TEXT: Incredible might be a strong word for it
  t h e  i N c r e d i b l e  W o R l d  o f
  DOORS & LOCKS 
  
  To my friends that put up with 
  my constant barrage of minor 
  changes and ideas. Thanks for 
  actually taking the time to 
  give me your opinion.
  DUNGEONS & DRAGONS, D&D, Wizards of the Coast, Forgotten Realms, Ravenloft, Eberron, the dragon ampersand, Ravnica and all other Wizards of the Coast product names, and their respective 
  logos are trademarks of Wizards of the Coast in the USA and other countries. 
  This work contains material that is copyright Wizards of the Coast and/or other authors. Such material is used with permission under the Community Content Agreement for Dungeon Masters Guild. 
  All other original material in this work is copyright 2019 by Martín Davico and published under the Community Content Agreement for Dungeon Masters Guild. 
  Discord: discord.gg/5UsVgA5
  Web: rpg.martindavico.com
  Twitter: @NirDine
  NIRDINE
  t h e  i N c r e d i b l e  W o R l d  o f
  DOORS & LOCKS 
  By Martín Davico
  
  E
  Introduction
  nter with me into the incredible world of doors
  and locks. Okay, let's be real here, doors are far
  from the most exciting thing you'll have in your
  campaign. But a door can be a powerful tool, and
  my purpose with this supplement is to show the
  many ways in which a well-thought-out entrance can improve
  your game.
  So, what does this supplement offer?
  Well, �irst off, a way of thinking. You'll �ind that doors can be
  much more than simple entrances, they can hint as what is to
  come, give players information about the context of its
  surroundings, or even portray someone's personality. And with
  this, you can subtly construct a more cohesive narrative for your
  group.
  Afterwards you'll �ind different approaches to getting through
  a locked door. What variables you could consider for lowering or
  raising the dif�iculty of getting past it, different ways of
  challenging your players' problem-solving abilities, and an
  alternative view on lockpicking in general.
  Finally, you'll �ind lists of examples for different doors to use
  in your games, as well as a list of interesting features. Everything
  from regular everyday doors to doors altered by magic, all
  complete with dif�iculty and magical properties.
  However, if you were looking for a rules-heavy kind of
  supplement, this is not for you. The rules contained in this
  document are meant to assist the narrative and, while they are
  reliable, you'll �ind that they are not as rigid as your regular 5th
  edition rules.
  The way to better doors
  Every entrance has an intent. There are doors for everyone to
  use, big and always open; others are for a few to know about,
  hidden behind book-shelves or stone.
  Whenever a door is built its intent is taken into consideration
  by the builder, every inch of the entrance serves this
  intentionality. A city gate is made for many to use at the same
  time, only to be open from the inside, and to keep those inside
  safe. Therefore, a city gate must be of large dimensions, sturdy
  as to sustain quite a bit of damage before going down and its
  locking system should be out of the reach of anyone outside the
  city.
  Now, what about a sealed temple trapping a dangerous beast?
  Well, we have intentionality already: we must keep the monster
  trapped inside. So, the gate must be suf�iciently strong to endure
  the constant attacks of the creature trapped within, it's made for
  no one to use ever again yet it must be at least as large as the
  creature so that it could get in. Its locking system should be
  outside, forgoing a key in favor of a more reliable construction.
  And �inally, it should be menacing on the outside to discourage
  people from going in, and it should be dangerous on the inside
  to deter the creature from attacking the door.
  Both are very similar doors. Large, sturdy and the locking
  system is placed just on one side. However, when intentionality
  is taken into consideration, they can be completely different,
  and when that happens we can take those differences and make
  them something unique, memorable, and that ful�ills a narrative
  purpose. That's what this is all about.
  Identifying intentionality
  When I say intentionality, I don't mean purpose. The purpose
  of a door is always the same: it lets some people in and some
  people out. If it allows all people to go through, you might as
  well have a hole. Otherwise, if it lets everyone out, you might as
  well have a wall.
  Intentionality doesn't refer to what the door can actually be
  used for but rather for what it was built for. Going back to the
  temple gate example, you could use the door for getting in and
  out of the temple and leave it there. But that defeats the purpose
  of the exercise.
  This distinction is important because what we are looking for
  is those details that come up when you think about what was
  the door made for, to then take those details and come up with a
  narrative reason for them. Without those details, every door is
  practically the same as the next one.
