ฅ^•ﻌ•^ฅ

just a side blog for inspiration for main art n stuffs 🧡 (25 y/o)

[clevermanka]

🍁 Xavier 🍁 (@xavierck.com)

Here are 543 images (1.5GB) of items at the Philadelphia Museum of Art arms and armor exhibit You're free to use them for anything, even c

[the-ocean-is-trans]

casual reminder that this museum has their entire collection digitized and available free for public use: https://art.thewalters.org/ and they have armor/weapons there

[jigsaw173]

Does anyone know why some of the corsairs look a little different? Like I have a few questions

What do the tail markings mean?

Like Jigsaw two has a big JW but Scotty and 5’s are small while Charlie just has a big NP. Skipper also has a small JW but the rudder is checkered. They are all the only ones to have them too while the rest don’t even have anything.

Like I can take a guess as to why Skipper’s is checkered (literally skipper) but I don’t know about the others.

What does the NP on Charlie’s stand for?? Is it short for Enterprise because that was probably their carrier? If so, why was it the carrier and not JW like everyone else? Is he a marine or so mething?

Are the rudder markings based on rank??? Why is it that only the ones that have the letters are acknowledged? did the squadron go through a scuffed transition to the ident on the tail leaving some without it? Am I overthinking this?

Also some of the corsairs are painted differently. If you look hard enough you’ll notice that like 29 and Jigsaw 2 are very different as well as some others. Like looking at this pic you can already see 29’s lighter part going higher than the planes in the background. Some seem darker than others like 15 and idk if it was just detail or there’s an actual explanation behind this

I’m not gonna point how skipper is wildly different in shade from the rest because skipper is skipper.

Some of them have Markings? Like Scotty and 36 have red lines and he and McKinley both have this boxy-ish outline right under their cockpits. You can see it in the above image on 29 and McKinley(19). But Scotty(below) has both of them as well as the small JW. It’s hard to see the red but it’s around the insignia

edit: after a quick google into the history of the insignia the red was originally an added outline but it got changed to blue sometime later so like

Are the red corsairs just older?? Even if they are why didn’t they get it repainted? Why is it just them that have the red? Maybe the red ones are just non-navy(maybe marine?)/came from another squadron and the original JWs just refused the red? (Apparently some pacific units actually did) what about the box? There’s still no answers to the box

Also just gonna point out: most of the jws actually have light blue outlines on their insignias compared to a darker one! It was mentioned some navy pacific aircraft had lighter outlines so damn

edit 2: ok after another trip to Google APPARENTLY white box things are just tape meant as a seal cause sometimes the Corsair fuel tanks would leak and splatter the canopy? And this problem was later resolved in newer ones

So maybe the boxed ones ARE just older?

Lmao, imagine being a Corsair on a recon flying and out of nowhere ur tank leaks and u pull a bulldog and when u get back to the carrier the solution is to just tape it up. And it happens to ur buddies too

The thing about the paint schemes and the tail letters still hasn’t been answered.

Thinking about this is keeping me up. It’s two am at the time I’m writing this.

Anyways, you have to admit, these guys got some serious details for side characters with like a minute of screen time. I guess the creators really knew corsairs or did their research? Bravo.

[boeingboingboing]

Finally, someone talked about it

Thanks for the info so far.

[prince-oranghien]

I came across this, and I'm not sure if you already know the answer by now. I personally am fascinated with military history! So, the things with questions were about the tail markings, and the pain jobs. And I'm pretty sure I know them both!

Tail markings, aka tail codes\base codes:

We will start with the easy one, NP. NP is the base(stationing) code of the VC-3 UNIT, like the VC-4 (the Vought F4U) which is the plane they were all modeled after. Stationed in, you guessed it, the (North) Pacific ocean! And yes that's now, on modern (military) aircrafts, changed to base code NX.

So I believe NP is their base code, and because they are a unit, you only get 1 Base code. You get your unit marking worn by usually just the leader, and you get your Individual marking, which are the numbers they have. And that brings me to my theory on JW.

