Pin designs

I can’t believe I never designed pins until now. It’s so freaking addictive!
The Maedhros pin is in production; I’m biting my nails to see it! It’s an exclusive special for my Patreon supporters. If you want one, you can still join up by March 25 to claim yours!

Others will be more openly available in the coming weeks and months, like the #Team Feanor, #Team Fingolfin, and #Team Finarfin pins. ;) I’ll be doing more too, but there’ll continue to be Patreon exclusives. It’s certainly worth a peek!

Wardens of the North

Wardens of the North. Watercolour and coloured pencil on Canson Vidalon cold-pressed paper, 16×26 cm.

Prints of this are available here! Or you can try to win one in a giveaway on my Patreon. The original piece will be available in my shop soon! Contact me if you’re interested.

I’m currently on a two-week sick leave after my eye-related headaches got less and less manageable. I’m trying to rest loads, avoid any driving if I can, and training my left eye to take over without protesting too much. It’ll take a lot longer than two weeks to get there (my ophthalmologist is thinking in years), but I hope to give myself a bit of a head start under less stressful conditions. Switching between near and far is the worst. Surprisingly, working on tiny paintings for hours works really well. Which gives me the added recreational experience of doing something that really recharges my mental battery.

And the Orcs fled before his face

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“Maedhros did deeds of surpassing valour, and the Orcs fled before his face; for since his torment upon Thangorodrim his spirit burned like a white fire within, and he was as one that returns from the dead.”

J. R. R. Tolkien, The Silmarillion: Of the Ruin of Beleriand.

Watercolour on Canson Vidalon paper, 28×38 cm.

 

I’m holding a little giveaway of a proof print of this (and others) on Patreon!

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Regular and matted prints will be available next week in my Etsy shop. Keep your eyes peeled!

 

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!

Inktober 2017

My first ever Inktober! Inktober’s rules are simple: Post a piece drawn in ink, every day of October.

Initially, I did try actual ink, pen nib, and brush. After day 2, however, I decided that my inking skills were so lacking that I was in danger of totally frustrating myself, especially after almost a year of hardly any art at all. So I decided to stick with what little comfort zone I had left, and do these pieces in ballpoint pen.

I also had the idea that sustained me throughout this month: I decided to dedicate Inktober to my personal heroes of page and screen – all the film and book characters that have fascinated me in my life.

A couple of days in, I had to ask myself: Do I want to have 31 top notch pieces at the end of October? That was my fuzzy mental idea when I started out, and I had to bury that as early as October 2nd. It was marking season; my desk was buried under a hundred exams. I thought about quitting. Then I decided to make this my personal “DO THIS” project. No matter how busy the day was. No matter how little time you have. No matter how crap the drawing is. Do it. Post it. Inktober is all about forming habits. I wanted to show myself that I could still art.

The only one I missed was 15 – we went to see Bayer Leverkusen play VfL Wolfsburg. In retrospect, I should just have done a scribble in the stadium. Today (Oct 31) I would. Two weeks ago, that prospect still felt daunting.

Here are the results, along with my thoughts and comments on each as I first posted them. You can navigate through them by just clicking on the image that’s open.

 

Inktober has been an incredibly valuable experience for me – over the last few years, with two small and then borderline teenage kids, a taxing day job and sky-high levels of exhaustion, I had a lot of excuses for not being creative. Those excuses had become so ironclad that they effectively kept me from creating for about a year. Even the things I did draw and paint were a huge effort. At times, over the summer, I felt that maybe it was time to stop being an artist. The most frightening thing about that thought was that it didn’t frighten me at the time.

I was totally sure I would never finish Inktober (as with the ill-fated Junicorn I tried one and a half years ago), so I hardly advertised it, and hardly prepared for it. Maybe that was good. It definitely took the pressure off me, and uploading even the pieces that were sub-par in my eyes proved unexpectedly cathartic.

A wonderful asset of Inktober has been the flow of positive vibes I’ve been getting through social media, talking to people about the films and books we love (and even encountering some of the authors – talking to Tamora Pierce and being shared by Guy Gavriel Kay and Tad Williams).

Thank you! <3

As little might be thought

“For Maglor took pity upon Elros and Elrond, and he cherished them, and love grew after between them, as little might be thought; but Maglor’s heart was sick and weary with the burden of the dreadful oath.”

(The Silmarillion, “Of Eärendil and the War of Wrath”)

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Watercolour and gouache on Canson Montval cold-pressed paper, A3 size.

