The harp no longer sings
This is a concept that has occupied me for years, resulting in several pieces already. It’s symbolic rather than illustrative of any given passage in the text – Maglor, a remnant of the Elves in Middle-earth but excluded from his people, caught in a world of his own where music no longer brings consolation, surrounded by the ruins of the former greatness of the Noldor, whose downfall he had a part in.
I’ve never really done much with the “ruins” part of the scenario; half-hearted attempts at best, probably because I really struggle with architecture of any kind. Now, though, I’ve decided to give it another go.
This is a more refined version of the first sketch.
Here’s the lineart:
When I print the lineart, I tint the ruins in the background more greenish and very light, so that it will mostly disappear in the finished painting, and reduce the ruins to faint structures that could just as well be from a dream.
This picture is a great excuse to make excessive use of my new Cobalt Turquoise from Schmincke. For the first background wash, I mix it with Chrome Oxide Green and a touch of Ultramarine and Cadmium Yellow, and apply it very thinly with a soft brush, lighter at the top and darker at the bottom.
I then re-wet everything, and paint darker streaks, that will look like sunlight filtering through tress – or through water. I want the whole lighting here very ambiguous.
After this has dried, I use the same colours – more green here, more blue there – very thinly to paint the detail in the ruins.
To make it less monochromatic, I go in with a bluer tone, and paint the shadows in the areas between the streaks of sunlight. This is the point where my camera decides “This is all just green. Yeah, whatever.” I hope my scanner is more sensitive later…
In all the following, excuse the turquoise colour mash, please.
Next, I add some Ochre to everything in the foreground – first the structures, to suggest sandstone or a similar stone.
It gets a greenish-blue layer for shadows, to make it stand out less. I then decide Ochre will make a great foundation for the figure too. This looks very yellow now, but will mostly vanish under the greens and blues of Maglor’s clothing later, only serve as a “grounding” in the light situation around him.
Some detailing in the ground – mainly with Ultramarine and duller Indigo, but with the brush dipped into Chromoxide Green, Cobalt Turquoise, and Ochre here and there for colour variation.
Detailing on the leaves, again with the whole range of greens and blues used above.
The skin is done with Burnt Sienna, as usual, but thinned down beyond recognition with my dirty water, which is now a nice green-blue concoction, rather thick too, as it’s dried overnight. Comes in extremely useful for making any colour fit the mood of my painting.
I use the same principle with the hair tone, which is Sepia with a lot of dirty green water. The shadows are done with a touch of Indigo, too.
(Give my camera a kick here, please. Thanks.)
On the image on the right below, I’ve re-drawn the eyes and brows slightly with a Sepia marker, as the lineart was starting to dull under the paint.
Below left: Next, I put in the base tones, very light, of Maglor’s clothes. I choose a mix of Cobalt Turquoise, Ultramarine, and Chromoxide Green for his tunic, and a more Indigo-heavy tone for the cloak. The hose is just my dirty water at this point. ;)
Below right: First layer of rendering. I build the shadows up slowly, mostly with Indigo, to avoid getting too dark too soon, and adding another layer here and there to add depth.
Below: detailing on the arm guards. (I love doing Maglor’s arm guards.)
After darkening and shading, and detailing, we arrive at this.
Final touches include painting the falling petals with white gouache.