. strength against death), the mail is lined with soft leather such as human or doeskin. This helps hold the mail in place. Back and breast plate (b) are then laced over the upper torso, sometimes these are one piece or also laminate strips for more flexibility. A short gorget (c) is then added. The pauldrons, or shoulder guards, appear to be more aesthetic than functional (d); they are laced directly to the breastplate through the gorget. Occasionally they are one piece but normally are made from two or three connected plates; the laces are often left visible at the front, and are decorated with flesh hooks at the ends.
Long gloves with armoured hands are laced tightly to the forearm, and over these are fitted vambraces (e). These appear to be one piece and held in place purely by the spring of the metal. They are often adorned with fighting spines — razor sharp blades which can trap and hold enemy blades as well as being weapons in their own right.
3 The helmet is a composite of separate parts. The main skull (a) follows a typical Dark Elf shape. The visor (b) is laced onto rings on the helmet (note the mail collar worn under the gorget), although often this is left off in battle to allow for maximum visibility in combat. The bevor (c) is laced directly and rigidly to the breastplate and makes a very effective guard for the vulnerable neck area.
4 Daggers and swords are slung on narrow crossbelts (a). The number of weapons a knight carries is a symbol of his status at the Witch King’s court, with two blades being the most common. Shields (b) vary enormously in shape, though all seem to have a recurved tip at the base chat can be used as an offensive weapon. Lance tips (c) vary in shape and usually a long ribbon or pennant flutters beneath the tip. Runic script is often embroidered onto a knight’s pennant, proclaiming their dedication to Malekith, their great deeds in his service and the noble history of their forefathers.
Also shown are two archaic weapons, only rarely seen in battle now, which are mostly used for ritual combat and duelling between the nobility. The shorter is known as a ghlaith (d), which means spineblade, and is used for a paralysing blow to the lower back or limbs. The longer blade is called a soultaker (e), lakelui in the Druchii tongue, and is used to dispatch the foe once they have been rendered defenceless. In such duels, failure to properly immobilise the foe before death will earn the displeasure of the audience and quite often leads to summary execution of the knight.
5 Flesh hooks — a selection of. Each is shaped as a Druchii rune, and the place and manner in which they are hung can tell a lot about a knight’s allegiances, battle honours and family. With the flesh hooks are also hung janglers, known as keikalla or ‘spirit bells’, which serve a two-fold purpose. Firstly, the Druchii believe they ward away the most malicious of the magical spirits and entities that inhabit barren Naggaroth. Secondly, they serve to announce the presence of the knight, for unlike an Assassin or Shade, a knight rides proudly to battle in full view of his foes.“
From pp. 76-77 of Warhammer Armies: Dark Elves – 6th Edition, written by Gav Thorpe, Space James McQuirk and Tuomas Pirinen; art by David Gallagher
A black and white Three-quarter Armor, Nuremberg, Germany, late 16th century, housed at the Germanisches Nationalmuseum.
The field Harness of Condotierro Sforzo Pallavicini, Italy, ca. 1550, housed at the Kunsthistorisches Museum, Vienna.
Obsessed
Some drawings I did for a lesbian fairytale I’m working on <3
The so-called “Rose-Petal” Garnitures: a series of four armors and barding with a matching rotella made by Franz Großschedel for the Holy Roman Emperor Maximilian II for a series of tournaments held on the occasion of the marriage of Archduke Karl II to Princess Maria of Bavaria, so named for the floral motifs which feature heavily in the armors’ etchings.
Each armor is specialized for a particular tournament game: the first, a light armor for the Scharmützel; the second, a heavy jousting armor for the free tourney; the third, a light armor for the Plankengestech; the fourth and final, a tonlet armor for foot combat.
Landshut, Germany, 1571, housed at the Kunsthistorisches Musuem, Vienna.
Metallic Painting/Pose practice
I was about to say, that sounds like Rusty-rambling. :D
So one of the other Tapas writers rambled about armor in the medieval world in the Tapas discord server, and I figured I should share it with you all because it's some really good stuff!
So depending on the type of armor, how you'd process it for reuse varies pretty heavily. Mail, for instance, is fairly easy to resize for someone else because you can add or remove links fairly easily. Same goes for repairs. A good thrust can bust through even riveted mail, but the damaged links can be replaced easily enough. Well, I say fairly easily. It's a pain in the ass to work with. But it's still cheaper on the whole than plate armor, and it's far more likely that someone who isn't a member of the nobility can get their hands on it. Plate armor can range from a simple cuirass to a full set. A full set is usually bespoke to the person, so you probably wouldn't try to steal the whole thing. It would take ages to remove it from a corpse, and if they ended up dead whilst wearing it, the stuff probably isn't worth the effort to begin with. A chestplate or helmet that's been stoved in by a warhammer isn't exactly a candidate for the "it'll buff out" treatment. Then there's the fact that the previous owner's family might reasonably expect this expensive and time consuming investment of theirs to be returned with the freshly minted corpse. So, take the good bits that you can get off in a hurry, but stripping the whole set is ill advised. You expect a helmet to go missing, but if someone's taking the time to remove, say, the codpiece, there will be questions. Recycling any sort of armor into weapons is probably not the best of ideas. The steel you'd want to use for armor is different than the steel you'd want to use for swords. Swords, especially around Europe, North Africa, etc, were typically through hardened and made to be flexible. Armor needs to be more rigid, so it would go through a different heat treat process and would need different carbon content. Not that medieval smiths knew what carbon was, exactly, but they had their own ways of grading steel. It can be done, but there are a lot of things that can be done that you wouldn't necessarily want to. I can, if I was so inclined, go to the shooting range in a tactical maid outfit. That doesn't mean it's a good idea. Full plate would be the equivalent to rocking up to battle in an M1 Abrams. Cool as hell, but waaaay to expensive for the average man at arms. Just about everyone would have a helmet of some kind, and there were all kinds of variations on armor that were more affordable to peasants pressed into military service. Gambesons, as you mentioned, were surprisingly effective. They could be augmented in a lot of useful ways, too. If you want a really good reference for historical arms and armor, there's an anime called Maria the Virgin Witch that gets a lot of stuff right. Not only in terms of styles and types, but how it was used and how one might reasonably expect to fight against it.
This all was written by Rusty! He's a great writer and has a whole bunch of novels out if any of you guys want to check it out!
(You guys should totally reblog this to help those who could use this information to see this <3)
Before everybody realized it was really dumb and didn't work, there was a short period of time where cavalry in full plate armor rode into battle with a carbine and a sword. Historians widely regard this era as "rad as hell" and describe the tactic as "totally fucking sick, like, holy shit, could you imagine?"
Warrior prince or pirate queen
by Sonech （Sone Tomoki）
Knights in battle!
Teutonic Knight by Catalin Lartist