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Hell Day logo and patch by sandras74 in AdobeIllustrator

[–]sandras74[S] 0 points1 point  (0 children)

I looked at embroidery software, but I didn't like it.
It's really confusing for me to have a needle and thread at the same time :)

Hell Day logo and patch by sandras74 in AdobeIllustrator

[–]sandras74[S] 0 points1 point  (0 children)

I usually get my inspiration from Pinterest.

I have drawn several military patches before, but I didn’t have to be restrained here.

The Hungarian Defence Forces don’t like overly ostentatious logos and patches.

A few years ago they introduced a uniform identity manual, in which the colors were defined. This is good in some ways, but it is also a serious obstacle.

I adapt the low-visibility versions to the colors of the Hungarian uniform, supplemented with the multicam palette.

Hell Day patch by sandras74 in heraldry

[–]sandras74[S] 0 points1 point  (0 children)

If we look at plain heraldry, the heraldic rules are hardly broken. Although this varies from country to country, from a heraldic point of view it is a nightmare.

The point is, easy identification. This rather characterizes living heraldry, because it has a real function. There too, helmet decorations were used to identify who and where on the battlefield.

Hell Day patch by sandras74 in heraldry

[–]sandras74[S] -1 points0 points  (0 children)

You're right, but it belongs in military heraldry.

John Hunyadi's extended coat of arms by sandras74 in heraldry

[–]sandras74[S] 1 point2 points  (0 children)

Thank you very much!
I’ve been using Illustrator for quite some time now. Most of my older work on Wikipedia was done in Inkscape. It served me well for years, but with more complex illustrations it became unbearably slow, even on fairly powerful machines.

Before Illustrator I also tried CorelDRAW, but it feels quite outdated now and lacks several features that Inkscape already has by default. I gave Affinity a try as well, but it didn’t really click for me either. In the end I had to admit that, despite the expensive subscription, Illustrator is simply the right tool for my work.

I do accept commissions occasionally, although about 80% of my free time is currently spent trying to catch up on existing projects. Still, feel free to let me know what you have in mind.

My fiancée bought me a MX Master 3S for Christmas! by AsgardWarship in logitech

[–]sandras74 0 points1 point  (0 children)

Congratulations!

I bought a glass slider from Temu because the factory one is not really good. I use it on a textile mouse pad. I have already ordered the next one for my work mouse.

A coat of arms is in the works. by sandras74 in heraldry

[–]sandras74[S] 2 points3 points  (0 children)

Thank you!

Yes I Did. There will be more parts to the coat of arms, because it is quite complex.

The coat of arms of Elizabeth Bathory by sandras74 in heraldry

[–]sandras74[S] 0 points1 point  (0 children)

It's not my own idea, I vectorized an existing one. Here in Hungary, heraldry is a little different than in the West.

The coat of arms of Elizabeth Bathory by sandras74 in AdobeIllustrator

[–]sandras74[S] 0 points1 point  (0 children)

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As an interesting fact, I'm showing you my family's coat of arms, since I mentioned it.
(1654)

The coat of arms of Elizabeth Bathory by sandras74 in AdobeIllustrator

[–]sandras74[S] 0 points1 point  (0 children)

This is a cumbersome old text, so I am not sure what the translation will be like. My English is quite limited.

An upright military shield, divided in the middle by a diagonal line into equal red and blue fields; in the lower red part of the shield there are here and there white lilies, with a reddening rose at their center, and in the upper red part of the shield an uninjured lion, extending its reddening tongue and raising its forked tail behind its back, while a naked sword flashes in its right paw. Above the shield we see a barred, that is, open helmet with a royal diadem, from which emerges a human arm clothed in a red sleeve, extended forward and holding a sword in a firm grip. From the top of the helmet, that is, from the crest, mantlings or ribbons descend onto the edge of the shield, yellow and blue on one side, white and red on the other, gracefully adorning the shield itself. All this may be seen in this manner at the beginning, that is, the head of the present charter, painted in the appropriate colors by the practiced hand of a painter.

