Wade, W. C.; 1898

William Cecil Wade, «The symbolisms of heraldry or A treatise on the meanings and derivations of armorial bearings», 186 pages, 95 black and white pictures, Robert Holmes Collection, published by George Redway, London, 1898.

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Although Romanticism sought the symbolism of the heraldic elements, I believe that the meaning of the elements of the coat of arms, if they have it, is provided by its creator or first bearer. In any case, the content of this symbolic book is the following:

• The origin of armorial bearings; page 11.
• The symbolic side of heraldry; page 13.
• Heraldic colors and metals; page 35.
• The furs of heraldry; page 38.
• The meaning of heraldic lines; page 40.
• The symbolisms of the ordinaries; page 43.
• The division lines of the shield; page 55.
• The colors of the common charges not symbolical, chapter with 2 paragraphs only; page 57.
• Symbolisms of the common charges; page 59.
• Crowns, mitres, episcopal hats, etc.; page 138.
• Examples of symbolisms of colors and armorial bearings; page 149.
• Cadency and differencing; page 154.
• Alphabetic index; page 162.

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Bibliographical reference of century XIX.

Classification: Symbolism, In black and white and English language.

Author: Wade, William Cecil.

The following article cites this bibliographic reference:

• Owl beaked and armed, process

External link:

• Book in PDF format.

Internal resources: WadeWC1898.SymbolismsHeraldry.pdf.

Baron of Valdeolivos Emblematic Chair, of the Fernando el Catolico Institution, of the Centre of Scientific Research (C. S. I. C.) and of the Government of Zaragoza, «Emblemata», Volume 8^th, Emblemata Aragonese Magazine about Emblems (E. R. A. E.), 454 pages, 58 pictures, ISSN 1137-1056, Legal deposit Z.3.937 1996, printed by the Cooperativa de Artes Gráficas Librería General, Zaragoza, 2002.

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Bibliographical reference of century XXI.

Classification: Magazine and Castilian language.

The author is Cátedra de Emblemática Barón de Valdeolivos.

External links:

• Abstract in the Fernando el Catolico Institution.
• Index in the Fernando el Catolico Institution.

Internal resources: Emblemata2002.Volumen08.pdf.

My heraldic art is a mixed of techniques that combine the manual realization with the digital process. The reason is that, for each specific creative activity, I try to choose the technique that best suits the goal I intend to achieve.

Drawing freehand

The natural motives are especially suitable to drawing freehand. I go through this job straight with black ink, without previous pencil schemes, with as long as possible ink traces, without lifting the pen, using 0.1 mm thin feathers, making scrolls automatically, without passing twice through the same point with the same movement. This technique comes from the automatic tracing as referred to in the third stage of the article entitled pictorial evolution and influences.

In figures with an eye I always by it and then follow by the right ear, the hair of the head, left ear, neck, back, tail, circulating at the maximum possible speed in the clockwise direction, skirting the figure to the left front leg, where I stop. Then, I do return to the right ear, down to the nose, mouth, tongue, chin, the lower part of the neck, circulating at the maximum possible speed counterclockwise, bordering the figure until the left front leg, where I stopped in the first round.

This tracing technique has the advantage of generating long lines, which seem to circulate freely, but it has the disadvantage of admitting neither mistakes nor retracings. In case of errors, the suitable choice is to finish the figure, to see the final result and be able to detect possible points of special difficulty towards the end of the tracing and right after to trace the whole figure again in a blank sheet, using the previous one as visual support. The reiterated result is to have to follow this process several times up to reaching a satisfactory level of execution. As a curiosity, I've noticed that the 1^st figure often contains errors of ink path, the best is usually the 2^nd and in some cases the 3^rd, but from the 4^th on, although there is no longer errors, the result is often more baroque.

Technical outlining

For the tracing of some figures, especially geometric, I use classic technical drawing skills. In this way vair, vairy, divisions, geometric ordinaries, bordures, checkys, etc. are calculated and outlined technically.

In some cases figures that are delineated technically are also hand-touched in order to compare techniques and be able to select the most suitable technique for the ongoing coat of arms.

Tincture of elements

In order to tincture field, ordinaries and charges I always start with plain colors and metals. In fact all my shields always have a version in plain colors. Then I build the volumes by means of lightings and shadows and applying appropriate finishings, by adding and removing hues and texturing surfaces. In some cases I do this process on the whole shield, in other, more laborious way, each field, ordinaries and charge is treated separately. This technique of working on flat base colors for later lighting and texturing follows my previous graphic work on color coated paper, which are described in the first stage of the article entitled pictorial evolution and influences.

In the final stages I try and choose the best of two options as applied to the already tinctured and finished charges:

• Represent them outlined in sable with its original layout.
• Let the tincture of the shield's field give them their final delineation.

Working process

I perform the workflow mainly over sheets size DIN, in vertical orientation, attaching to drawings annotations, metadata, samples of color, etc. I make and archive these DIN forms sequentially as I go through the steps described in the section entitled heraldic creation methodology.