Like I said there's only 1 plane that bears the unit code, so JW is NOT the unit. Also because JW base code is for the fleet logistics support squadron 62 (way bigger/heavier planes)

That leaves me with common sense of the history and lore they give us, it's quite obvious when you think about it. They are based off the real ‘Jolly Rogers’ that are in this universe named, ‘Jolly Wrenchers’ when taken in abbreviation: ‘JW’. Are things clicking for you guys? Then it would make sense, aside from the skull and crossbones patches they have painted on ‘skull’ and wrenches, what other pride of their squadron can you wear? Your name of course. Which is why some will have it small, but they all have it in some way!

The paint jobs:

Red and blue, why? Well, easy! Supply, demand and most importantly, speed. In the beginning the US planes had blue coats, white stars, and to complete their flag, red stripes. And you are right that the red ones are the older ones, though not necessarily. There were two reasons to red being the older planes. At first when the planes were made, they had more time, and as the war went on the demand for new and more planes got higher and higher. Also red was used by the first manufacturer that provided the US with planes, when demand got far too much the US also got another company to make planes, that used a blue outline. So red was still manufactured alongside blue for a little while. Though! In September of 1943 red was fully surrendered and all new planes, and ones that could be afforded to repaint went blue. Which brings us to reason number two; also very importantly, because the Japanese used RED. And some US planes had friendly fire, due to the speed and distance it's hard to read the codes and numbers on a plane. So to avoid more friendly fire, they fully went to blue. As red was for Japan. So the light blue was for better visibility/identification.

Some minor things I want to air out before I hide away again:

The box/tape. It was indeed to keep leaks And loss of vision, but not just by oil, also by the humidity. Some, however, were also patches. Repairs from tears or bullet holes.

And the checkerboard rudder marking. A version of the Vought 4 was called ‘the independence’ and that model had the checkerboard paint job. But I think you're right as in that they gave it to skipper, due to being his name and also recognition as a main character.

They really did try and make it to reflect our history, and respected the plane of the Vought F4U corsair. The identification of the unit and the individual In markings was well done, even with some added extra of the big JW, which would be undone as there can only be ONE base, hehe. But I can forgive it, most references of these planes still on show today have their own rudder markings. And let's not forget, it just looks cool <3

But uhm, this rant has gone on for probably way to long sooooo, hope this helped ^^’

[typhlonectes]

Komodo dragons have iron-tipped teeth, new study shows

Komodo dragons, the world’s largest species of lizard, have iron-tipped teeth that help them to rip their prey apart, according to new research. The metal is concentrated in the cutting edge and tips of their curved, serrated teeth, staining them orange, scientists wrote in a paper published Wednesday in the journal Nature Ecology & Evolution. Komodo dragons are native to Indonesia and weigh around 80 kilograms (176 pounds) on average. They eat almost any kind of meat and are known as deadly predators...

Read more: https://www.cnn.com/2024/07/24/science/komodo-dragons-iron-teeth-scli-intl/index.html

[tgirl-thucydides]

[life-imitates-art-far-more]

[barbucomedie]

Rapier of Holy Roman Emperor Maximilian II from Spain and Milan, Italy dated around 1550 on display at the Weltmuseum in Vienna, Austria

The sword hilt is Spanish while the blade was made by the Milanese bladesmith Antonio Piccinino (1509 - 1589). The Duchy of Milan, and much of Northern Italy, was passed from the Kingdom of the France to the Holy Roman Empire under the Spanish Hapsburgs after the battle of Pavia in 1525.

Photographs taken by myself 2022

[eloisyw8]

"The flying circus and a man from Prussia, The sky and a plane, this man commands his domain, The western front and all the way to Russia"

🔖| The Red Baron - Manfred von Richtofen

extra:

Heard somewhere eddie literally named his plane "blue baron" , he's definitely a fan

[nourishingbroth]

The haunting ancient Celtic carnyx being played for an audience. This is the sound Roman soldiers would have heard their Celtic enemies make.

