In semi-defense of the boobplate

So boobplates are all the rage lately.

A thread on the Project Eternity forums about shapes of real female armour has reached 17 pages and the discussion is going in cycles forever on:
http://forums.obsidian.net/topic/63648-what-should-a-female-breastplate-really-look-like/

And there's this TOR article, pretty much repeating that tumblr post by that armour smith guy:
http://www.tor.com/blogs/2013/05/boob-plate-armor-would-kill-you
(http://madartlab.com/2011/12/14/fantasy-armor-and-lady-bits/)

I'm going to start by stating that I absolutely do not think boobplate is ideal, super realistic, or necessary. I said as much quite a few times in the very thread I link to.

It's curious how frequently I hear it criticised lately. Are gamers and fantasy art enthusiasts finally coming to their senses, do they finally see the beauty of real armour and functional design?

Kind of.

Let's get real for a moment - it's good old feminism at work here. Boobplate is offensive to female gamers, because it sexualizes female warriors. It seems mail bikini are a thing of the past (hooray for that!), so we've found another fantasy stereotype to erase from art and illustration.
The realism angle is not that important here, I think. There's plenty of stuff about fantasy armour that's completely out there, entirely disfunctional and which bothers absolutely nobody except a few armour enthusiasts.

I would like to go over the arguments against the functionality of a boobplate and examine them one by one.
(going from the TOR article)
(let's skip the strange notion that padding was worn primarily to deal with sweat and "discomfort")

1) "If your armor is breast-shaped, you are in fact increasing the likelihood that a blade blow will slide inward, toward the center of your chest, the very place you are trying to keep safe."

This is somewhat correct. Yes, a breastplate should deflect blows away from your body. However, in my educated layman's opinion, the "blow catching" ability of the boobplate is heavily overplayed. It would catch SOME blows coming from specific directions under specific angles. Also, plate armour was pretty good. In fact, it was bloody damn good, especially against swords. You cannot pierce plate armour with a sword, you simply can't. So those blows you'd catch would probably push you off balance, perhaps slightly more so than a blow that would glance away.
Arrows are a concern, sure, if we're talking armour piercing arrowheads shot from a powerful warbow. Again, a rounded cuirass would be superior and more efficient, that's a fact. But would it be by much? In my opinion, not really.
It'd be quite fun to actually test these things out! (not on humans, of course!)

2) "Let’s say you even fall onto your boob-conscious armor. The divet separating each breast will dig into your chest, doing you injury. It might even break your breastbone. With a strong enough blow to the chest, it could fracture your sternum entirely, destroying your heart and lungs, instantly killing you. It is literally a death trap—you are wearing armor that acts as a perpetual spear directed at some of your most vulnerable body parts. "

Let's compare this with what the smith actually wrote:

"That there, that is a boob plate. I made that one. The woman in the photo asked for it to be like that. She fights in it. I worry constantly that she’s going to fall hard and it will crack her sternum, even with the padding. ... However, it looks good and makes her feel sexy and badass at the same time. That’s important too."

Notice this lady isn't wearing much in terms of padding under the breastplate. The plate is also VERY boob shaped. Not all boobplates are this pronounced, if you look at the original article, the author posts a few designs which would fall under the boobplate category, but are (according to him) acceptable. Notice he primarily criticizes the fact boobplate often features a CLEAVAGE, which obviously doesn't make any sense at all. (looking at the lady fighter in the photo, arrows sliding to my heart would be the least of my worries. I'd invest in a gambeson, that's for sure.)
The idea of armour giving in to a strong blow and crushing your insides isn't exclusive to the boobplate. Sure thing, as the smith himself worries, the boobplate is at a disadvantage. However, a crushing blow is exactly what was used to defeat plate armour in general, a perfectly shaped cuirass would still squish your insides to death if struck hard enough. Calling the boobplate a death trap seems a wee bit excessive.

I'll finish with a few images of real historical cuirass designs used in battle. By men. And they have breasts on them. Surely, this is suboptimal design! Blows would be guided directly between their ribs. (and warriors who wore these most likely didn't wear padding underneath!)

