Cannae updates

Work on “Darkness over Cannae” is in full swing. I haven’t been this deliriously happy with anything I have done in… decades?!

 

Finished header image!

Finished header image!

Cornelius Lentulus.

Cornelius Lentulus.

Not from "Cannae": Hannibal, wounded during the siege of Saguntum.

Not from “Cannae”: Hannibal, wounded during the siege of Saguntum.

Hannibal and Maharbal on a small hill overlooking the field prior to battle

Hannibal and Maharbal on a small hill overlooking the field prior to battle

Double page illu: Balearic slingers

Double page illu: Balearic slingers

Layout test: the Romans break through

 

Check out the (updated!) Project Page: http://darknessovercannae.com/

Or follow it on Facebook: https://www.facebook.com/DarknessOverCannae

Darkness over Cannae – Tie-in website now online!

Head over to DarknessOverCannae.com to see the website I’ve put together for the new project! It’s like a tie-in appendix for the upcoming novel, with loads of goodies, artwork (more to come), and all sorts of thoughts concerning the Battle of Cannae.

If you know anyone who might be interested in the project, please share it! :)

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Also on Facebook!

Darkness over Cannae – some impressions

Work on “Darkness over Cannae” is well underway. I now know it’ll be an illustrated novel – a bit like Neil Gaiman’s Stardust in form (highly recommended, by the way!) – of probably around 120-150 pages.

It’s all set on this one fateful day – August 2nd, 216 BC – spanning an hour before dawn to a few hours after sunset, from the perspectives of six men, three Roman and three Carthaginian.

I’ve been doing some sketching, but the more finalised images and of course, greater portions of the text will not be online until the thing is done. Until then, here’s some impressions!

Maharbal, Hannibal's second in command.

Maharbal, Hannibal’s second in command. Quick sketch with a splash of watercolour.

Top: Hasdrubal, commander of the Punic heavy cavalry. Writing him is an indecent amount of fun due to his sense of wry humour. Bottom: Bomilkar, captain of Hannibal's bodyguard.

Top: Hasdrubal, commander of the Punic heavy cavalry. Writing him is an almost indecent amount of fun due to his wry sense of humour. Bottom: Bomilkar, captain of Hannibal’s bodyguard.

“Either Varro is smart – and conservative – enough to keep his line close together, which enables us to envelope him on the wings. Or he’s innovative – and dumb – enough to deploy in a long line to encircle us; in which case we’re more likely to break through his centre as it bumbles along than he is to break through ours. We’ll see. For the moment, however, we’ll assume he is smart and conservative, and the original plan remains the same as ever, in its main points.” Hannibal positioned the six Roman infantry rectangles as a neat, solid line with spaces between the blocks, then looked at each of the men assembled in turn and went on, sombrely, “At the risk of boring you into a stupor, here are the details again. If you want to, sing along; it can’t hurt.”

“It will, if I do,” Hasdrubal growled. Hanno chuckled; Mago snorted.

Top: After the battle, Hannibal kneels at the Aufidus, cleansing himself before praying. Bottom: Aemilius Paullus and Terentius Varro, the ill-fated consuls at Cannae.

“Terentius.” Paullus hastened after him, holding his colleague by the arm, speaking in a low voice. “Let us not fight on the right bank, at least. It favours his cavalry too much.”

“You don’t want to fight on level ground for your fear of his cavalry. You don’t want to fight on rough terrain for your fear of ambushes.” Varro had come to a halt in the semi-privacy of the tent entrance. “Where, in your opinion, should we give battle? At the bottom of the sea? Or on treetops?”

“In a place where we know he can’t stage an ambush, and that we have controlled for about a week before he gets there!” Paullus answered between his teeth. “He has been here for weeks! What do you think he has been doing?”

“Such a situation will never happen!” Varro’s face was red with contained anger. “We cannot force him to fight. That much is clear. The gods know why he even wants to fight here, outnumbered as he is! We need to take this chance, and beat him now, before he can come to his senses! Aemilius, why won’t you see it – Hannibal has finally made a mistake. We finally have him where we want him, and we can finally end this. And by Jupiter Stator, I will. It’s the great deeds and courage of our ancestors that have made Rome great. Not hesitating, not hiding, and certainly not bickering!”

First ink test. Not exactly what I wanted - too clean.

First ink test. Not exactly what I wanted – too clean.

Second ink test – NOW we’re talking! Aemilius Paullus in the last moments of his life.

Servilius Geminus was dead, hacked to pieces by several Iberian swords at once. Furius Bibaculus was dying, run through with a spear. The legates’ bodyguards were just being cut down along with them. Lentulus had drifted into view and out again, shouting at him, but the words had made no sense. Claudius Centho was dead, defending the consul, who was in a state of shock and utter disbelief.

Aemilius Paullus had left the dying right flank, only to die in the centre.

Tutorial: Painting with Acrylic Inks

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The latest huge new discovery of 2013 were acrylic inks (used to paint “Fog over Trasimene“). They’re quite similar to watercolours in many ways, but more versatile. They come in little bottles with eyedropper lids, just like the liquid watercolours I love to work with.

