The Hunt

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The Hunt. Watercolour on Canson Vidalon paper, 19×39 cm.
Finrod Felagund joins Fëanoreans Maedhros and Maglor on a hunt in Eastern Beleriand. (Click to enlarge!)

After slowly easing back into art again with Inktober and the smallish and whimsical Newt Scamander piece this month, I felt ready to tackle a larger piece again. At first, I actually started it with gathering tons of reference, pasting and lightboxing horses and riders I’d photographed at reenactment events – and then I scrapped all of that and started the first stages loose, without reference, without correct anatomy, just to make sure it flowed the way I wanted it. (Much as I admire reenactors, they don’t flow. At least I can’t photograph them that way.) And suddenly everything just clicked into place again, the way it already had with the Newt piece. I then checked reference and reworked the figures and horses, but I’d once again found what truly makes me happy with my art.

Canson Vidalon paper proved a great choice for this. Its cottony texture allows very soft washes and keeps everything rather light; you really have to work hard for your darks and be very deliberate where you want them. The magnifying glass made another appearance, too. The detail shot below tells you just how small those faces are.

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Matted prints of these will soon be available in my Etsy shop – watch social media for more info.

A lot has been happening on Patreon recently! Ten new people have joined us, there’s been a giveaway for calendars and Inktober art, a livestream of painting this one with a Q&A, and the timelapse video for this one is available for my Patrons as well. Ever thought of joining, too? Take a peek!

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Ser Loras Tyrell (More experiments: acrylic gouache)

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The Knight of Flowers.
Turner acrylic gouache on Etival cold-pressed paper, 20×30 cm. 

This piece was done for a scholarly work titled “The Heroic and Chivalric Codes of Westeros”, by Dr. Carol Jamison.

It’s also another media experiment. This time, I gave acrylic gouache a go. It’s something that a lot of people have never heard about (and that a lot of stores don’t stock), but it’s actually really, really cool as it combines several features that I like about both watercolours, and acrylics, and gouache.

  • When applied thinly and with much water, it looks like watercolour.
  • It dries to be water-resistant, so it allows glazing (unlike gouache). That also means it dries on your palette, so you need to work with porcelain palettes rather than plastic. Fortunately, a little drop of paint goes a long way, so it’s not much of a waste.
  • In thicker layers, it becomes opaque, but you have a lot of control over how opaque you want it.
  • Even in thicker layers, you don’t get the flaky stuff you tend to get with gouache, unless you want to get very, very thick.
  • When dry, the pant looks matte, like gouache, but unlike acrylics (which is why I don’t like thin acrylics – just don’t like it shiny).

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Left: I did a lot of detail and shadows first (unlike with watercolour, where you’d do those last) and then glazed over the detailing with thinly diluted colour washes; the detailing remains intact.

 

The end of a realm, of a world, of a dream

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“Jenny bowed her head again. For a moment, the rough clang of blade on blade filled her ears. She remembered that noise, and the cry of the dying, atop a high hill beneath a scorching sun. Black armor and a bloody blade. And the battle. Such a battle, one worthy of the world’s ending. And hadn’t it been? The end of a realm, of a world, of a dream…”

Watercolour and gel pen on Fabriano paper, 28×38 cm.

The battle of Camlann – the calm before the storm. From an upcoming novel by Paul Leone, merging a Victorian vampire tale with Arthurian legend.

Prints here!

It’s been a crazy summer, with a lot of unforeseen stuff that ate up my summer holidays completely. This is the only full painting I got done during that time, which is slightly frustrating, but it’s also another bit of proof for my conviction that breaks in your art transform you. Months ago, I resolved to try a softer approach to colouring than the one I had developed over the last four years (not fully intentionally either). I tried it, but it didn’t work – I just slipped back into old habits. Now, after three months with virtually no painting, it was incredibly easy to incorporate new habits. So – the break was a good thing in the end.

Well-rested, well-fed, well-oiled

Late December 218 BC. Hannibal’s army has recovered from the ordeal of crossing the Alps, and unwritten laws of ancient warfare say that this is the time to move to winter quarters. Hannibal, however, can’t – he’s in enemy territory; neither is the Roman consul Servilius willing to wait for warmer weather. He wants a military success before his term ends, and he is not overly worried about the Carthaginian army, thinking the weather is worse for the Africans than it is for the Romans. Hannibal, with his inferior numbers, plans to make good every tactical advantage he can, and to force the Romans to fight tired, hungry, and frozen to the bone. Romans and Carthaginians are encamped at opposite banks of the river Trebia.