Sexualization wasn't uncommon with armour, it's not necessarily a perfect asexual protective shell. Warriors showed off their...ehm, "goods". Surely, it's quite possible to tuck in the penis without a need for a massive codpiece like this:

As a conclusion, I'd like to repeat that I too find most of the boobplate population silly and unnecessary. I would however recommend you read the original article written by an armour smith before you make your mind on this issue. It's not entirely black and white, it's not entirely unrealistic or (in my opinion) sexist.

http://madartlab.com/2011/12/14/fantasy-armor-and-lady-bits/

Designing the Wailing Sword

This is a copy of my post in a fanart thread over at the Project Eternity forums. PE is an RPG being made by Obsidian Entertainment.

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(Background: During the last hours of the Kickstarter video stream, Chris Avellone expressed a certain opinion on swords. To quote (from memory), it was "Swords are boring!". When I protested in the chat, he continued to say that "If you like swords, there's something seriously wrong with you."

I should probably mention that I absolutely love swords. Swords, to me, are super interesting, I could read about their evolution, design, decoration and other aspects for hours and hours. And not only are they very cool as tools with a certain purpose, their role throughout history (other than "you poke people with the pointy end") is fascinating as well.

I decided I would attempt to prove Chris Avellone wrong.

The next day after the stream, I was sitting on an early morning bus, heading to the city where I went to school at the time. It was dark, the engine's humming made me sleepy, but all of a sudden, an idea for a sword struck me. I kept thinking about it the whole time and quickly typed it all in my phone, so that I didn't forget any of the brilliant ideas. (:D)

Then I got really busy with school and illustration work, so the sword didn't get painted until today. I found myself with a free evening and having backed the Torment Kickstarter, it reminded me of the sword design in my desk's drawer.)

Last note: I had NOT yet played Planescape: Torment when I came up with the idea, I was actually bringing my old CD of PT with me on the bus! I played it about a month later and when I got to Dak'kon and read the description of his sword, I thought: "Oh."  

I have to wonder, it seems like the only sword there is in that game. Did Avellone write it? That'd make me SO mad. :D

Wailing Sword of Eír Glanfath

Lore: This ancient elven short sword is made of obsidian, inlaid with copper, the copper handle decorated with opal. Powerful yet unknown magic has been used for its making - the obsidian blade does not shatter on impact, if it's wielded by a warrior of strong will. Mages speculate that the copper inlay transfers the impact and vibrations into the handle, where the opal heads with tongues stuck out connect it to the soul of the user. This puts the mind under pressure, similarly to how ciphers use their gift sometimes.

The stronger the warrior's soul and will are, the more powerful the sword becomes. However, one moment of weakness, one break in concentration and the user may end up blank eyed and babbling, wiggling on the floor in a pool of urine. As a reflected wave, this energy flows back into sword and comes out of the opal heads on the pommel, transformed into sound. It's form and intensity range from subtle humming to blood-curdling wailing.

It is rumored that if an especially weak minded person draws the sword, it'll break in the slightest breeze. Or it may even shatter and kill its bearer with an explosion of burning obsidian shards.

Design ideas: As far as I know, the ancient elves of Eír Glanfath are described as quite primitive, technology-wise, yet with impressive knowledge of astronomy and so on. I went with a very simple, yet ellegant bronze age design - a short leaf blade and a cone pommel. The sword is vaguely reminiscent of celtic weapons, but I didn't stick too close to any historical style. It's magical after all, so it's longer than any obsidian weapon we could reasonably imagine. Beside obsidian I chose the most primitive metal I could think of - copper. No idea if the elves actually used metal or not, this one has that ancient look for sure. Opal is just cool, I really liked the idea of it being a magical transformer for soul energy. ;)

Obsidian I chose for obvious reasons, but also because it's supposed to (perhaps as an urban legend) hold an edge one molecule wide and thus able to cut anything. (if only it wasn't fragile! hey, magic solves that problem! ;))

The copper inlay all revolves around sound. The blade decoration looks a bit like a signal, a sine wave and a snake (Ouroboros? I know they got rid of that, it's an old idea). The guard ended up looking a lot like pointy elven ears, but that was NOT intentional. Maybe it was subconscious. The arms holding the "signal" symbolize the user's soul grip on things being the only thing keeping the sword intact.