 

A re-run of an old sketch that never took off, so I was really glad when I was asked to revisit it as a commission! My son kindly modelled both Elrond and Elros. Don’t ask me which is which. XD

Welcome to my life, Quinacridone!

A few people recommended Daniel Smith watercolours to me when I posted my last blog post. I got curious and found a place to order them online in Germany. I got myself Shadow Violet, Quinacridone Deep Gold and Indian Red (which I’d run out of anyway). The owner of the shop very kindly also included a couple of “dot cards”, watercolour paper with dried paint dots on it, which you can try out for yourself. And wow – am I hooked! Especially the Quinacridone hues are amazing – completely transparent, light-fast and wonderfully vibrant and alive.

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In the corner, I tried some Shadow Violet (with masking technique). The hues you see there are for real. Just wow.

I also got myself some Fabriano paper, as I was running out of Montval. Fabriano, for me, is a real discovery – as grainy and cottony as Arches, but without the latter’s setbacks (I could never get dark colours on Arches). Together with a new watercolour technique book by Roland Roycraft, I suddenly found myself wanting to try it all out at once – new technique with masking fluid, my new Daniel Smith colours, my new Fabriano paper, and leave out lineart and paint loosely, while we’re at it.

With all those novelties, it was clear who’d be my guinea pig.

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I still managed to totally warp the proportions (no lineart! Heeeelp!), so thanks for the miracles of Photoshop’ liquefy tool. :D

The colours are 100% original. Let’s just pretend the face looks like this too.

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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The Oath has been awakened – painting

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In painting this one, I was facing the challenge to have a lot of reds, even in the sky, and horses – which sometimes leads to dangerously girly-calendary motifs.

So far, I seem to have succeeded in not falling over on that side of the fence. I know that because my daughter, a great fan of horses and pink, keeps looking at the picture on my desk and walking away without saying a word. That’s her way of saying, “Really, mum, such lovely horseys, and such ugly colours. I’d tell you so but I’m afraid of hurting your feelings.”

Yay!

Note: The colours on the photographs deviate really far from the actual ones at times. When I used the flash, they’re too yellow; when I didn’t, my daylight lamp resulted in too bluish tones. The entire pic is too large to be properly photographed with the means I have.

The lineart is, again, pencil, scanned, tinted and photocopied onto watercolour paper. See here if you have any questions.

My daughter would have loved the first stage. I overlaid the whole pic with a warm light red wash composed of Madder red and Ochre, dabbing some paint off the horses and figures, particularly the upper parts, allowing all those twenty-eight horse legs to blend into the rest.

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Then, I added streaks of more red into the sky, and blotches of Chromoxide Green, Madder red mixed with Ultramarine, and Burnt Sienna into the ground, for the colours of heather.

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Next, some Ochre, Sepia, but my violet mix from above for the stones. Later, they’ll be lighter than the rest.

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Next, I proceed to paint more heather. I mix more Madder Red with Ultramarine, and paint the upper edges of patches of heather…

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While the paint is still wet, I rinse my brush in the orange-y dirty water in my water container, and drag the paint down with it. The jagged top edge remains unaffected, the rest…

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… is blurred and diluted.

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Patches of heather:

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I proceed to muddy the sky (and frustrate my daughter), and add a dirty wash of Burnt Sienna and Ochre to the top margin of the painting, drawing it down with more dirty water.

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The ground now gets a second wash of my violet mix with Burnt Sienna, darkening it and softening the edges of heather.

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I allow it to bleed into the horses’ legs, to merge them with the ground. A while ago, I used to cleanly separate every element of the image, and sometimes, that would result in cut-and-paste looking picture elements.

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This is a sort of middle stage, from which I can start to add layers. It’s also the sort of stage that’s already starting to look good, and which I can safely leave on my desk without cringing whenever I walk past it…

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After a good night’s sleep, I decide that the ground is too light, and add another darker layer, effectively killing my detailed heather. Which isn’t so bad. It’s still there in a blurry way, and will look very organic when I’m done.

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Now, for the sky. I rewet the upper portion of the picture, mix some dramatic dark violet (with Madder Red, Ultramarine, Indigo, Sepia, and Burnt Sienna) and paint streaks into the wet areas, allowing them to run.

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The ground is dry at this point, and I start to paint the orange shrubbery around the stones. For this, I use gouache – watercolour wouldn’t have been visible. I also redo my heather in the same way I did above.

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I then add some highlights, again with gouache, to the shrubs and stones, and paint a few stray patches of wild wheat.