I’m working with three different brands here: FW Daler/Rowney Acrylic Artists Ink; Rohrer/Klingner Zeichentusche (drawing ink); and Liquitex Ink. The handling is almost identical to watercolours: I use them with my normal watercolour brushes, thinned down with water or undiluted. No changes there.

All the brands I use come in different opacity levels: from transparent like actual watercolours to opaque, and in this case, opaque is really opaque. I work with a selection of mainly transparent ones, to preserve my watercolour look, but have a few opaque ones, mainly light tones like white, for highlights. In order to keep them apart, I used small blue self-adhesive dots to paste on the opaque ones, so I don’t accidentally grab the wrong bottle. Like watercolours, different pigments have different lightfastness ratings. I’ve made sure only to buy lightfast paints. tut_acr1 The other huge difference is: when acrylic dries, it’s completely insoluble. When you add layers in watercolour, you will always slightly dissolve bottom layers. In acrylics, you can use completely transparent layers that leave all the detail work in place underneath. Whether you add dark shadows or light fog – I did both in the “Trasimene” pic linked above – it opens a world of opportunities.

With watercolour, you have to work from light to dark, for several reasons. You can’t paint light skin next to black hair; the black hair will run into your light skin. And you can’t add light colours atop dark ones. In acrylic, you have no limitations. You can put dark hair down and later add a light yellow across the whole image – nothing will run. You can add light highlights to dark areas – just use opaque paint.

The downside of that is: your palette. With watercolours, you can reuse, rewet, and clean palettes without problems. Liquid acrylics are pretty much there to stay. With tube acrylics, that’s bad enough; with liquid ones, you have the additional problem that you need a palette with small “pots”. My solution is a lucky one – in Germany, we have outrageously yummy sweets called “Toffifee”, which come in little blister packs. They’re perfect for liquid acrylic palettes. When I’ve completely mucked them up, I can just throw them away. So now I have a great excuse to keep buying Toffifees. Yay.

The picture is a commission for the wonderful Paul, for whom I’ve already done “A Sorrowful Meeting“. It’s his character Laerminuial, a Noldo jewel smith from Rivendell.

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I haven’t arrived at the definitive paper for acrylic inks yet. I’ve tried around with Canson Montval and Schoellershammer – Montval tends to cake ever so slightly, but Schoellershammer has some really unfortunate speckling qualities, so Montval it is. Generally, I’m still working with watercolour papers, as I still want the overall feel to be more watercolour than acrylic.

In the photo below, the first light yellow wash is already in place.

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I had one huge “PANIC!” moment connected to liquid acrylics: They speckle when wet. Dramatically. Most dramatically: Rohrer/Klingner Antique Gold Green.

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When this happened for the first time – in the face, of all places – I did panic, and ripped up the whole thing. Later, after the ripped-up painting had sufficiently dried in the dustbin, I saw that the face was perfectly smooth again. And that even works with Rohrer/Klingner Antique Gold Green.

Lesson learned.

When the background wash had dried, I applied some basic wet-into-wet washes for the columns and shrubs, allowing the colours to mix on the paper. I did the skin in the same soft rosy wash.

This works pretty much like watercolour. Overall, the following steps all mimic my usual watercolour techniques.

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I then proceeded to put down the basic colours for the dress and hair. For the dress, I worked around the ornaments the way I usually do – I can always go darker later, or lighter, to pull everything together. Right now, I just wanted to have the basic colours down. And watercolourist that I am, I still feel that leaving something light looks better than painting it light. :D

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Now comes one of the wonders of ink.

In order to give a colour to the ornaments on her dress, I can just lay a wash over the whole thing. I can tint, I can darken – all in transparent ink; the paint underneath is left untouched and crisp. If I tried the same thing in watercolour, the layer underneath would blur.

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More detailing to the shrubs, skin, lamp, and dress.

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Below: More detailing (lamps, shrubs), deepening of shadows (background, columns, shrubs, dress) and tinting. Tinting is one of the greatest assets of acrylic ink. If a colour isn’t as you want it – add a wash of what you want. Acrylic ink, like watercolour, lightens as it dries, and also “deadens” a little. Overall, that’s like an inbuilt safety net, with unlimited correction possibilities, as you can always just add another layer as you find you need them. You can see I work in a sort of island hopping approach – deepening shadows in different areas of the painting as I feel necessary, to keep the overall thing coherent.

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Lastly, a bit of more detail work – the leaves, and some highlights on the figure.

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Fog over Trasimene

Fog over Trasimene

Fog over Trasimene

 

I have a new favourite medium: ACRYLIC INK. I can’t believe how good this stuff is. It’s like the answer to all my failed acrylic and gouache experiments. A medium for transparency-fanciers who want to paint opaquely. Once in a while. But are scared of pasty paint. I just love this medium.

______________________________________________________________________________________

The world was lost in fog.