The opal faces are pretty self explanatory - the handle ones dig into your palm, make it slightly uncomfortable to use, reminding you of the responsibility you have when you draw the sword. 

Possible system uses: 

- obviously more damage or armour piercing if the user's willpower or soul power (uh, whatever stat you choose :D) is higher

- regular roll checks if the sword breaks and hurts you?

- maybe there's a chance the wailing (if you do a critical?) scares some of your opponents and breaks their morale?

- maybe you can do sonic attacks by waving it wildly? Or if you hit the ground?

So, that's. It'd be kind of cool if I could mod it into the game one day, but who knows how that turns out. 

Let me know what you guys think. ;)

How I do things

The wonderful people at Cubicle 7 have been nice to put up an interview Iain Lowson did with me. I talk about  making of the cover for the Dark Harvest anthology. (that Frankenstein monster with a train)

http://www.cubicle7.co.uk/2013/01/tales-of-promethea-author-spotlight2/

I know I described my process in the previous blog post in more detail, but this might be of interest to some as well. Maybe. Who knows? I don't. I hint at a secret exciting project too!

CAKE!

Painting a plate

No, I have not become a potter. As the Kickstarter for Guide to Glorantha races towards its end, it keeps raking the money onto a rather huge pile.

Great!

You can check it here:

http://www.kickstarter.com/projects/224590870/the-guide-to-glorantha

I have been painting full page colour plates for it, very much in the style of Angus McBride's plates for the Osprey books.

Each plate depicts a culture-specific event, cultures being represented by four or five characters doing whatever they do and showing off their clothing, jewelry and tattoos.

Jeff Richard and I agreed it'd be good to show how one of these is made, step by step.

Plate n. 4 - Ralios

It all starts with Jeff sending me a brief in PDF. Like this one:

http://pospabr.sweb.cz/BriefPlate04.pdf

I spent one whole afternoon reading these briefs, googling images and going through my image library, looking for reference for each plate.

Examples of such reference may look like this:

I should note that I don't use these images directly, they're not traced, they're not "Photoshopped" into the painting. I simply want to be sure about how this kind of stuff looks so that I can paint it looking plausibly.
This set of reference is for the barbarian bodyguard of course.

After gathering reference I attempt to sketch a composition of the piece. It's important to decide where characters stand, kneel or do whatever they're supposed to be doing. The have to be placed to make sense in the "story" and also to be well visible. That can sometimes be a problem, but here it was quite simple. A tight group of conspirators standing in a dark alley! Very easy.

I draw and paint directly in a program called ArtRage. It produces a nice traditional look and it feels like using real paint too. (ie it's a struggle all the way through :D)

I actually drew this in two layers - one for the architecture (to keep it in perspective) and one for the characters. So if I needed to erase bits of the characters, I could do so without damaging the scene itself.

You can see I've done a bit of the character design in the sketch already. This plate didn't see many changes from sketch to paint, which is a bit unusual for me.

The scene as described in the brief sounds very dark. Dark alley, in the night, no street lights...I was a bit worried about that. I have to get light in there somehow! I suggested we give the sorcerer some kind of magical lantern and it was okayed by Jeff. I quite liked the idea of a night scene with a purplish tint to the dark city (which is pretty common in big modern cities due to air pollution. Not sure how that happened here, but hey. Artistic license, right? ;)) with a contrasting green light illuminating the characters.

You may notice the vertical and upper facing bits of buildings are coloured more towards cold grays, being "lit" by the sky, while the down facing bits are more purply. This would happen on a bright day more likely, where sunlight is bouncing off the ground upwards onto horizontal surfaces. So it's not very realistic to do this at night, but it serves as a nice compositional tool, to get some of the warm colours into shadows. That balances the use of warm hues through the image somewhat.
The bodyguard's face is also the first one I painted. I tend to start with getting faces "right", because they're the most difficult and fun to do.

I did some work on the right side of the painting and noticed the bouncing light issue. I opted for a slightly more realistic depiction and darkened the shadowed area considerably. A lot of work has been put into the stones of the building and the barbarian's costume is mostly done.

I finished the barbarian by detailing the sword, armour and adding runes to his face and arms. I decided the background could use some work, so I painted the buildings in the back. I've done some work on the noblewoman, but almost exclusively her upper half. Somehow the lower bits weren't so appealing to me in this image. I also started on the sorcerer and it was really fun and easy for some reason. The green light was a joy to use too.