  Building your doors
  Once you identify the intentionality of the construction, pick
  one or two traits that could go well in relation with it or the
  people living inside (if it applies). Then build upon it. For
  example, if your trait is that the door is old and not well-kept,
  then probably the lock is rusty, easily lockpicked, and makes a
  lot of noise when opened. And that tells you about whomever
  this building belongs to and how they care about the place.
  Not every door needs to be relevant either. The best practice
  here is to take the entrances of places you know the
  contents/inhabitants of and give the door some quality that
  subtly informs about them. You could also do it the other way
  around, picking a de�ining feature of an entrance and then using
  it to de�ine who/what lives there. You can �ind a list of door
  features at the end of the supplement.
  Every lock has a key
  The easiest way to get through a locked door is with the right
  key, yet every time a player wants to get somewhere they
  shouldn't be in, they have to break in. Keys are discreet, easy to
  hide, do not leave marks, and are extremely easy to copy. So of
  course, everyone would use a key if they could, but the issue is
  more as to where the key is, and actually recovering it. And that
  can be a whole adventure on its own.
  People usually have more than one copy of a key, they give
  them to people they trust or hide them in places no one else
  would know about. Of course, most people carry a copy of each
  key with them at every moment, but those are a bit harder to
  obtain. Whenever you think about making a challenge out of
  getting through a door, you should consider that those keys exist
  and can potentially be an entertaining and novel way for your
  players to beat your challenge. There are a lot of reasons and
  excuses you could give someone as to why a key is in a
  particular place or being carried by a speci�ic person, so let's
  tackle that.
  Choose the highest mental Ability score of the owner of the
  key or roll in the "Where is the spare key?" table to determine a
  possible location for a spare key.
  
  d6
  Highest Mental Ability score
  Where is the spare key?
  1-2
  Intelligence
  The owner of the key has one or more copies hidden close to the door. Use Table A to
  determine where it could be hidden.
  3-4
  Wisdom
  The owner of the key has a trick to opening the door without the key. Use Table B to
  determine what the trick is.
  5-6
  Charisma
  The owner of the key has given one or more copies to close friends or family. Use Table C to
  determine who has it.
  Once you've done that, you can use tables A, B, and C to more
  speci�ically de�ine where the key is. Just remember that the
  tables offer a limited range of options and that you should
  consider expanding on the ideas presented for you if you're
  planning on making heavy use of this tool.
  d8
  Table A. The key is hidden
  1
  On top of door frame, just out of reach for a medium
  creature.
  2
  Beneath a heavy object close to the entrance (ﬂower
  pot, welcome mat, bust, rock).
  3
  Inside a hollowed brick on the wall.
  4
  Hanging from a chain inside the gu�er.
  5
  Inside a hole in the trunk or branch of a nearby tree.
  6
  Buried on a ﬂower pot, or near a tree or brush.
  7
  Res�ng beneath a loose �le or plank.
  8
  Glued under a garden table or chair.
  d8
  Table B. The door has a trick
  1
  When you tuck the handle upwards and pull, the door
  unlocks.
  2
  If you hold the handle down for a minute, the door
  unlocks.
  3
  Shaking the door a lot just unlocks it.
  4
  You can use the symbol to a speciﬁc god as a key.
  5
  Hea�ng up the lock unlocks it, but it can't be closed
  un�l it cools down.
  6
  There's a �ny piece of silk s�cking out of the door
  frame, the door opens up if you pull from it.
  7
  You can use an umbrella through the transom window
  to open the door.
  8
  The window isn't locked.
  d8
  Table C. Someone else has a key
  1
  Lover or ex-lover.
  2
  An old friend of the family.
  3
  A family member someplace else within the city.
  4
  The local keysmith.
  5
  The house's previous owner.
  6
  A person staying in the house that has yet to return
  the key.
  7
  Someone contracted to ﬁx something within the
  house.
  8
  A friendly neighbor.
  Creating your own criteria
  If you feel that the tables provided aren't enough, you can
  come up with your own locations for the spare key, following
  these guidelines:
  First of all, establish how a person thinks to know where
  they could have a spare key. This is often too much of a
  hassle, and an easy way to de�ine a person's way of thinking
  using game-mechanics is to determine their highest mental
  Ability score.