The sun should have been up by now – it must be up, judging by the dim, milky twilight that had replaced the clinging, misty darkness – but the lakeshore, the hills, the trees and bushes, even the thirty-thousand men all around were invisible, all but Hannibal’s guard and a handful of Gaetulan spearmen closest to him. The fog had swallowed all. The rocky slope in front of him vanished a short distance from his feet. Covering all the blinking metal parts turned out to be an unnecessary precaution. We could all be waving red flags, he thought; nobody would see.

Even the noises seemed dimmed. The soldiers behind Hannibal, the Gaetulan skirmishers with the heavy Libyan infantry further down the slope to block the exit from the trap, had settled into breathless silence barely interrupted by whispers. Every metal part was wrapped in cloth to prevent them from clanking.

Even the few officers’ horses behind him were almost as silent as the men. There was the tiniest clinking of tack when one of them shook himself restively. Three Iberians of Hannibal’s guard, positioned behind the general, had even coaxed their mounts to the ground. One of the animals gave a little restless nicker, before his master’s ear-scratching quieted him again. The horses were used to this; Hannibal had often marvelled at the horsemen’s skill in keeping their mounts hidden and quiet while lying in wait for an ambush.

Waiting.

Not long now.

The trees and bushes, the hills, the entire lakeshore lay waiting. Thirty-thousand were waiting. There were no messengers, no horn signals. Hannibal had a few quick runners with him, as well as a handful of mounted messengers, but all his officers knew what was to be done, and he would use messengers only if something went horribly wrong and the others had to be warned. But if anything did go horribly wrong, chances were he would be the last to know. Maharbal was stationed at the entry of the narrow pass along the lake. If all went according to plan, the Romans would now be filing past him. Two horn-blasts when the last of the Roman column had passed the entry into the valley; one horn-blast if they detected the trap.

Not a sound. The horns were silent.

Someone behind him stifled a groan as he stretched aching muscles. They had taken their positions on the slopes two hours ago, at first light; the waiting was becoming more and more agonizing now that the day had finally come. The inability to do anything was almost unbearable. Hannibal stared into the fog as if he could force it to reveal its secrets to him. His dead right eye started watering; it still felt unfamiliar to have a half-vision only, even if today, all were equally blind.

And after all, in the country of the blind, the one-eyed man is king.

The twilight grew brighter, but still the fog didn’t lift. When the wind brought snatches of voices, hoofs and the marching feet, a shudder seemed to go through the men behind; there was the briefest outbreak of a hissed “They’re coming!” and hurried prayers in at least three different languages, quickly silenced. Hannibal stared into the mist below. The sounds below were getting louder and nearer, slowly, very slowly. Marching feet, the neighing of horses. Snatches of conversation in Latin, even snatches of laughter, but still there was nothing to be seen.

They have no idea, Hannibal thought, overwhelmed. Yes, he had counted on this, had planned for it, had assured his officers and his men of it, but now, the Gods had truly laid everything into his hands. The fog, the natural ambush site provided by the lakeshore, and incredibly, the utter artlessness of Gaius Flaminius. There was nothing to indicate the Roman consul had sent out any scouts, or his Libyans would have encountered them by now. Flaminius knew Hannibal was just a day’s march ahead of him, but he was leading his army into this misty valley without a shred of caution.

Forty thousand men marching blindly into their doom.

Behind Hannibal, breathless tension. No more hissed comments, not even prayers. His surroundings felt unreal, remote, secondary; his sole focus, every tendril of his being, concentrated on the unseen Roman army making its way along the coastal road, deeper into the mist, towards him, into the waiting trap. Only minutes now, and they would all be inside the jaws of death, still utterly ignorant. Only minutes until there would be no escaping Lake Trasimene. Closer came the hoof-sounds, closer came the voices; now he could hear even the scraping of iron-shod sandals on the sandy road; could make out a half-sentence or two –

Then, two horn-blasts from the far end of the shore. The trap was sprung. The jaws closed.

Cannae: Aemilius Paullus and the end

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“Servilius Geminus was dead, hacked to pieces by several Iberian swords at once. Minucius Rufus was dying, run through with a spear. The legates’ bodyguards were just being cut down along with them. Centho was dead, defending the consul, who was in a state of shock and utter disbelief. Lentulus had drifted into view and out again, shouting at him, but the words had made no sense.

Aemilius Paullus had left the dying right flank, only to die in the centre.”

Part of a new personal project of mine I’m working on in between commishs. It’ll be a while, but… stay tuned. ^^

Nine

Just a quick sketch done on, yes, a bowling alley. And yes, there is a connection. My son turned nine yesterday, and today, we invited his friends for bowling (or, more precisely, the German variant, Kegeln). The kids were having fun and they were exceptionally well-behaved, so I had some time to get some sketching done – of an equally nine-year-old Hannibal standing next to his father in the temple of Baal Hammon. That scene is going to need a stronger illu at some later date. When I’m not on a bowling alley and the light is better.

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A similarly simple sketch of Antiochos III, done last week. With reference – a marble bust in the Louvre.

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