Now what he had to do before he could study the colour blue or the banner of the kingdom of burgundy is gather a lot of material to compile a database of known frequencies in heraldry. It was the backbone of his theory (and book) on the rise of colour blue from the bold association of the image of the grieving virgin mary and the prestige of the french monarchy allowing it to overcome its status as banned colour from the roman code (there were even serious studies before that questionning the very ability for the romans to see the colour physically) to the nowadays colour of Europe and most prefered colour of europeans. ![]() The method is a statistical one named héraldique comparée, developped Michel Pastoureau back in the eighties within the field of history of mentalities and states that studying patterns in the construction and evolution of emblems informs the historian on many aspects of the medieval society. This post may be of some interest to anyone fancying heraldry so I'll explain things a little bit. I'll try to avoid any additionnal work otherwise there was no point asking keanon for reusing that material but I wont botch anything for the opposite reason either. Some constructions are made for a narrow shield shape so I'll have to correct them in any case (think of the Baux familly 16-ray star for example or the Bosonide cross which if iirc are both in Keanon's set). Now where some additions are needed I wont try by any mean to use someone else's artwork but that's only natural. If it's painted on paper or wood, it's flat because the artist can't represent volume, if it's a seal or a wall engraving the artist will have more freedom to do what pleases him often popping more life into the thing.Īnyway since I already agreed (well proposed myself to would be more accurate in fact) to reusing the set as it is (which is birger artwork not mine) there was no debate whether I should use my own vector artwork or birger's one. The truth is, as your probably already know, heraldry always adapt to its support no matter its form or pespective so it's a matter of artwork in the end. Volume is really a matter of preference because the point can be reverted very easily : I'm used to seeing volume on early material (remember seals featuring arms on the shield often have volume sometimes giving the impression that they could pop out) while plain painted shield remind me more of late heraldry and wall paintings. There's no debate between that and my usual template (which is the common 13th-14th french shield form before it turns to the ugly accolade) or vanilla (early accolade). ![]() The thin narrow (sometime even more than that, I have some pretty amazing examples in my books) "french" shield shape is the original frame (if there's really one) since it was in use in the craddle of heraldry (northern france, lowlands, southern england and western germany) since the second third of 12th century. Chances are, any new kind of template will never be complete unless it's a team effort while this can be finished in a few days work and put to use immediatly by modders and players. to some extent since all the emblem I did for MEIOU or OSC only amount to a small half of what's needed here (and some won't be a walk in the park). Reworking everything from scratch is a huge amount of work, I can testify to that. But, I'm not a specialist of early modern era or baroque at all, quite the contrary in fact (proto/early heraldry was my academic field of work) so I can adapt That said I explained why it's imho faster and better for everyone out there to adapt something to vanilla template, at least in the first time.
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