  Then, using this information, decide how this way of thinking
  would come into play when hiding a spare key. For example,
  a charismatic person usually has one or two other people
  that they know they can trust, so it would make sense that
  they leave a key with one of them instead of hiding it.
  Finally, if it applies, look for ways in which you can use the
  terrain to conceal this key. If the person hiding it has a high
  intelligence score, it's very likely that they won't hide it
  under the welcome mat, being that it's the �irst place
  everyone looks.
  To give a more complete example, if the local cleric is hiding
  the key of the temple and we have determined that his highest
  mental Ability score is Wisdom, then probably they have a way
  of getting into the temple that doesn't require a key. If instead,
  we decided on Intelligence for their highest mental Ability score,
  then It's probably hidden somewhere near the entrance.
  As with the doors, we can take details about this people to
  further build upon their way of thinking. If this cleric has a blind
  devotion to a speci�ic deity, then maybe the key is in a place
  where the statue of this deity can watch over it. The trick here is
  that you can make it as intricate or as simple as you want.
  
  B
  Doors as challenges
  e it because it �its your narrative, your party's
  skillset, or that you just like the idea, you’ve
  decided that you want to make a challenge out
  of getting through a door. That being the case,
  there are a few things you should consider.
  Threats
  First, let's establish something: failing to open a door is not a
  punishment in itself, but rather a "try again or give up" scenario.
  When your rogue fails to open a door for the third time, well it's
  not a problem really, just a nuisance. For it to be a problem,
  there must be a looming threat that makes every failure a
  critical factor in determining whether or not the players achieve
  their goals. These can be dangerous things like being noticed by
  the guard or getting crushed by a giant boulder, or they can be
  less so, like the owner of the building returning home and your
  party having to deal with witnesses.
  The key (I'm not sorry) lies in determining the stakes early
  on, that way you can weave the results of success or failure into
  a narrative context and keep on building the scene. "What could
  this threat be?" I conveniently write here. Well, I'm glad I asked.
  The impending trouble that your players will have to deal with
  can be almost anything, so I made a table because that's what I
  do. Roll on the Looming Threat table to determine what will
  befall your players should they fail the challenge.
  d8
  Looming Threat
  1
  The structure is damaged, and it's coming down.
  2
  A creature/person that lives in the building is soon to
  return.
  3
  Someone saw the players and called the
  authori�es/an enemy.
  4
  A harmful substance is ﬁlling the building room by
  room.
  5
  A party member/NPC is poisoned and needs an
  an�dote to survive.
  6
  A sleeping creature is about to wake up and a�ack
  the players.
  7
  There's some kind of explosive about to blow up.
  8
  Someone that's not supposed to see the players there
  is about to. Having serious social ramiﬁca�ons.
  Creating your own criteria
  There are three parts to every threat that you should consider.
  These are the premise, the presentation, and the climax.
  The premise is what you tell your players is going to happen
  and how your players should understand what you present.
  So, the fact that the building is going to collapse and crush
  the party is your premise. It might be a complete lie, and
  that's okay.
  Presentation is what it sounds like: how are you going to
  present this threat to your players? You must convey in some
  way that this threat exists and that your players need to
  either hurry or deal with it. If you don't, they will fail your
  challenge. There's not a lot of advice I can give you about
  this, as for its very situational nature, but one or two hints in
  your narration when describing the place should be enough.
  Just remember that if no one seems to pick up on it, you can
  always just tell them what the threat is or make their
  characters know based on ability checks.
  Finally, the Climax is what actually happens when your
  players succeed at or fail the challenge. The premise and
  climax can be the same thing, but D&D is a lot of smoke and
  mirrors, and it's better for you to know in advance if you
  want to incorporate a plot twist. Using the same collapsing
  building example, instead of killing your players, you might
  want them to get trapped underground having to �ind
  another way out. And that's a good thing, you can and should
  change the expected outcome of a failed challenge because
  the essential part is not the resolution, but how it develops.
  Timers
  A timer is your way of controlling the speed in which such a
  threat becomes a reality, and It serves as a physical reminder of
  how close you are to its climax. To set it up, pick a die. The
  number of faces on your die determine the dif�iculty of the
  challenge, the lower the number, the harder it gets. Whenever
  your players either succeed or fail at something related to the
  challenge, you may tick down your die. When you're out of faces,
  the threat becomes a reality.
