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A master post of Thomas Romain’s art tutorials.

There’s not enough space to post all of them, SO here’s links to everything he has posted (on twitter) so far : 1 2 3 4 5 6 7 8 9 10 11 12. 

Now that new semesters have started, I thought people might need these. Enjoy your lessons!

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- The Arch Mage Kronos, Death Brade/ Mutant Fighter (Data East)

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Donnie Yen and his action team filmed a COVID-19 fight scene.

There are loads of these going around at the moment but it’s great to see how original some people can be with the few seconds they have. I recommend Zoe Bell’s as another super original one.

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A hero in more ways than one

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Thing i learned some time ago!  hope you all find it helpful ( perspective grids can be your friend!)

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I was recently asked to post some photos of people wearing armor.

Naturally, I’m not just going to do that, I’m going to make a big long post about reproduction armor and armor in art.

I’ll be including pictures like this, most of which I’ve posted before. They’re by an Italian armorer named Augusto Boer Bront that runs the XIVth and XVth Century European Armor Facebook groups.

The above photo talks about how the aventail of a bascinet should sit on the wearer’s face. When it comes to bascinets, this mistake is a frequently made one, and a good pair of reproductions can be seen below, in the forms of the armor worn by Ian LaSpina (left) and Reese (right, I don’t know his last name,) both of whom have YouTube channels (I’ve linked them, you should check them out if you’re interested.)

This photo is a good example of how an aventail should fit though.

Ian LaSpina’s kit is an early XVth century English kit, sporting the classic heavily enclosed English style with a standard houndskull bascinet and hourglass shaped gauntlets (also lacking a textile covering for the breastplate) marking it as belonging to the 1400′s to 1410′s.

Another common mistake is the fit of a breastplate. You can see quite clearly on Ian’s kit above that the breastplate sits right on his natural waistline, giving way to the “paunce of plates” or metal skirt that covers the rest of his torso. This setup allows for freedom of movement. If breastplates stopped at the hip, like many reproductions and artistic renditions do, then the wearer wouldn’t be able to bend.

You can also see how the breastplate is domed. A breastplate must be domes like that, to encourage weapons and projectiles to glance. If it were flat, weapons could strike at right angles, imparting the entirety of their force and rendering the armor significantly less effective.

A few more things can be gleaned from this picture of Ian in an older version, less complete of his kit. The shape of his helmet, and the fact that his visor covers the vervelles. Vervelles are the points on the bascinet were the aventail is laced on. On a side-hinging bascinet, the visor should cover them, as pictured above. Bascinet shape is also very important, as expressed in the above diagram.

Moving on from Ian LaSpina, we can take a moment to appreciate the armor of one of the biggest names in the community: Dr. Tobias Capwell.

It’s absolutely stunning, isn’t it? Dr. Capwell’s armor is also English, like Ian’s, however his is later, about 1440. It’s blackened entirely, with gold trimming, and it is beautiful.

Here is Dr. Capwell wearing a reproduction set of the famous Avant harness, pictured below. This is the absolute epitome of what Milanese style armor in the late XVth century was like. The helmet is not contemporary with the suit, so it was omitted from the reconstruction.

Now, because I was asked to post pictures of people in armor, I’ll throw in this photo from “The Great Tournament of Schaffhausen” in Switzerland. The man on the left is wearing a classic suit of German Gothic armor, to his right you have Dr. Capwell in what looks like his English 1440 suit, pre-blackening, and the two gentlemen on the right appear to be in Milanese style Italian kits. It’s hard to say what the woman in the back is wearing, but it looks like it could be Gothic or Italian.

I’ve now included so many pictures of people in full plate that I would feel remiss not including at least one photo of someone in something else. So, here is Tom Biliter in a set of German Gothic armor (probably late XVth century,) but rather than a standard cuirass, he is wearing what’s known as a brigandine. A brigandine is a series of small overlapping plates riveted to a textile backing.

Here are a couple of pictures of Ian LaSpina wearing a reproduction of the Churburg S18 armet. This armet is from the armories of Churburg castle in Northern Italy, and dates to about 1410.

One final thing I’d like to touch on in this titan of a post: the applications of these principles in the design of fantasy armors.

Often when you see fantasy armor designs, they are quite ridiculous. They are large, have vast openings, don’t fit right, and so on. Now, the physics of these fantasy world are generally the same as ours, therefore the same principles of armor making should apply.

“But OP,” I hear you cry, “I want my armor to look fantastic and cool. How an I do that if I have to abide by dumb physics?”

Well first off, I’m not saying you have to abide by physics, but if you want to, you could do something like this.

The Sovereign armor. This armor was 3D printed by Melissa Ng, and designed with help from a name you’ll recognize by now: Ian LaSpina.

It’s super cool, very fantasy looking, but still applies all of the basic principles of how armor fits, allowing Melissa to move around properly, so the armor doesn’t restrict her.

So, this has been my armor post. If you’ve stuck around this long, good on you. I hope I’ve said something new to you, or at least shown you an armor you’ve never seen before. Cheers!

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A quick piece of fanart I made three or four days ago that I forgot to make quick and just kept erasing and redrawing until it was anything but quick.

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Gahahaha!!! Nothing’s changed!

Current mood: Federation infantry making preparations to square off against a pair of 18-meter tall metal giants with little more than jeeps and man-portable missile weaponry.

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Well, you know how this one goes.

Tumblr’s going up in smoke and I’m probably going up with it.

Discord handle’s  Klendt#2395 for any of you strays that still feels like keeping in touch.

God bless, so long, see you soon, or I’m truly sorry, depending on my audience.

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Salt and sanctuary doodle

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Page number four...point five? Four point two five.

I’m an actual artist, honest.I draw things.

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Página número cuatro. I lost track of what it was I intended to do with this one. I’ll live. And probably spend another hour or two on it.

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Sketchbook page I’ve been chipping away at in between pulls. We have a russkie who likes to stumble out into his apartment’s balcony to smoke after every wipe, so we spend an awful lot of time waiting for him.

 We got him a vape pen so he wouldn’t have to step away and make 18 other people wait for him for a collective eternity after every wipe that he probably caused, but he broke that one within a week of receiving it.

My raid sketchbook is something I DON’T want filled. But by god does it not care about my wishes.

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Another dramatically unfinished bus doodle from half a decade ago given a spitshine.

...and then suddenly an hour or two of my time just vanished.  Poof.  Where did they go? 

I dunno, it's a mystery.

I don't know what point in this drawing it was that I decided I didn't care what the sex of the person was anymore and made conscious efforts to eliminate obvious signifiers. If it was going to be an ambiguously-gendered person again, by god, this time it would be deliberate.