This part was a mix of fun - painting the face of the priestess and less fun - painting the lower halves of the sorcerer and the noblewoman. Lots of ornaments everywhere. I also realized the lighting wasn't quite right on the left wall, so I added cast shadows and half shadows, which framed the figures better.

The last step was to paint the priestess, her frilly skirt, tattooed legs and tighten everything else that needed fixing or detailing. I decided to add ornaments to the stonework to the right, including the Harmony rune inside an Earth rune. I thought those two would be a good choice for masons wishing for their building to last. (that wasn't in the brief, just my own initiative after learning the runes by heart :D)

That's it!

My biggest fear:  The architecture. I'm not very confident about buildings, but it ended up being surprisingly alright. Darkness did help for sure though.
My favourite bits: The whole barbarian bodyguard was my favourite from the moment I got the brief. His pipe, his scratched and notched sword, the lamellar vest and (my invention for no reason) the detachable sleeve of his tunic. I also quite enjoyed designing the tall headgear of the high priestess and the mitre helmet of the sorcerer. That one especially! I really enjoy how it shows his painted forehead and how it's using his own hair to attach itself to the head. (look closely, there's a knot of dreadlocks at the top, going through the tiara)

Now what are those heavily embroidered flappy flaps going through the ring belt on the noblewoman? No idea. :) Any suggestions?

Thanks a lot for reading! I hope you'll enjoy the plates when they're all printed in the Guide. I know I will spend a lot of time gazing at them lovingly. ;P

Dračí Doupě II - Bestiary

What an imaginative title!
I was asked to paint the cover image for the new Bestiary for Dračí Doupě 2. (an RPG I've worked on before)

A bestiary is a book full of beasts. Oh, wait! It's like the Monster Manual. There. Now you know.

The scene was supposed to depict a battle of two ancient creatures - Kostěj the Immortal and the Spideress. Kostěj is a bit like a lich, only Slavic and with his own style. He maintains an illusion of a handsome knight, but if you touch him, or break his spell some other way, you see his true rotting form. He rides a magical steed.
The Spideress is an ancient spider demi-goddess, awoken from her Cthulhu-like slumber, possessing cultists and building a lair in an abandoned underground temple.

And they fight.

You can see the front in a larger version on my DeviantArt here:

http://merlkir.deviantart.com/art/Battle-of-the-Ancients-337716550

And this is what the wrap-around looks like.

As usual it's painted mainly in ArtRage, some bits were added in PS. The cave is inspired heavily by the Macocha chasm:

https://www.google.cz/search?hl=cs&safe=off&q=macocha&bpcl=38626820&ion=1&bav=on.2,or.r_gc.r_pw.r_cp.r_qf.&biw=1680&bih=961&um=1&ie=UTF-8&tbm=isch&source=og&sa=N&tab=wi&ei=36ajUKbtD8TtsgbtkoAw

Return to Cooldahar

With the Kickstarter for Project Eternity (http://www.kickstarter.com/projects/obsidian/project-eternity) almost over, I've been thinking about the previous Infinity Engine games and the wonderful nostalgia I associate with them.

And by accident, I came across this piece of concept art for Icewind Dale 1, which I believe was painted by Jason Manley.
http://theartdepartment.org/faculty/jason-manley

And it hit me. I used this as reference, completely without realizing it at the moment. Icewind Dale, released in 2000, me painting a halfling druid in 2010. Ten years later, this image was firmly embedded in my brain.

It's not even a good copy! :D

Not a very deep or inspiring blog post, just something art related I noticed. Here, have some Jeremy Soule and his wonderful music for IWD!

Paladins are so OP

The motivation

I've been thinking about companies I could approach while looking for work. Paizo came up naturally - their main product, Pathfinder, seems to be very popular with players and all the good artists work for them. (gosh, what shallow reasons, right?)
And I thought they may be easier to approach than let's say Wizards of the Coast.

So a few months ago I started going through their art, trying to pick out something I could do, to show I can do their IP and do it with my own twist.