[francisco-goya-paintings]

-The Maja and the Masked Men-

[vikkicomics]

Otto and Edwin swap uniforms for remembrance day/ armistice day.

[lionofchaeronea]

Hellelil and Hildebrand (The Meeting on the Turret Stairs), Frederic William Burton, 1864

[dozydawn]

[irish-dress-history]

Patterning a 16th c. Irish léine sleeve

Mid-16th c. images of the léine from "Drawn after the Quick" and Codice de Trajes

The léine of 16th century Ireland had huge, iconic sleeves. Sadly, we have neither surviving examples of this garment, nor detailed period documentation, so we don't know how these sleeves were made. I have seen a couple different sewing patterns purposed, but none of these match the voluminous, gathered sleeves shown in the Codice de Trajes and the costume album of Christoph von Sternsee. This is my attempt to create a sleeve pattern that better matches the surviving evidence.

The cut of léine sleeves probably varied across 16th c. Ireland, potentially impacted by factors like a person's wealth or where in Ireland they lived. It almost certainly changed over time as more of Ireland fell to English colonial conquest. The wearing of the large-sleeved léine was banned by King Henry VIII (McClintock 1943). Lucas de Heere’s circa 1575 illustrations show women with much smaller sleeves than earlier images. However, at least during the early part of the century, sleeves did not vary by gender. According to Laurent Vital, the only difference between a man's léine and a woman's léine was that the woman's had gores in the bottom it make it fuller (Vital 1518).

My goal with this project is to create a léine sleeve pattern for an early to mid-16th c. Irish person living outside of the Pale. Since none of the period images or texts are very detailed, I am combining information from several sources.

Englishman Edmund Campion who visited Ireland in 1569 gave the following derisive description of the léine: “Linnen shirts the rich doe weare for wantonnes and bravery, with wide hanging sleeves playted, thirtie yards are little enough for one of them” (Campion 1571).

Campion’s claim that the sleeves were pleated initially struck me as strange. English and continental European shirts from this period frequently had gathered sleeves (Mikhaila and Malcolm-Davies 2006, Arnold, Tiramani and Levey 2008), but pleating isn’t the same thing as gathering. However, other period writers made similar claims. Writing in 1596, Edmund Spenser mentioned "thicke foulded lynnen shirtes” as a garment worn by the Irish (Spencer 1633).

Similarly, Fynes Moryson described the léine as being made of “thirty or forty ells [of linen] in a shirt all gathered and wrinkled,” elsewhere he described it as “folded in wrinckles” (Moryson 1617).

In The Image of Irelande, John Derricke gave the following description of the léine:

Their shirtes be verie straunge,/ not reachyng paste the thie:/ With pleates on pleates thei pleated are,/ as thicke as pleates maie lye./ Whose sleves hang trailing doune/ almoste unto the Shoe (Derricke 1581)

Assuming that Derricke’s description is not just poetic license, I know of one 16th century construction method that matches the description “pleats on pleats [. . .] as thick as pleats may lie,” and that is cartridge pleating. Cartridge pleating is a technique that is more commonly used on thick fabrics like woolens, because a lot of fabric bulk is needed to keep the pleats standing properly, but extant 16th and early 17th c. neck ruffs use cartridge pleating to join massive lengths of fine linen to a neck band (Arnold, Tiramani and Levey 2008).

Cartridge pleating on a thick woolen fabric

A person unfamiliar with sewing methods and terms might well describe cartridge pleating as looking like folds, gathers, or wrinkles.

The léine sleeve patterns commonly used in modern reconstructions are completely flat, like a Japanese kimono sleeve with rounded corners. (There’s also a version which has a drawstring or gathering running along the top of the sleeve. This is a 20th c. Ren Fair invention which has no historical basis.)

