This image illustrates how variations of the 6 strokes can be assembled in order to create the letters. Keeping the pen in contact with the writing surface when transiting from stroke 1 to a downward stroke 2 yields a very plain Gothic script.

By lifting the pen after a stroke 1 and slightly offsetting the starting point before making a type 2 stroke one can achieve a myriad of different variations of the font.

The stylization of the font used in this page from the Bedford Psalter and Hours c1420 uses 5 of the 6 strokes I illustrate above. Here the artist substituted all of the number 3 strokes with stroke 6. This appears to be the norm rather than the exception and I probably should do the same on future projects. Also their execution of the letters "S" and "D" are much better than mine hehe. I have always had trouble with my S'. I am a product of the public school  system ;)

When etching, I use a brush to paint a tar like substance on the surface of the metal. The armour is then placed in a mild acid. Anyplace that the "resist" is not applied is eaten away from the metal, leaving a recessed background highlighting the lettering.

My rendition of the Gothic font, when etching, often does not look exactly like the ones shown in this essay though it is still based on the same 6 strokes. The variation is due to the fact that the text needs to warp along the contours of the edges of plates. I also make all letters the same height to better cover the brass. This requires me to kick the top of L's to the left rather than to the right so that they may be discernible from C's. Other similar accommodations need to be made with the other super or subscript letters.