I'll admit, I've never cared that much for paladins. I never had Keldorn in my party in Baldur's Gate II, I never played one in tabletop roleplaying games. Playing a paladin felt almost as a cheat, they were great fighters who could also heal, turn undead and bless. (Yeah, clerics also, I know.)

Still, I really liked the design of Seelah by Wayne Reynolds. Seelah is one of the iconic characters in Pathfinder and I chose her for my portfolio illustration.
I liked the whole backstory with the paladin helmet, I liked her hairstyle, the fact she used a sword and shield and most of all - the confidence the artist painted in her face and posture. This paladin will smite evil and chew bubble gum. She just happens to be out of gum at the moment.

It's quite interesting to go through the Paizo blog and see all the different interpretations of this character by various artists:

http://paizo.com/paizo/blog/tags/iconics/seelah

The painting process

I began by doodling Seelah's angry face while gaming with friends. (note - drawing just a head and then trying to use it in the final drawing = bad idea)
Then I struggled with the pose. I wanted her to be cutting up some undead, in that Japanese style where they're already falling into pieces as she's finishing her swing.
The pose I am not too happy with. For one, an overswing this huge (that it tips you out of balance) is a no no in swordfighting. I should've probably gone for something with legs spread wide, stable, heavy and powerful looking.
But I also wanted motion and the destabilizing power of holy wrath to show through in the composition. So I went with this one. (in the end, as it often happens with my battle poses, I found out I've been ripping off Frazetta big time)

The next step was a drawing of the whole scene (in ArtRage) and a rough color study (in PS).

Mmm, yeah. Ghouls swarming behind her, ghouls being cut up into pieces in the foreground. So far so good, although in hindsight this was way too loose. (which I came to curse later)

I dove right in. You can see I rendered Seelah's face completely, while other parts of the image are almost blank. Yep, that's not a good thing to do either.

For some reason I decided to add knives to the ghouls. I don't remember why exactly, maybe I thougth the left arm was almost hitting a tangent with the cape and instead of changing that one thing, I added many other. Yeah, strange idea, not sure it worked very well. (I lost that implied circle in the composition, got a sort of a teardrop shape though. That's not too bad.)

Next step is a big jump, I didn't save the progress in between. I rendered a lot of the ghouls in both foreground and background, Seelah's armour and FINALLY decided to do something about that lazy looking cloudy background. (yay for ruins)
The armour I ground my teeth over. I adjusted the arm pieces a bit, because  I couldn't quite see how it would all hold together and move properly. The legs I couldn't do for a long time, the exposed knee is just not right (in my very humble opinion). I don't remember why I didn't put in some kind of inner knee bowl, or a piece of mail sewn to her pants, maybe to stay true to the design.
Anyway, lots of little bits and pieces of equipment to be painted on Seelah, that's for sure.

Then it was a matter of rendering more ghouls and dealing with the shiny flame path of her swing.
Right. If I planned this right, the sword would've been nearly white and the brightest point of the painting, the trail being sort of faintly visible. This way I had a very red hot iron looking sword and a blindingly bright path. What now?
Color Burn layer to the rescue! (in ArtRage! I very rarely use fancy layer modes in AR, but this time was a necessary exception.)
You may also notice there was a weird face thing under the shiny path in the previous version. I only noticed that near the end and almost by accident changed it to Seelah's tower shield. I quite like the idea she swung so hard her shield straps got torn and the shield flew from her arm. (win by accident? \o/)

Then I exported it into Photoshop, tightened up a few places, fixed values where needed, added a bit of glow, pushed contrast and hightlights. Voila! It's done and I need to not look at it for a few days. ;)

This painting hasn't taken longer than usual, but I painted it in bits and pieces when I had the time, mostly during weekends. This is a bad approach for me and it only made it more complicated. By the end I wasn't pleased with it at all and simply wanted to have it over with. I realized the many mistakes I've done and that fixing them would simply be a waste of time. So I bit my forearm and pushed through.

A good lesson it was, I have to plan better before I actually start painting. It didn't end up as horrible as I feared though. Especially the Color Burn layer at the very end made it jump from "what the hell am I doing with this?" to "Oh. I kind of meant for it to be like that in my mind.".

We'll see if it helps me get some work for Paizo!

Thanks for reading if you made it this far! :)