  Now, the important thing here is that whenever the timer
  ticks down, something relating to the threat in relation to the
  challenge happens. For example, if you determined that the
  building is collapsing, you can make use of that as your player
  fails to pick the lock, explaining how the shaking of the structure
  causes him to fail. Otherwise, if your player managed to open
  the door, mention how the door opens just in time to jump
  across as a piece of masonry falls where they stood a second
  ago. It doesn't have to affect the game in any way, but it's a
  narrative tool to move the situation forward and add tension.
  You're looking for opportunities to move the threat closer to
  the situation, making it ever present and building up tension
  until you release it when your players either succeed or fail.
  Your objective shouldn't necessarily be to make your players
  confront this threat, but to keep it looming ever larger during
  the scene.
  It’s important to note that reaching the end of your timer
  doesn't necessarily mean that your challenge is over, just that
  the threat becomes reality.
  Dice
  Timer diﬃculty
  d12
  Easy
  d10
  Regular
  d8
  Tough
  d6
  Hard
  d4
  Impossible
  
  Dual dif�iculty
  These challenges feed on game �low. The tension can only
  build up for as long as the scene keeps moving forward. Sadly,
  the black and white nature of ability checks stops this �low on its
  track whenever a player fails to do something, and we don't
  want that.
  So, going back to doors, most of the time you're not trying to
  punish the act of opening the door, but instead, being careless
  about it. For me, I like to let the players succeed and add some
  nuisance that, if not resolved, will likely become a problem later.
  This punishing factors might be things like breaking the lock,
  making too much noise, leaving a mark, or more immediate
  things like triggering a trap or alarm. Other people prefer more
  immediate punishment, like a �ireball to the face or a cloud of
  poisonous gas. Therefore, we don't actually need to prevent the
  players from opening the door.
  Use the Dif�iculty table to determine a Problematic Dif�iculty
  Class and a Safe Dif�iculty Class for your lock. If a player
  attempting to open the door meets either of those numbers, the
  door opens. However, if a player would open a door while not
  reaching the Safe DC, there's some kind of problem while doing
  so. In that case, choose a punishing factor or roll in the Possible
  repercussions table to determine what happens.
  d4
  Diﬃculty
  Problema�c DC
  Safe DC
  1
  Fairly easy
  Automa�c Success
  10
  2
  About regular
  12
  15
  3
  Pre�y hard
  17
  20
  4
  Impossible
  Automa�c Failure
  25
  d10 Possible repercussions
  1
  A trap is triggered.
  2
  An alarm is triggered.
  3
  The lock breaks, and it can't be closed.
  4
  The door makes an awful lot of noise when opened.
  5
  A vase falls form a shelf, giving you an opportunity to
  catch it.
  6
  There's a dog napping just on the other side of the
  door.
  7
  You leave a very no�ceable mark on the handle or the
  wood.
  8
  Your thieves' tools break, you need new ones.
  9
  Someone saw you. You have li�le �me before the
  authori�es show up (Set a new �mer).
  10
  There's a scared child on the other side.
  Additionally, you might use the Condition table to increase or
  decrease the challenge. Keep in mind that, in most cases, a new
  lock is easier to deal with than an old one.
  d6
  Condi�on
  DC Modiﬁer
  1-2
  Well kept
  +0
  3-4
  Old and rusty
  +3
  5-6
  Jammed
  Addi�onal Athle�cs check
  Creating your own criteria
  Like the previous time, if you feel like the tables provided
  aren't enough, you can easily craft your own Conditions,
  Dif�iculties, and Repercussions, following these guidelines.
  Condi�ons
  The �irst thing you should de�ine is the conditions or speci�ic
  features of your lock. These are things that could later make
  it easier or harder for your players to open the lock or
  somehow affect the possible repercussions.
  Diﬃcul�es
  With the lock's conditions in mind, all you have to do now is
  de�ine what number do the players have to roll to open the
  door. This number represents the Problematic DC, meaning
  that when a player satis�ies it, the door will open, but a
  problem is likely to arise.
  After that, you should set a Safe DC. A number the players
  have to roll to open the door without any problems. It should
  be a higher number than the last, and it represents that the
  players were careful when opening the lock, so there
  shouldn't be any immediate repercussions.
  Repercussions
  Now, here's the exciting part. Taking into consideration your
  lock's conditions as well as the context of the door (building,
  time of day, location, owner, etc.), you have to come up with a
  possible problem that could arise from the careless opening
  of the lock.