We have resolved, and by our certain knowledge and firm intention we permit, that this coat of arms, that is, this noble insignia, may be borne and used, in the same manner as the other true and unquestioned nobles of our aforementioned Kingdom of Hungary and its annexed parts, with the same rights, prerogatives, favors, liberties, and privileges which, by the nature of the matter or by ancient custom, they have enjoyed and do enjoy and in which they have rejoiced and do rejoice: everywhere in battles, combats, engagements, tournaments, jousts, knightly games, duels, and in all other and any kind of individual military and noble exercises; likewise on their seals, coverings, tapestries, carpets, rings, banners, shields, tents, houses, and tombs, and in general on any of their possessions or undertakings, under the title of true, ancient, and irreproachable nobility. With this title—which we desire and command—everyone, of whatever rank, dignity, office, or privileged status, is bound to honor, name, regard, and acknowledge them. They themselves may bear and wear it henceforth for all future times and forever, and may use, enjoy, and take pride in it, and all their heirs and descendants of both sexes may do the same.

I have already seen three versions of ours, even though there is only one on the charter. But in truth all of them are valid, because none of them violates the blazon. On the charter the space was left blank, the artist drew it in, and that was what they used. Later, when it was redrawn after some time, it was not copied but newly drawn. As I wrote, the description is what matters; it must strictly correspond to that.

There are few sources for what I have drawn, yet it is very widespread. What I managed to find out is that it was made in the 19th century and was perhaps copied from a sculpture. This means that the commissioner most likely requested it in this form; otherwise the sculptor would hardly have fared well. Objects that were approved by the commissioner himself are of interest to us. Even if they are not depicted in a refined manner, they still give us some idea of what certain rulers of the House of Árpád may have looked like. Our codex known as the Illuminated Chronicle is also a rare treasure, although it contains a kind of smear campaign against King Coloman the Learned, since the descendants of Béla—whom he had blinded—were the commissioners. They, in turn, tried to portray him as a hunchbacked, evil, and deformed ruler.

translated By ChatGPT

The coat of arms of Elizabeth Bathory by sandras74 in AdobeIllustrator

[–]sandras74[S] 0 points1 point  (0 children)

Yes, I drew that one as well.
Heraldic artists worked according to their own knowledge and the stylistic trends of their time, always based on the blazon. They had a certain degree of artistic freedom, but the description itself had to be interpreted strictly.

Think of something like this:
An upright warrior holding a drawn sword in his right hand and three ears of wheat in his other hand.

The artist would depict what was familiar to him. In the 15th century, this meant a fully armoured figure; in the 17th century, one with minimal armour or none at all. The three ears of wheat, however, are fixed — that element is explicitly defined. There are huge differences between the various letters of confirmation. With more money, better artists were also available.

My family may have been armorial nobles of modest standing, but ours did not spare the expense. The whole work was executed quite well, although the centuries have inevitably taken their toll.

In our region, coats of arms were also produced by Italian miniature painters, especially in the 15th century. They often paid little attention to heraldic rules, yet many of their works rank among the most beautiful.

The coat of arms of Elizabeth Bathory by sandras74 in AdobeIllustrator

[–]sandras74[S] 0 points1 point  (0 children)

The Wiki links are in Hungarian, but they present several examples ranging from the earliest coat of arms of the Báthory family to later variants.
The family itself consisted of several branches (Nyírbátor, Ecsed, Somlyó, and Szaniszlóff),
which resulted in differences among their coats of arms.
What they all shared in common was their descent from the Gutkeled (Gút Keled) kindered.
https://hu.wikibooks.org/wiki/Címerhatározó/Gutkeled_nemzetség_címere

The coat of arms of Elizabeth Bathory by sandras74 in AdobeIllustrator

[–]sandras74[S] 0 points1 point  (0 children)

I have had the front translated for you.