The end-on views of the sleeve openings in the recently-discovered images from Codice de Trajes and the costume album of Christoph von Sternsee clearly show that this is not correct. The rounded shape they show for the sleeve end can only be achieved through gathering.

Archer from the von Sternsee costume album and the O’Brien messenger from The Image of Irelande

The best illustration of a léine in The Image of Irelande, the messenger on plate 7, also provides evidence for a gathered sleeve. The way the fabric drapes in the middle of the sleeve suggests that the sleeve is gathered at both ends. Furthermore, the way the mass of a léine sleeve centers under the wearer’s arm when the wearer holds their arm out straight, like the O’Brien messenger, but hangs down like a trumpet when the wearer lowers their arm, like on von Sternsee’s archer also suggests that the sleeve is a symmetrical shape that is gathered at both ends and not a trumpet shape that is only gathered at the wrist end.

With these elements in mind, I went looking for a pattern which would create the correct shape. I used Jean Hunnisett's 15th c. bagpipe sleeve pattern from Period Costume for Stage and Screen and the sleeve pattern from this 1630s English waistcoat (published in Seventeenth-Century Women’s Dress Patterns) as a starting point.

1630s waistcoat sleeve pattern

I replaced the curved sleeve heads in these patterns with the straight sleeve end and square underarm gusset typical of mid-16th-18th c. shirts, since the léine, like the shirt, is an unfitted linen garment, and because the straight edge is much easier to gather all the way around. I don't have any actual evidence for square gussets in 16th c. Ireland, but this pattern definitely needs an ungathered piece at the underarm. Anyone who is bothered by the lack of evidence can use a triangular gusset like the one on the 15th c. Moy gown instead.

After that, I experimented with mock-ups until I figured out how to get the correct proportions. I don't have any training in patterning or draping, so this took several tries. I used my 1/3 scale ball-jointed doll (24 inches tall) as model, because he required a lot less fabric and sewing. Since this was just a mock-up, I used random linen remnants from my stash, and I didn't bother to finish most of the edges.

Here is the final sleeve with the seams sewn together, but before doing the gathering:

This sleeve, on his right arm, is based on the gathered-wrist cuff version of the léine from Codice de Trajes, the von Sternsee album, and The Image of Irelande.

This sleeve ended up with me having to gather 31 inches of fabric into a 5-inch armscye. So yeah, cartridge pleating became necessary, because there is no way to make that kind of reduction work with regular gathering. I also had to do some smocking to get the giant mass of fabric better controlled before I could attach it to the body of the léine.

While this pattern might seem absurd, (it does call for a sleeve end wider than the wear is tall to be pleated into the armscye,) a close examination of John Michael Wright's 1680 portrait of Sir Neil O'Neill shows remarkably similar sleeves.

While this painting is from a century later than my target time period and the clothing clearly shows changes like the addition of English-style shirt sleeve ruffles, the shirt still has elements which I have seen no where else in late 17th c. fashion that are probably derived from earlier Irish dress.

The doublet worn over top prevents it from hanging down properly, but this shirt sleeve has the same bagpipe shape as the 16th c. léine. I have highlighted it in magenta to make this easier to see. The fine, regular folds near the top of the sleeve (highlighted in yellow) are probably the result of smocking or cartridge pleating, indicating that this sleeve, like my purposed pattern, has a large amount of fabric gathered or pleated to the armscye. The wrist end of the sleeve has 3 rows of smocking stitches sewn with silk thread, which shows that the sleeve cuff has a huge amount of fabric gathered into it.

Historically, silk was the thread of choice for smocking, because it is smoother and has greater tensile strength than wool, linen, or cotton. Several 16th c. sources note that the Irish used silk thread when making their léinte (Gresh 2021). Laurent Vital described Irish women as wearing, "chemises with wide sleeves, worked around the collar and in the seams with silk needlework of different colours" (1518). The presence of smocking on O'Neill's shirt combined with my experience trying to recreate this sleeve makes me think that at least some of that 16th c. silk needlework was smocking.

