Heraldic Artists No. I - Quentin Peacock

 Heraldic Artists No. I – Quentin Peacock

 

By Lance Sergeant David G Griffiths 86

 

Heraldry is an old and unique art form and the very art of creating it, whether on paper or computer, is itself an art form worthy of especial praise. Many skilled hands have painted shields and badges and supporters over the years, but when we think of digital heraldry the name Quentin Peacock seems to almost instantly come to mind. When I sent him some questions for answering I was already aware of his work, having seen his designs for numerous people, including our own Paul Jagger and Robert Harrison.

Arms of the Cadet Vocational College

Studies on digital heraldry appeared in the Coat of Arms as early as 1974, when Dr N. M. Moore of the University of Lancaster published a trilogy on heraldry and the computer. Following that, a more comprehensive study was conducted in 1994 (Winter Edition) by Dr N. J. A. Williams of University College, Dublin. In Dr Williams’ article he says: “the apparent reluctance of heraldists to embrace the computer is perhaps understandable.” Since then, times have changed, and attitudes have developed. Now, we have a wealth of different talents that exist within this unique little world of ours – artists who paint masterpieces by hand in a number of different mediums. Quentin Peacock is one of these artists at the forefront of his craft.

He grew up around Cambridge where the college entrances are adorned in stunning heraldry from across the centuries. Heraldry, then, must have “subliminally soaked into my psyche,” he tells me. Unique amongst these landmarks is the entrance to St John’s College. Though he is a digital artist, painting by hand on a screen, his skill is no less impressive. He has a particular fondness for Otto Hupp and Don Pottinger, the late Scottish Officer of Arms. Pottinger’s style, he wonders, might have lent itself to his own style of design.

How, then, did he get started? In his thirties, he tells me, he was contacted to illustrate a coat of arms for a design client. Naturally enjoying the process, it is now his full-time business. He contacted the College of Arms and, ultimately, worked alongside Clive Cheesman, then Richmond Herald and now Norroy and Ulster King of Arms, on the Team GB kit design for the Rio Olympics in 2016. Since then, he has had the ‘heraldry bug.’ 

His method? His designs, readers will agree, are crisp and sharp and of a distinctly high quality. He paints with ‘vector graphics’ which do not rely on pixels, but instead utilise a great number of anchor points that are linked by straight or curved lines. The quality this method produces is clear to viewers, who can enlarge an image to an enormous size and still maintain the high quality without distortion or pixelation. Most artists have a signature style within their work. Quentin’s personal style concerns itself with the helm and mantling which, for those who have seen his work, will be no surprise. If he is designing a coat of arms, he will sketch by hand first to get a feel for the design, and then move onto the digital process where he can fine-tune the proportions of the various charges and beasts. The final stage remains rooted in the principle of detail, applying shading and fine-tuning the positions and poses of all charges, supporters and crests. 

Bookplate of Anna Morrien

I ask Quentin his opinion on digital vs hand-painted heraldry, and he assures me that digital and traditional methods are never in competition, he “adores” hand-painted heraldry. He views the digital avenue as simply another tool for creating artwork for more public use. Another tool in the skilled artist’s pot. 

“Painted heraldry,” he says, “is stunningly impressive and very personal… but when it is photographed, digitally cut out and then used for a logo, the results can be quite mixed.” It is often for this reason that his work is used online to represent people and organisations, whose painted arms may rest in a frame on a wall where they can be better admired by the naked eye. 

Quentin has had chance to design and draw arms for some tremendous names. The Cadet Vocational College, whose arms were displayed recently on the cover of The Heraldry Gazette, is just one of the tremendous designs he has been able to bring to life onscreen. He was able to bring to life also designs for the Worshipful Company of Merchant Taylors, bookplates for Anna Morrien, and unique paintings for people such as Brady Brim-DeForest. Unique amongst them, I believe, is a design for a coin of the Royal Mint (shown at bottom of article).

The arms, standard and badge of Robert Harrison, Chairman

I can certainly see the attraction in his work, and the work of many other digital artists – some to feature on this blog before long. When one receives a grant of arms, like Quentin says, the photograph of them blown up onscreen can sometimes be dissatisfying. Allowing a digital artist to bring arms to life on a screen in tremendous quality has an enduring quality to it. It allows those with grants of arms to showcase them to the world in a lasting quality that can be viewed in great detail. Digital heraldry is a growing and exciting method of heraldic art, and we will be showcasing more of it as time passes. 

You can find more of Quentin’s work at: www.digitalheraldry.com

Please look forward to the publication of a linked article, written by Paul Jagger, about Heraldry and IT. 

A coin design for the Royal Mint

A work in progress