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Then I go as daring as I get and use green to paint the sallow thorn and the far hills, adding a few berries into the branches.

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Now, finally, the figures. I start with some reds and ochres to see how it looks. Yup – looks good!

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I paint the figures and horses with a fair deal of island hopping, working on whatever spot begs my attention (and is dry), mostly sticking to one colour at a time, more or less.

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More detailing.

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Just to show you how small some of the bits and pieces here are… The entire piece is 65 x 32 cm. … That’s one cent, btw.

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Some final touches with white gouache to spearpoints, hair, fur.

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Finished piece and detail shots: https://goldseven.wordpress.com/2013/02/13/the-oath-has-been-awakened/

One little, two little, fifteen little Noldor

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I sat down yesterday for a reality check. Am I deluded? These all look different to me, even without their characteristic hair. So yes, they are all related (fathers and brothers and sons and daughters and cousins), so they are all immortal and ageless, and they are all beautiful in the same ethereal Elven way, and yes, there are some that are less characteristic than others. But to me, they look exactly as they should. Maybe I’ve become too much of a shepherd. Or, alternatively, it’s just that I don’t see Tolkien’s characters as wildly individual (bordering on cartoonish) as, for example, G. R. R. Martin’s.

‘What!’ cried Bilbo. ‘You can’t tell which parts were mine, and which were the Dúnadan’s?’
‘It is not easy for us to tell the difference between two mortals’ said the Elf.
‘Nonsense, Lindir,’ snorted Bilbo. ‘If you can’t distinguish between a Man and a Hobbit, your judgement is poorer than I imagined. They’re as different as peas and apples.’
‘Maybe. To sheep other sheep no doubt appear different,’ laughed Lindir. ‘Or to shepherds. But Mortals have not been our study. We have other business.'” — The Fellowship of the Ring, J. R. R. Tolkien

Or, in the words of the immortal Hiro Nakamura and Ando Masahashi: “They all look the same to me.” – “That’s racist!”

The Drawing of the Sword

(Drawing the Drawing of the sword always results in semantic weirdness.)

It was in early 1994 that I realised this scene was one tough cookie. Two Elves, one at an arm’s and a sword’s length from the other? That means a bit of Elf at the margins of a picture and rather a lot of nothing in the middle.  I realised that this was an iconic scene from the Silmarillion, but I abandoned the project after this quick sketch.

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(Yes, I was under the impression that Fingolfin was blond.)

One and a half years later, I was doing my first ever watercolours, and I had found out that Fingolfin was dark-haired. I also found that a wider shot would solve part of the problem. I probably realised, theoretically, that foreshortening was called for, but this is 1995 we’re talking. No foreshortening in 1995, no, sir.

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So, this year, I took on a commission of this precise scene and knew I would have to deal with foreshortening and some clever positioning.

In the first sketch, I still had to resort to a carefully draped cloak in order to cover up my foreshortcomings. Then I got some terrific help from the guys at comicforum.de, and managed to pull the pose off sufficiently for me to go with.

A progress shot from the lineart proper: Underneath, you see the sketch printed out in pale yellow, so I can filter it out later.

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Second progress shot.

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Final version of the lineart (plus some parchment texture):

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Left to right: Finwë, Fingolfin, Fingon, Turgon, Argon, Fëanor, Maedhros, Maglor, Celegorm, Curufin.

Now for the Painting of the Sword!

… or, how to avoid cluttering up mass scenes. On your second attempt.

In this painting, I have such an amount of detail in the lineart that I have to be careful not to kill the picture with it.Let me give you a fun example of how *not* to do it, from exactly ten years ago when I still signed my pictures with PJ: Messy goblin battle

Why is the colour job in that one such a train wreck? Because I didn’t know yet that the sharpest contrast of an image goes where you want the viewer’s eye to dwell. And only there. Contrast draws the eye. And light and dark contrast draws the eye most. Dark and light contrast across the whole of a picture draws the eye in a sort of crazy polka from which it will want to break as soon as possible and leave the dancefloor. Permanently.

There are loads of ways to avoid this; here is one that works really well with any medium, but requires a bit of planning beforehand. In fact, I had planned this even before I drew the lineart. In even more fact, this only worked to full satisfaction on the second attempt.

My first stage is nothing unusual if you know my workflow: An even layer of a single colour covering everything, to tie the eventual colour scheme together and avoid glaring white highlights that tear the finished image apart. I choose a mix between Yellow Ochre and Sepia with a bit of Cadmium Yellow.