For the left sleeve of my mock-up, I tried to recreate the flatter sleeves from "Drawn After the Quicke". These sleeves do not have a gathered wristband.

This sleeve used basically the same pattern, but the lack of gathering at the wrist opening meant that the whole sleeve was slightly smaller, so I only had to pleat 26 in of fabric into the armscye instead of 31 in. This was just enough of a difference that I could set the sleeve without smocking it first, unlike the right sleeve. I guess this is the more budget-friendly option for your less wealthy kern.

I also made the curve at the bottom of the sleeve wider to give this one a more square shape.

Some of my failed experiments:

I would like to thank my friend Nikki for loaning me her smocking machine. This project would have been a much bigger pain if I had to do all those gathering stitches by hand.

Since this post has gotten rather long, I am putting the actual drafting instruction for this sleeve pattern in a separate post.

If anyone would like to support my work financially, I now have a ko-fi page.

Bibliography:

Arnold, Janet, Tiramani, J., & Levey, S. (2008). Patterns of Fashion 4. Macmillan, London.

Campion, Edmund. (1571). A Historie of Ireland, Written in the Yeare 1571. Dublin. https://archive.org/details/historieofirelan00campuoft/historieofirelan00campuoft/page/n5/mode/2up

Derricke, John. (1581). The Image of Irelande, with the discoverie of a Woodkarne. John Daie, London. https://archive.org/details/imageofirelandew00derr/page/n29/mode/2up?view=theater

Hunnisett, Jean. (1996). Period Costume for Stage & Screen: Patterns for Women's Dress, Medieval-1500. Players Press, Inc, Studio City.

Gresh, Robert. (2021). The Saffron Shirt, Part 1: Saffron and Silk, Urine and Grease. Wilde Irish. https://www.wildeirishe.com/post/the-saffron-shirt-part-1-saffron-and-silk-urine-and-grease

McClintock, H. F. (1943). Old Irish and Highland Dress. Dundalgan Press, Dundalk.

McGann, K. (2008). The Invention of Drawstrings and Pleated Sleeves. Reconstructing History. https://reconstructinghistory.com/blogs/irish/the-invention-of-drawstrings-and-pleated-sleeves-1

Mikhaila, Ninya, & Malcolm-Davies, Jane (2006). The Tudor Tailor. Quite Specific Media Group, Ltd, London.

Moryson, Fynes. (1617). An Itinerary Containing His Ten Yeeres Travell through the Twelve Dominions of Germany, Bohmerland, Sweitzerland, Netherland, Denmarke, Poland, Italy, Turky, France, England, Scotland & Ireland. volume 4. https://ia801307.us.archive.org/16/items/fynesmorysons04moryuoft/fynesmorysons04moryuoft.pdf

North, Susan and Jenny Tiramani, eds. (2011). Seventeenth-Century Women’s Dress Patterns, vol.1, V&A Publishing, London.

Spencer, Edmund. (1633). A View of the present State of Ireland. https://celt.ucc.ie/published/E500000-001/index.html

Vital, Laurent (1518). Archduke Ferdinand's visit to Kinsale in Ireland, an extract from Le Premier Voyage de Charles-Quint en Espagne, de 1517 à 1518. translated by Dorothy Convery. https://irish-dress-history.tumblr.com/post/721163132699131904/laurent-vitals-1518-description-of-ireland

[empirearchives]

Embroidered Silk Coat

Plum silk faille court coat embellished with glass sequins.

circa 1800s, Napoleonic era

Source: Maryland Center for History and Culture

[romans-art]

Greta Garbo from Queen Christina (1933) if you read this im free on Thursday night and would like to hang out. Please respond to this and then hang out with me on Thursday night when I'm free -

[history-of-fashion]

ab. 1580-1610 Jerkin

suede (deer?), cotton, linen, silk

(Germanisches Nationalmuseum)

[solcattus]

Friedrich Barbarossa at Besançon, 1859

By Hermann Plüddemann