- Armor should be as protective as possible while inhibiting movement as little as possible.
I know, "Well, duh!", right? This is just a basic rule to guide you through the logical process of designing or reproducing a piece. It's a bit of a trade off though. Sometimes compromises will have to be made one way or the other. This might mean decreasing or increasing the size of a plate to accommodate a greater range of motion in a critical area or knowing which pieces should be made of thicker stock and where to place them.
Another key piece of this principle is that armor was tailored to the individual. I remember a set of 7 lame, 16ga. legs I wore as part of my first armor. They were beautifully made, very heavy, and sized for someone with larger legs than I own. One time, in a field battle, (yes, I know how that sounds) I was running back out onto the field when my legs came to close together and the lames around the knees of either leg interlocked. Down I went. Hurt? No. Embarrassed? Yes, very much, thanks.
- Look at period examples. Armorers did it that way for a reason.
One example I like to think of, which kinda goes hand in hand with the above principle, is a period breast plate from the 15th century vs. many of the modern ones worn by reenactors. Those worn by reenactors often have either side, near the arm pits, cut in toward the center to allow the arms to move in toward the center line without chaffing or pinching, as when holding or wielding a two handed weapon like a long sword (my personal favorite). While it's true that this does afford extra motion and comfort, it exposes more of the pectoral muscles and the area near the arm pit. To my recollection, I've not seen period breast plates that were made in this manner. (It's possible I just haven't looked at enough period armor to know). I've tried to duplicate period examples that look like they cover enough of this area. When I put on the breast plate, grabbed up me long sword and took a practice swing, OUCHY, it really did bind and pinch near my arm pits! Then, an insight from my martial arts training kicked in. I realized that when swinging a weapon with two hands, you should turn your hips into the swing, your leading shoulder following the motion which will turn you. In this manner, your arms don't come across your chest in such a static fashion. Now, having said all that, I'll say this: Reenactors usually won't have someone trying to stab their arm pits with a sharpened blade. However, this is just another reason why you should always wear deodorant.
- Keep it simple
Armoring isn't rocket surgery. When trying to figure out a pattern, a simple solution is often correct. For instance, I love a simple, one piece, late period couter for an elbow defense. I think they are elegant in both form and function. Not too long after I set about bangin' on metal, I wanted to make one but just couldn't figure out what kind of flat shape could produce such a thing. After a while, I went to an event and there happened to be an experienced armorer there so I asked him. To my surprise, he told me that the pattern was a simple egg shape. The trick was in raising the defense to the desired height and curling the part that goes toward the inside of the elbow. Who knew, right?
- Style!
OK, this one isn't so much of a principle as it is something to shoot for. If you're gonna go through all the trouble to make a nice, functional, durable piece, why not take the time to make it look like something? Some extant examples of period armor are a sight to behold. (I'm partial to the humanistic lines of the Italian armorers and the works of the Helmschmieds.) This can also be a point of frustration for the beginner. Just remember, fancier isn't always better and a poorly executed enhancing technique, like fluting or creasing, is often worse than none at all! Take your time and try to enjoy the process as much as the end result.
Well that's it for now folks. I'll post some more when the hamsters that power my computer have rested a bit. :)
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