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Heráldico design

the heráldica estilización

the heráldica expression

the composition



The Estilización Heráldica

The shields of arms of the soldiers and horsemen of the beginnings of the heráldica, in century XII, were painted so that they were average of identification as much in the combats as in the jousts and matches, to be recognized by their followers in the first case and by the spectators of these celebrations in the second.

These symbols painted on the shields of arms had to distinguish clearly from a distance of a "stage" (approximately, 150 m.s), length used for the jousts, being the optimal distance to break the lances in palanques and arenas.

Resisted colors were used (metals and colors) and the representations were styled suppressing superfluous details. If what imagined in the shield consisted of a piece, there was no problem: it was solved with a geometric construction looking for the resistance of enamels between the one of the field and the one of the piece. The true problem appeared when were to imagine animals, vegetables, etc.; in this case it was not enough with the resistance of the colors and it had to resort to another artifice. From distant spot a lion of a bear would not distinguish itself (of gold) on field of gules, each one in a different shield.

The estilización becomes essential, that is to say, a cartoon that simplifies the forms and accentuates, exaggerating, the characteristic details that they define to the figure at issue. For example: the head, claws and tail of lion; the tip, the wings and the tail in the birds; the glasses and the roots of the trees; the size of the towers, doors and windows of the castles etc.

In all the Average Age no animal appears as it is, that is to say, portraying it; one fled from it, looked for the cartoon by means of the exageración. This form to act is equal as much for the preheráldicos animals (lion, eagle, etc.) like a those that soon are gotten up to the shields of arms (wolf, leopard, red deer, etc.); and this characterization reaches to the figures that the pecheros put in their shields (birds, dogs, ewes, etc.). In all the details that we have exposed is the estilización of the heráldico drawing.

The Heráldica Expression

The estilización, necessarily, must complete itself with the expression. A lion can imagine furious, seated, etc., and is necessary to find by means of the expression the suitable form more for each case.

The heráldico design, when being implanted, obtains the general uniformity in the characteristic positions, drawing itself always equal, and the uniformity also in the characters that can define it and give each one their particular expression.

The quadrupeds have to always imagine of profile and watching the right hand of the shield, since they have the limited positions; for example, the lion can rampante, pasante or be laid down. The birds, with exception of the eagle, have themselves to represent of profile and watching the right hand of the shield.

In the details it is where the expression is accentuated more: one tends to the enormous heads, the great out of proportion and crazy eyes, salient claws, long languages, etc.; all the exposed one is extended in the represented figures.

The positions to adopt, the gestures and the attributes are limited indeed by the heráldica expression, that is the one who takes care of them.

The Heráldica Composition The medieval iconography was a sagrada Arithmetic. In this sense, the arms are worthy daughters of the medieval iconography. everything is regulated in them and each element (simetería, site, number) contributes to the good operation of the set.

Geometry must be applied to fit the figures allowing the balance and the clearness of them, as well as to carry out adjustments that normally palliate the technical insufficiencies and possible stupidities of the sketcher.

The heráldica composition is put under two laws:

The symmetry. The law of the fullness.

The symmetry In the Average Age it was considered to the symmetry like the expression of a mysterious harmony. With the symmetry one looks for, within the shield, a balance and harmony in his composition.

When greater number in head than in end is used more than two equal figures pon. If they are three, two in head a one in end; if they are five, in vane, etc.

Whenever it exists more than a figure, it will be procured as much that others are exactly equal an a, in the contour as in the size; the same position, such details and, mainly, that the positioning in the field of the shield or on the pieces that are loaded is totally symmetrical.

Between all the figures they have to occupy the greater area of the field of the possible shield, without touching the contour of the same one.

The Law of the Fullness By virtue of this law, whatever it is the form of the shield and its dimensions, the figure or figures is commited to (when it is difficult) to almost occupy the totality of the field, even adapting to its contour, but without touching it.

In the Average Age the heráldico design is practically common to all the towns of the cristiandad, with small shades and differences téngase in account that the heráldico drawing at that time, aside from the military function to identify the soldier, also has a decorative function, reason why the artists let run their freedom of expression. They in accordance with adapt the rigorous principles of the heráldico art in agreement with the fashions of each region and at every time the aesthetic level of each one of them.

Until half-full of century XIII these differences of the regional forms of expression they are not detected, accentuating itself with running of the years. By the specialists four styles are distinguished:

English: Most sober of all of them; the animals are fine, extended and they are not streamlined too much.

French: He is considered as the most elaborated and the most geometric and law of the fullness he has not been always well respected. The outline is very clean. The composition, sometimes, is recharged.

Germanic: He is most exaggerated of all and less the most elaborated. Its objective is in the decoration and making an impression. The superfluous details abound in excess.

Neoflamenco: It comes to be the synthesis of the three previous ones. Elaborated like the French, clean like English and the decorative one like the germanic one.

In order to finish, we will say that to the heráldica the science of the exceptions is considered ""; it is an expressive art that can translate different ideas.



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last updated on: April 3rd, 2017

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