  Choose when will the repercussion/s affect the players. Will
  it be instant or something that will come into play later on?
  If instant, something unexpected is your best bet. Add a
  factor that the players didn't anticipate that demands
  immediate resolution. A good way to emphasize the urgency
  of the matter is to involve other people, given the nature of
  the situation, players either can't afford to be discovered or
  are looking for a non-violent approach to solve a problem, so
  they have to deal with whoever saw them.
  If it's something to be a problem later, it's best to dismiss the
  issue as if it wasn't much. These are often things that might
  seem minor at �irst but could have an important role. The
  idea of the lock breaking or leaving a mark are good
  examples of this, but they only work if the players actually
  care about that. If they don't mind that the owner of the
  house knows someone has been in there, then the mark does
  nothing for you. The key here is to understand what could be
  bothersome for your players and do something that subtly
  moves the game in that direction.
  Didn't work? Have you tried smashing?
  If your objective is to give your players as many options as
  possible while deciding how to enter somewhere, just
  remember that doors are breakable objects and that with
  enough time and the appropriate tools, you should be able to
  break most barriers. You just have to determine if the door in
  question is a breakable object, and how much time would it take
  for the players to destroy it. That's it really.
  
  Hidden doors
  N°
  Name
  Proper�es
  PDC
  SDC
  1
  Door beneath a rug
  This door is hidden from view and requires a successful Inves�ga�on check
  to be found. You just have to move the rug honey.
  AS
  8
  2
  Door behind a bookshelf
  This door is hidden from view and requires a successful Inves�ga�on check
  to be found. A speciﬁc book has to be pulled for the door to open.
  5
  13
  3
  Door behind a hearth
  This door is hidden from view and requires a successful Inves�ga�on check
  to be found, and only if the ﬁre is not currently burning
  7
  15
  4
  Door behind a mirror
  This door is hidden from view and requires a successful Inves�ga�on check
  to be found. The door slides open if a secret bu�on is pressed.
  9
  17
  5
  Door behind a wall
  This door is hidden from view and requires a successful Inves�ga�on check
  to be found. The bricks have to be touched in a speciﬁc sequence.
  13
  22
  Magical doors
  N°
  Name
  Proper�es
  PDC
  SDC
  1
  Door of politeness
  The door is locked and has an alarm. It can be opened and the alarm
  deac�vated by knocking on its wood loudly three �mes.
  11
  15
  2
  Door of remembrance
  This door is locked, and only opens if you passed through it before or came
  accompanied with someone that did.
  14
  18
  3
  Door of visual recogni�on
  The door only opens if its eye sees the owner. Magic that alters
  appearance (such as Disguise Self) can trick the door into opening.
  17
  21
  4
  Door of stubbornness
  Treat this door as a creature (use the Stone Golem sta�s�cs or a Golem of
  an appropriate material), it doesn't a�ack unless a�acked or forced open.
  20
  24
  5
  Door of the bloodline
  This door is locked and doesn't have a handle. To open it you need to
  smear on it blood from someone related to the owner.
  AF
  27
  6
  Door of moonlight
  This door is locked and will only open when the light of the moon shines
  upon its encrusted gem. Moonbeam can trick the door into opening.
  AF
  30
  7
  Door of death
  This door is locked and will only open if a creature is killed in front of it.
  Feign Death can trick the door into opening.
  AF
  AF
  Puzzle doors
  N°
  Name
  Riddle
  Answer
  1
  Door of seasons
  In summer I'm welcoming, in winter I'm not, yet I don't know from calendar
  or clock. It doesn't ma�er for I'm made of steel, and can always tell from the
  way I feel.
  Use heat
  2
  Door of mice
  Four dozen mice pass through me. First goes one, then two, then four, then
  eight, then sixteen. How many mice have to go next?
  17 or
  The rest
  3
  Door of echoes
  When I'm close, yet you can't reach, and you see me where I can't be. Only
  then, you shall open me.
  Use a
  mirror
  A few door examples
  Here are some examples of doors for you to use in your
  games, with respective Problematic DC (PDC) and a Safe DC
  (SDC).
  Remember that Automatic Success (AS) means that no matter
  how low you roll you'll open the door, and Automatic Failure
  (AF) means that you'll be unable to open the door unless you
  meet the Safe DC. In either case, there should be repercussions
  unless the term is used for the Safe DC.