At the end of the work, all of these DIN forms together, make up what could be called a «making-of» of the coat of arms, that is, the history of their creation process.

Kevin MacLeod provides on his website incompetech.com music licensed under a Creative Commons Attribution license, version 3.0, (CreativeCommons.org/licenses/by/3.0/).

Kevin states that there are several reasons why he offers this type of free license, for example, because the cost of sharing his music is not high and the benefits are many, and because there are music schools without funds, filmmakers who need soundtracks for their films but cannot afford them. In response to this, Kevin believes that traditional copyright is ineffective and that is why he chose a license like «Creative Commons». He believes that if creative works are protected so rigidly that they become impossible to share and his art cannot be experienced by people, then it serves no purpose in society.

The following video shows an example of a soundtrack, with music by Kevin MacLeod, for a video about a coat of arms.

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Category: Link.

Jueju.es is my project to translate Jué jù poems from the Táng dynasty (from the 7^th to the 10th century) and is aimed at learning the Chinese language. To this end, the translations of the poems, with meter but without rhyme, seek an isomorphism between the original poem in Chinese and its translation into Spanish.

This isomorphism allows us to associate, through a color scheme, each Chinese character and its pronunciation with 1 or 2 words in Spanish, which allows you to learn the Chinese language through its classic poets: Wáng Wéi, Li Bái, Dù Fu, Mèng Hàorán, Xi Birén, Yú Shìnán, Li Duan, Li Pín, Li Shangyin, Liú Chángqing, Wáng Zhihuàn, Zhang Hù, Zhang Jiulíng, etc.

Also, in jueju.es The poems are accompanied by vocabulary tables in simplified Chinese, traditional Chinese, pinyin pronunciation and translation into English and Spanish, drawings with pictograms and ideograms, derivation diagrams for compound characters, tonal schemes to help with the intonation of accents, explanatory texts and my own illustrations of the poems in ink and watercolor.

Below are, in PDF format, 2 pages of my translation of the poem «The Song of Geshu» by the poet Xi Birén dedicated to General Geshu Han, both of the Tang dynasty. I have selected this poem, from among the dozens that make up the project jueju.es, because it is especially heroic with its 7 stars, the night, the knife and the horses.

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Categories: Link and PDF.

Dr. Marianne Steinbauer provides, under a conventional license, at Pia-Frauss.de exceptionally beautiful typefaces. Typefaces with such suggestive names as «MalaTesta», «MitreSquare», «SonOfTime», «Tycho'sElegy», «DeiGratia», «EtBoemieRex», «FranciscoLucas», «JaneAusten», «Love'sLabour», «Tagettes», «Tycho'sRecipe», «WirWenzlaw», «XalTerion», «Xenippa», «XiBeronne», «Xiparos» o «Xirwena».

Example of EtBoemieRex use by Dr. Marianne Steinbauer.

Personally authorized

Dr. Marianne Steinbauer has personally authorized me to use them, for which I sincerely thank her. As shown in the previous image of a heraldic catalogue where the font called «EtBoemieRex» is used.

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Category: Link.

Appleton Studios

David B. Appleton studies, researches, teaches, and writes about heraldry, and through his blog, he shares his heraldic knowledge with us, as well as through publications and presentations.

David B. Appleton is open to questions from his readers and provides advice on heraldic topics in which he specializes.

His blog is Blog.AppletonStudios.com and his website is AppletonStudios.com, from which he offers his services related to the world of heraldry, its dissemination, and knowledge.

Since 2009, David B. Appleton's heraldic blog has been an endless source of knowledge, images, ideas, curiosities, original reflections, and links to heraldic sites selected by him.

Heraldry: Musing on an esoteric topic

David B. Appleton stands out for his continuous analysis of all types of heraldic manifestations, which he finds everywhere, in the world we live in: from those we have inherited from ancient times to the fiercely current, from books to cinema, from fashionable clothing to urban furniture, from east to west and north to south, including those that appear in logos and emblems, those using traditional techniques and those created or disseminated through new technologies, on ships, sports cars, and airplanes, on porcelain, facades, and stained glass, on television, on t-shirts and coins, in auctions and universities, in comics and sports, etc. with a systematic publication rhythm, more than 2 posts per week, nothing heraldic escapes the record and genuine analysis of David B. Appleton on Blog.AppletonStudios.com, which I highly recommend.

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Categories: Link, Interpreted, Personal, Coat of arms, Without divisions, Freehand, Soft metal, Illuminated, Outlined in sable, Canting, Heraldry and heralds, Argent, Azure, Gules, Vert, Chevronel, Between, Apple, Slipped and Leaved.

External resources:

• Interpretation of his coat of arms.
• Interpretation by Xavier García at Appleton Studios.
• Interpretation by Xavier García at Dibujo Heráldico with his blazon in English and Spanish.

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