Just before sunrise, Hannibal went on a walk around the camp with Maharbal. Several units still looked bleary, cursing the cold, but most were already at breakfast, and wherever Hannibal appeared, the men did their best not to cut a bad figure before their commander.

The Numidians were in the process of rubbing themselves with oil that Hasdrubal had distributed among them the previous night. They would cross the Trebia to draw out Sempronius, and bait him across the river. They were sitting around fires, huddled under blankets, and did their best to drown out their chattering teeth with the loudest and self-assured banter possible.

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Warning: terrible proportions.

“The only g-g-good thing,” one of the men shouted to Hannibal and Maharbal, “is that the river c-c-can’t be any colder than the Alps!”

Hannibal grinned as he joined them at the fire. “I hate to tell you this, Gaia,” he said in Numidian. “But I’m afraid this’ll be colder. At least you’ll have something to do to get warmed up again this time.”

“Hurry up with your breakfast over there!” another man shouted to the Punic camp as he was pulling his chiton back over his head. “We’ll get you some Sempronius for afters!”

“No unnecessary heroics, Gulussa,” Hannibal warned. “Draw them out and get them to follow you into the river, but don’t let them get you.”

“No worries,” Gulussa replied. “They can’t get us, we’re too slippery.”

They all laughed, and Maharbal added, “Be careful not to slip off your horse, Gulussa.”

Maharbal turned away with a suppressed grin, and Gaia roared with laughter. “Too much information.”“I can’t!” the man chuckled. “I didn’t oil my thighs on purpose. That’s where my horse’ll keep me warm.”

Hannibal gave Gulussa a clap on the shoulder. “Think a few warm thoughts, but keep them to yourself. I’d like to keep my breakfast to myself, too.” He wiped his hand on his cloak. “Bah. Yes, I think the Romans won’t get you. Good luck.”

More Hannibal

I’m gradually warming to the idea of doing more with this – a Hannibal graphic novel; now that would have been a childhood dream of mine…

I’ve just come back from five days with my parents, which were largely spent drawing. First up, a dump of some sketches – Hannibal in the Alps, an age-up trial of Hannibal at 28 and at 64, an elephant, and a Numidian.

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Hannibal says good-bye to his wife Imilce and child before he leaves for Rome. History never talks of her again and it’s likely that she and the child died before the war ended.

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In the command tent after midnight, Hannibal fine-tunes tactics. (If you’re familiar with ancient warfare, the battle line might look familiar – it is to become the Battle of Cannae. (“I think I’ll move the center forward – that will lure the Romans in…”)

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Hannibal on horseback, on the march to Italy. I’m having an almost indecent amount of fun mixing and matching Greek armour, Iberian saddle and tack, Hellenistic head piece, and Iberian and Punic design elements on clothing.

The scar on his thigh was from the siege of Saguntum.

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Hannibal, 15, sees his first Romans. They come to his father in Spain, demanding to know what the Carthaginians are doing in the country. Hannibal clearly feels this question is none of their business.

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Tolkien-Tag am Niederrhein

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I spent the weekend at Tolkien-Tag am Niederrhein (Tag being the German word for day; just in case you thought it was a weird game of tag, you’re it.)

Had a bunch of very nice conversations and a drawing workshop, and sold a couple of prints – and got some art done! It’s always a good idea to sketch while I sit at my stand. I don’t know why, but people will never believe that I drew these things I’m selling. And even if I tell them, they’ll assume I’ll just “print them out” or, hilariously, “Do you draw those freehand? Or do you use… stencils?”

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Yup. Never go anywhere without my “Finwë dying in Fëanor’s arms” stencil.

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I also did two more sketchbooks. The left was a commission, the right one is for sale. Any takers? I’ll make it 35 € instead of the usual 40 for sketchbooks because it wasn’t a free prompt. And because Éomer’s hand is a bit wonky.

The Oath has been awakened…

Finished piece (here’s the process). The post was becoming so long that I decided not to hide the finished image at the bottom!

Click to enlarge!

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‘A Silmaril of Fëanor burns again in the woods of Doriath’; and the oath of the sons of Fëanor was waked again from sleep. For while Lúthien wore the Necklace of the Dwarves no Elf would dare to assail her; but now hearing of the renewal of Doriath and of Dior’s pride, the seven gathered again from wandering…

Detail shots (click to enlarge):

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