  Door's material
  Determining what a door is made of won't usually affect the
  chance your players have of forcing the lock, but the dif�iculty of
  smashing it to pieces.
  Regular doors
  N°
  Name
  PDC
  SDC
  1
  Archway
  AS
  AS
  2
  Dog door
  2
  7
  3
  Regular door
  5
  10
  4
  Reinforced Door
  7
  12
  5
  Barred door
  9
  14
  6
  Sealed door
  11
  16
  7
  Portcullis
  13
  18
  8
  Removable Wall
  AF
  20
  9
  Fake entrance
  AF
  AF
  
  What the door says about its owner
  N°
  Old or damaged
  1
  The owner doesn't care about what happens to the building or maintaining it.
  2
  No one has lived in the building for a long �me.
  3
  The inhabitants don't have enough coin to repair or maintain the building.
  4
  The building is meant to be considered as abandoned.
  New or pris�ne
  5
  The building belongs to someone of wealth.
  6
  The owner cares a great deal about appearances.
  7
  The building has been recently constructed or renovated.
  8
  Those inside are trying not to arise suspicion.
  Colorful or ﬂamboyant
  9
  The owner wants everyone to know where he lives.
  10
  Someone painted the door as a joke.
  11
  The inhabitants are looking to a�ract people to their home.
  12
  No one would suspect that a cult to a dark god would hide behind a light salmon and dark lime colored door.
  Ominous or in�mida�ng
  13
  The owner doesn't like visitors.
  14
  The builder is trying to warn people to stay away.
  15
  It might be just a coincidence or an omen of things to come.
  16
  Now that's where a cult to a dark god should be hiding.
  Mysterious or out of place
  17
  The owner is clearly not from here, he might not even be human (nor elf, dwarf, halﬂing, etc.).
  18
  The inhabitants have been to every corner of the world and back.
  19
  Someone well versed in magic must live here.
  20
  The building predates the town (or surrounding buildings).
  Accessible or quite visible
  21
  The owner wants everyone to have easy access to the building.
  22
  The other buildings were built around this one.
  23
  The inhabitants are monitoring everyone that goes through.
  Hidden or hard to ﬁnd
  24
  The owner doesn't want to be found for some reason.
  25
  The inhabitants are doing something illegal or dangerous.
  26
  Some say that the easiest way of protec�ng people from something, is not telling them about it.
  Door traits
  I'll �inish this up with possible characteristics you could
  attribute to the owner of a door based on the door's features, as
  well as a few examples of intentionality. All to help you come up
  with more appealing entrances.
  Keep in mind that this is all meant as an assortment of
  examples to help you get going and, while you could easily use
  this in your games without a hitch, you should consider building
  your own traits and features depending on what your game
  needs.
  Intentionality
  N°
  Builder's intent
  1
  It was built to prevent people from going in.
  2
  It was built to prevent something from ge�ng out.
  3
  It was built to conceal a great secret.
  4
  It was built to hide something of great value.
  5
  It was built as a way to escape should danger arise.
  6
  It was built to enter the building in secret
  7
  It was built as a decoy, to lure people in
  
  Remember to
  Remember to
  Remember to
  Remember to
  Remember to
  close the door on
  close the door on
  close the door on
  close the door on
  close the door on
  your way out
  your way out
  your way out
  your way out
  your way out
  Hey there! You made it to the end,
  congratulations!
  To be honest, this is my first time creating
  something like this, I usually go for smaller more
  proved-to-work kind of supplements, and I'm
  really hoping people are interested in this
  because I had a blast writing it.
  If you did like it, please leave a comment, I'll read
  it. I promise. If you didn't, please tell me why! I'd
  love to get better.
  Anyways, thanks a lot for giving me a chance, and
  I hope you keep reading my stuff!
  Oh, and I'll be building a site soon™! Nothing
  fancy, just so people can more easily find more of
  my content. I'll leave it here, just in case.
  The art for this supplement was commissioned
  from Fran Bianchi, you can �ind more about his work
  here: instagr.am/franbianchiart.
  Special thanks to Heavyarms for his invaluable
  feedback and help throughout this process. I would
  have never come this far without you.
  http://rpg.martindavico.com
  
SOURCE: textdata/thevault/Dungeons & Dragons [multi]/5th Edition (5e)/3rd Party/DMsGuild/Nirdine - The Incredible World of Doors & Locks.pdf