While the paint is still wet (rule of thumb: wet enough to glisten on the paper, not so wet as to form puddles), I go in with a tissue and dab off the paint from the areas that’ll need to stand out later, like Fëanor’s and Fingolfin’s faces, and, most definitely, the sword.

Please note: Sometimes, the colours in the photos here are pretty far away from the actual ones, especially the later images. Too much distraction and not enough light for my silly old digicam.

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This is the finished first layer with the faces dabbed lighter:

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I want the statues to be lighter than the background, to look like alabaster (and discourage any go-go-girl connotations). Therefore, I paint the background behind everybody slightly darker, but still translucent.

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Now I’m going to make sure that all the detail in the background, while still being noticeable, will not distract too much from the foreground.

To that end, I mix a duller colour with more brown, and paint the background figures and arcs with a uniform layer that only leaves out the alabaster statues and the foreground figures.

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So we’ll cleanly separate the different grounds – fore, middle, and back. I also add some handsome splashing to the bottom of my darker figure layer, which will stay even when all the rendering is done, to serve as “lost edges”. If you’re unfamiliar with the concept of lost edges, read what the great Mattias Snygg has to say about it.

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Now, the detail is still there, and we have an image that is well readable and ready for the next stage – colour.

I then made a mistake. Th idea was to force myself to stay light in the background, so I went against watercolouring etiquette and started with the darkest part of the background figures – their hair. That way, I had something to check every other colour against – nothing must get darker than the hair. The idea was good, but the choice of material was not. I used liquid watercolours, as I have for months now – and they tend to cake up, and lose all of the lightness and transparency that a watercolour should have. And that’s what happened here.

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After the stage above, I added a second layer of detailing to the background figures – which killed the piece. Beyond redemption. No matter how lightly you apply liquid watercolours, they always come out more opaque that watercolours from tubes or pans. With my latest pictures, that never bothered me enough to actually scrap a painting, but here, it was inevitable. The second background layer became too dark, killing the detail, clogging up the lineart, and making it almost impossible for me to get the foreground darker and still more detailed than the background.

Before I started painting Fingolfin’s tunic and hair below, I already realised the painting was lost. The foreground didn’t stand out against the background figures any more – they already were too dark.

Lesson learnt: play to the strengths of your materials. Use tubes where you want light and feathery colours. Use liquids where you want it dark and don’t mind opaqueness.

When you arrive at a stage where nothing will save your painting, you take it between two thumbs and forefingers and close your eyes, and only open them again after you’ve heard that RAAAAtttttsch! sound. Makes it easier. Good thing I still had the lineart.

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I started anew and went back to this stage above. I used only watercolours from tubes this time, which really avoided that caked look.

This way, instead of doing the light background first and then forcing me to go ever darker in the thing that was more important in the painting, I started with the foreground – so Fëanor and Fingolfin would determine how light the background would have to be. A terminus post quem non, so to speak.

I started with Fingolfin’s tunic, with a wash of Ultramarine damped down by a touch of Indigo and Madder red, leaving lighter some edges to the right, where the light hits. I then mixed some Sepia with Indigo, Burnt Sienna and Madder and started on Fingolfin’s hair, still using only tube-paint.

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The picture below shows the second, darker, detailing hair layer.

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Then comes a part that’s both very laborious but still rather meditative. People are often amazed how I can have so much patience with patterns. Well, I could never understand why people paint Mandalas! But I suppose it’s much the same.

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After the mandala, sorry, tunic-pattern painting. You’ll see I’ve also added some light skin tones (Burnt Sienna with Madder), and started detailing the beads in Fingolfin’s hair.

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You’ll notice when painting around the patterns with darker colours I didn’t pay much attention to light and dark, leaving the tunic more flat-looking than in the first stage. So, more shadows are in order. For that, I now use some liquid watercolours, to make the colour more solid and dark. Rendering is easier with liquid watercolours, I find. I add quite a lot of purple to the mix, and start at Fingolfin’s right arm.

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And this is what the finished tunic looks like:

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I then mix in some darker brown and purple and give the hair the same darker treatment, adding depth and shadow with liquid watercolour:

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Then, some detailing on the belt, with Sienna and Ultramarine.

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Fingolfin is finished. Time to tackle Fëanor. The overall colour scheme will be blue for the Fingofinians, and red for Fëanoreans, so I start with an oxblood colour on Fëanor’s tunic, mixed from Madder red with some Indigo and Sepia. Tube paints, of course, for transparency.

