I work as a volunteer for the Society for Creative Anachronism. The SCA is a non-profit group that teaches living medieval history, with modern safety and health concerns.
In the SCA, I am an Art Herald. This means I sit down with clients and help them choose what image should be their household arms. (This is choosing to have a color scheme and design such as House Stark or House Lannister have on Game of Thrones.) Once the client has a design to register, I draw it for them.
When I started working as an Art Herald, the best art resource was the Pennsic Traceable Art Project. It was created by enlarging images on a photocopier, and the image quality is poor. Two years ago, I asked the other Heralds for permission to completely overhaul it. I envisioned a completely digital version of the Traceable Heraldic Art Project. Not long after I began working on it, Mathghamhain Ua Ruadháin stepped in to help. He has software that can convert line art into vector art, and the server space to host HeraldicArt.org.
Vector art is different from scans of line drawings because it is scaleable. A physical photograph brought to a copy shop can make it twice as large, but some of the details will blur due to the limitations of the DPI (Dots Per Inch) of the photo. Vector art is different because it consists of completely computer-draw lines. Vector art can be scaled from minuscule thumbnails to multistory billboards without becoming pixilated or blurry.
This project is enormous. It incorporates most of the old traceable art, as well as all the backgrounds for heraldic shields . Additionally, we are including heraldic pieces drawn and donated by artists around the world.
One set of artistic compilations was created in 1994 by Herald Torric inn Bjarni. His work is incredibly detailed, but his use of shading and hatching are difficult to translate into vector art. One of my tasks as an artist is to take his artwork and turn it into drawings that are easily converted to vectors. This is a huge project, because he compiled his drawings in a way to save space and paper, often using dashed lines and small notes to indicate how alternate versions of a creature would be drawn. These are scans from a few of his drawings. He also included other scraps of art that allow different creature variants to be drawn.
Note how the dragon has four legs, while the wyvern has only two. Additionally, Torric made notes on basilisks and cockatrices, which I also drew. These combinations resulted in drawing a baker’s dozen different variations of the same dragon.
Here are the first two dragons. The dragon on the left is Sejant, or in a seated pose.
The dragon on the right is Sejant Erect, or sitting with a raised limb.
In contrast, these two wyverns have only two legs. They are also displayed as Sejant and Sejant Erect.
With Torric’s note of the cockatrice head and the beginning of wings in the thumbnail drawing, I was able to piece together drawings. A cockatrice is a wyvern with the head of a cock.
A basilisk is only different from a cockatrice because it has a dragon’s head at the end of its tail.
After drawing eight pictures of similar creatures, I was delighted to draw these dragons Couchant, or crouching. The right dragon is Coucant Erect, or crouching with one limb raised.
And here are another two versions of the Couchant dragons, with their wings folded. Having many variations of heraldic animals can be critical when artists are placing images within limited space.
Finally, here is the dragon Dormant, or sleeping. The Hogwarts motto “Draco dormiens nunquam titillandus” seems appropriate here, since you should never tickle a sleeping dragon.