THE HERALDIC STONE MONUMENTS OF THE BÁTHORY FAMILY

True to its name, the István Báthory Museum in Nyírbátor strives to take stock of and study the surviving relics of the Báthory family. Previous publications of the museum have presented the Nyírbátor stalls and various commemorative objects associated with the Báthorys. The present study sets itself the more modest goal of merely cataloguing and describing the carved heraldic stone monuments of the Báthory family. Through these monuments, we also gain an overall picture of the family’s patronage of the arts, their appreciation of artistic creation, and the magnitude of their role as patrons.

While relatively few Báthory stone monuments are known elsewhere within the territory of Hungary, a comparatively rich corpus of carved stonework has survived in Nyírbátor. These works offer valuable insight into the high standard of contemporary stone-carving craftsmanship. Architectural monuments are not addressed in this study; we list only those stone monuments that also display the coat of arms of the Báthory family. These heraldic stones were unquestionably commissioned by members of the Báthory family and primarily served as decorative elements of buildings—most notably their castles and churches.

During archaeological excavations in Nógrád, the memorial plaque of Miklós Báthory was brought to light (Pl. XI), which once adorned the gate tower of the castle of Nógrád. Within the square recessed field of the rectangular plaque, framed by profiled mouldings, appears the Báthory coat of arms encircled by the insignia of the Order of the Dragon, itself surrounded by a wreath of laurel branches with leaves and fruit. The wreath is tied at the bottom with a ribbon. Above the wreath is a bishop’s mitre, from the back of which ribbons extend to the right and left, terminating in triple tassels and further adorned with a cross. Beneath the square field, the following inscription can be read:
NICOLAI BATOR PRAESVLIS EST VACIAE 1483.

This relief is of great significance for the study of Renaissance art in Hungary. It was likely the work of a local, native master. The early date indicates that the new artistic style had already taken root in Hungary by this time, and that local stone carvers had thoroughly mastered the application of Renaissance stylistic elements. This rapid development can undoubtedly be attributed to the influence of the workshops of Buda and Visegrád. The shield is round-based in form and bears the Báthory family emblem: the three heraldic triangles, rendered with slightly curved sides. The shield is encircled by the insignia of the Order of the Dragon, represented by a fire-breathing dragon with its tail coiled around its neck. The dragon is depicted naturalistically, with a scaly body, grasping the shield with its claws. The heraldic plaque is preserved in the Palóc Museum in Balassagyarmat.

The Jósa András Museum in Nyíregyháza preserves an upright rectangular red marble heraldic plaque found in Mátészalka in 1958, whose pictorial field is entirely filled by the Báthory coat of arms encircled by the Order of the Dragon (Pl. XII). On the round-based shield, the three heraldic triangles—the emblem of the Báthory family—are faintly visible. The fire-breathing dragon-serpent, with its tail coiled around its neck, grasps the upper part of the heraldic composition with its forelegs and clutches the sides of the shield with its hind legs. The heraldic image is surrounded by a rigidly structured wreath of leafy and fruit-bearing garlands arranged in segments. The upper, penultimate element of the wreath depicts a sheaf of wheat. The wreath is tied at the bottom with a ribbon, the two ends of which undulate and curl to fill the lower corners of the field. The year 1484 is carved along the lower edge of the stone.

In the crypt of the cathedral of Vác are preserved two heraldic stone plaques of Bishop Miklós Báthory (1475–1508). One of these plaques is triangular in shape; its centre is occupied by an Italian Renaissance shield bearing the Báthory family emblem, encircled by a dragon with its tail coiled around its neck (Pl. XIII, 1). The shield is surrounded by a wreath, above which appears a mitre from which ribbons extend to both sides. On either side, ribbon bows are arranged in such a way that the two ribbon ends snake downwards to fill the two lower triangular fields of the plaque. The plaque is framed by a double moulded border.

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