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I then mix much the same colour, plus some darker purple, for the shading – in liquid watercolours for rendering:

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Some detail work that I tend to get lost in – hence, no in-progress shots for the metal parts and plumes on his helm. The paint dries so fast that I can work on the next layer almost immediately after painting the first, so I rarely take photos in between. All the colours below are again tube ones.

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Some more work on this clothes. I’m undecided with the cloak at this point; I want to make it very light to have Fëanor stand out even more, but for that, I have to check back with the client, so I leave it for the time being. I just add some very delicate gouache to lighter bits on his greaves and other shiny details:

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So the foreground figures are as finished as I can make them for the time being, and this is the overall result:

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With just a hint of Bunt Sienna and Madder red (tubes, of course, for transparency), I then do the faces in the background, leaving out areas where the light hits. They won’t get a shadow layer at this point. Just a single colour/rendering layer. I can always get darker later if I think the pic can handle it, but I can’t get lighter, as I found out the hard way on the first attempt.

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After the faces are painted, I use an extremely light (tube!) layer of Sepia for the hair. And some Burnt Sienna for Maedhros, and some unidentifiable mix for Celegorm, so everybody can pick out a hair colour for him and be happy…

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Next, the sons.

I’ve just bought a very nice tube of Cobalt Turquoise, which is blue enough to qualify as “Fingolfinian” but still very different from what Fingolfin wears, and I use it gratuitously on Fingon, Turgon, and Argon, adding a hint of gold here and there to keep them from becoming too monochromatic.

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The Fëanoreans get a similar treatment with Madder Red and Burnt Sienna, with a touch of purple and gold here and there. Mainly water on the brush, with just a spot of paint, avoiding the mistakes from the first attempt. And all tube paints, of course.

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Next, I do the statues with a very dull mix of Sepia, Madder Red, and a touch of Ultramarine, only painting very light shadows.

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Next, I splash around with rather a lot of purple tones on Finwë. Some redder, some bluer, to show how torn he is between the followings of his sons.

In the end, Fëanor is given a pale gold cloak, and some minor touchups to shadows and such follow… and we’re done! Please click for full view. :)

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Ahem… and as I frequently do when a new year begins, I changed my signature. People keep telling me to include “Dolfen” somewhere; and I keep finding that my previous “Jenny+Year” was fine for pencil but difficult to do with brushes.

Detail shots:

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So, I wish you all a Happy New Year! Drawing Runes this New Year’s Eve brought me Isa, Ice, the Rune of Stagnation. I suppose there can be worse things than stagnating on the level I’ve reached last year (brought to you by Inguz, Rune of Fertility, drawn a year ago). Better than the Rune of Bottomless Plummet or something.

Spirit of Fire

Added just a bit of colour to the Hobbit Feest sketch of Fëanor.

 

 

And started a new sketch that I’m sure Maedhros knew he couldn’t hold off for ever…

Thinking of treating this a lot rougher, colour-wise, than I usually do. Possibly with a wash like above, maybe even charcoal, ink, acrylics – not decided yet.

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Loads of leisure at school to scribble stuff in between lessons!

Maedhros trudging back to his own people after his rescue and recovery;

Maedhros being welcomed by his brothers with what borders on exuberance (for guilt-ridden Fëanoreans),

Fëanor in full armour. And a horse. No, I don’t know what it’s doing there. Except maybe demonstrating that a horse without a head is indeed a perfect square.

Maedhros searching for the sons of Dior

“And the cruel servants of Celegorm seized his young sons and left them to starve in the forest. Of this Maedhros indeed repented, and sought for them long in the woods of Doriath; but his search was unavailing, and of the fate of Eluréd and Elurín no tale tells.”

A commission for the wonderful Erin, who always supplies me with the greatest of subject matters. <3

Loughborough Pictures

My first exhibition!

And look! I’m on the BBC!

 

My stand. I realised later that it was a weird mix of artists alley and actual stand. This was on the first day; I still had prints!

Jay Johnstone setting up his stand. Now THAT is a stand. I was taking mental notes on how to present myself properly.

Simo, alias Lathron, in his Elven armour that he forged himself. I wish I’d badgered him into doing another somersault that I could take a picture of. But be assured, he did do one; that armour’s very flexible.

Anke Eißmann, who shared a table with me, in the process of sketching Sherlock fanart. ;)

These two had a beautiful stand doing Elven calligraphy.

It was wonderful to see even older fans of Tolkien dressed up and generally sharing all the same enthusiasm.

Before Saruman went to subjugate the Shire under the name of Sharkey, he seems to have tried out Rugby at Lufbra Uni. Judging by the amount of trophies he gathered, it’s surprising he didn’t stick to it. Maybe it was because they always misspelt his name on the jersey.

Malcolm, winner of my purely personal Funniest T-shirt Contest. And generally a wonderful bloke.

Shaun Gunner, deputy chairman of the Tolkien Society and in charge of organising the Return of the Ring event. And yes Shaun, you’re everyone’s favourite! Deservedly.

Nancy Martsch, Ruth Lacon, Ted Nasmith, me, and Anke Eißmann at the “Illustrating Tolkien” panel.

Ted answering questions.

Ted looking at my portfolio. We had a lot of fun discussing lack of backgrounds and lack of characters. It was something I mentioned at the artists panel – that men seem to be focussing on the landscapes and women on the characters.

Me at the watercolour workshop.

Getting ready for the Traditional Knitted Dwarf Toss.

Close-up of the Knitted Dwarf.

A huge Smaug cake that was presented on Saturday night. It was delicious, too.

Ted Nasmith, Alex Lewis, and Lynn Whitaker singing Tolkien-inspired songs. One of my absolute highlights.

Breakfast time with the Dragon Vert Tolkien-reenactment company.

A seamstress from Le Dragon Vert working on a Bayeux- inspired tapestry depicting Éomer.

A setup at camp that just caught my eye.

Farewell to Lufbra. These are the student accommodations, and all in all, they’re about twice as big as the village I live in. I’d never seen such an incredibly large University.

Here are some of the quick watercolour portraits I did over the weekend:

Treebeard

Fingon

Rosie Cotton

Guess who. :D

Another Fingon.

A hobbit I did for Shaun. He said that people seem to draw hobbit feet far too large, and also told me that he had very large feet. So there.

Éowyn.

There will be blood – painting

Run, little Orcses, run.

I’m proud to announce that I have found the paper/paint combo that I will stick with to the end of days. Doc Martin’s liquid watercolours – no surprises there – and Canson Montval. The Canson students’ paper is good, but tends to cake up under too many layers of paint, and dries too fast. Enter Canson Montval. Handles like my beloved Hahnemühle BUT allows you to go really dark in the shadows without caking up. Auta i lómë!

Ahem.

I documented the painting steps for this one, and instead of giving them all chronologically, I put them together sorted by face/hair/metal, which made a lot more sense here.

Colours used: Permanent Red; Indian Red; Alizarin Crimson; Yellow Ochre; Cobalt Blue; Payne’s Grey; Burnt Umber; Burnt Sienna. All very much mixed beyond recognition.

The colour used for the face here was dulled rather a lot by some Payne’s Grey. It’s hardly noticeable here, and that is good – if I hadn’t done it, he would have stood out against the dull greys everywhere. The shadows have got great amounts of Alizarin Crimson and blue tones.

The hair was done in my usual way: Laying down a base glaze of reddish paint (again with rather a lot of cold blues added), with more water used in spots where the light hits. Then, after drying, the second glaze, picking out the darker strands.

For the armour texture and reflections, I got one of my dearest reference books off my shelf: “Söldnerleben im Mittelalter” (The Medieval Soldier), by Gerry Embleton and – John Howe. With John Howe actually posing in fifteenth century armour.

The key to doing believable metal in any medium is a mix of sharp edges and high contrast. I can’t say I’m that good at it, but I do my best.

Edit: Several people pointed out that the red of his tabard should reflect on the armour; so I added a bit of that in the finished version. You’re right, of course.

Some detail shots:

There will be BLOOD. (sketch)

Maedhros told me, in that very subtle and persuasive way of his, that he wanted a powerful painting. Not fluffy. No get well swords. No kick ass ivy. And by all means no barbed chains. He was okay with stump, though. demanded it, in fact.

I imagine that this is after he has just been notified of Morgoth’s assault in what is to become the Dagor Aglareb. And he feels the reckoning has finally come.

Talking of the Dagor Aglareb, and Maglor’s Gap being overrun – again – in the process, does anyone else feel Maglor is something like the weak link in a game of Red, Red Rover? In Germany, we used to play this (as “Der Kaiser schickt Soldaten aus”), and they’d always try to break through where I was standing, because I was small and thin and wore glasses. Morgoth must have picked Maglor as the same sort of kid.

I did better at the game than Maglor though; everybody was always surprised at how firm my grip was.