They’re all available in my Etsy shop now!
I’ll be making a few others over the summer. If you’d like to get a say in which ones will be made, please check out my Patreon!
“She was chosen because she had not feared the heats of Laurelin, and was unhurt by them, being from the beginning a spirit of fire, whom Melkor had not deceived nor drawn to his service.”
Arien was modelled by my lovely daughter and me. Now she wants to cosplay her. XD
Prints available here!
“And his heart was filled with longing”, watercolours on Bockingford Torchon paper, 21×31 cm. Tuor by the sea.
This started out inspired by a line of the “Book of Lost Tales” as I was re-reading/listening to John Garth’s “Tolkien and the Great War”, and ended up being what I feel whenever I’m in Cornwall.
Wardens of the North. Watercolour and coloured pencil on Canson Vidalon cold-pressed paper, 16×26 cm.
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 their eyes met”
Tuor and Idril in Gondolin.
Watercolour on Legion Stonehenge cold-pressed paper, 31×19 cm.
I’m getting closer and closer to the feel that I’ve always wanted to achieve in my art, and, starting a few months ago, finally began to reach. This is another piece squarely along that road!
Elros and Elrond were taken captive, but Elwing with the Silmaril upon her breast had cast herself into the sea. Thus Maedhros and Maglor gained not the jewel; but it was not lost. For Ulmo bore up Elwing out of the waves, and he gave her the likeness of a great white bird, and upon her breast there shone as a star the Silmaril, as she flew over the water to seek Eärendil her beloved.
The Silmarillion: Of the Voyage of Eärendil and the War of Wrath
Watercolour and gouache on Canson Vidalon paper; ~26×35 cm.
Video of this soon on Patreon, along with print discounts! Take a peek :)
“Again therefore in his pain Maedhros begged that he would slay him; but Fingon cut off his hand above the wrist, and Thorondor bore them both back to Mithrim.”
Watercolour on Canson Vidalon cold-pressed paper, app. 22×31 cm.
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.
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!
Some Silmarillion in between, though at least slightly inspired (as probably shows) by Star Wars – ever since I saw Kylo Ren’s costume, I felt Fëanor would really look great in a high collar and flowing coat-tails. I’ve put him in black and gold before, so that was something that always belonged to him, for me.
And though you might say otherwise, the hair is 100% Fëanor, too. ;)
Gold leaf (22 karat, a slightly paler colour than the 23 karat I usually use):
Watercolour, gouache, and gold leaf on Canson Montval, 42×30 cm (painting itself an inch smaller).
Original available here
Prints with gold leaf available here.
“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”)
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
20×29 cm, watercolour and gouache on Schut Terschelling hot-pressed paper.
“But many refused the summons, preferring the starlight and the wide spaces of Middle-earth to the rumour of the Trees; and these are the Avari, the Unwilling, and they were sundered in that time from the Eldar, and met never again until many ages were past.”
This started as a character prompt on Patreon, and ended up being painted purely for the fun of horses and Maedhros and Maglor. I just love these two and am not ashamed of it in the least.
21×30 cm. Watercolour and gouache on Canson Montval cold-pressed paper.
Finwë and Míriel walking on the shore of Lake Cuiviénen. In the background, the other Eldar with their spouses; only Elwë is alone – yet…
Watercolour and white gel pen on Canson Montval cold-pressed paper, 40×29 cm.
A quick and fun portrait of Finrod Felagund, drawn on a class trip and painted with Daniel Smith & Schmincke watercolours on Canson Vidalon paper. (I just love that rough texture.)
Beautifully matted prints available here.
Last of all Húrin stood alone. Then he cast aside his shield, and wielded an axe two-handed; and it is sung that the axe smoked in the black blood of the troll-guard of Gothmog until it withered, and each time that he slew he cried: ‘Aurë entuluva! Day shall come again!’ Seventy times he uttered that cry; but they took him at last alive, by the command of Morgoth, for the Orcs grappled him with their hands, which clung to him still though he hewed off their arms; and ever their numbers were renewed, until at last he fell buried beneath them. Then Gothmog bound him and dragged him away to Angband with mockery.
Thus ended the Nirnaeth Arnoediad, as the sun went down beyond the sea. Night fell in Hithlum, and there came a great storm of wind out of the West.
The Silmarillion: Of the Fifth Battle
Full step by step tutorial can be accessed at Patreon! :)
Maedhros therefore, being in anguish without hope, begged Fingon to shoot him with his bow; and Fingon strung an arrow, and bent his bow. And seeing no better hope he cried to Manwë, saying: ‘O King to whom all birds are dear, speed now this feathered shaft, and recall some pity for the Noldor in their need!’
J. R: R: Tolkien, The Silmarillion: Of the return of the Noldor
Watercolour and Ecoline on Canson Vidalon cold-pressed paper, 23×33 cm
Sorrowful was their meeting in Tasarinan; for Finrod was lost and Angrod too, and never more would Aegnor walk beside Andreth Saelind beneath the green leaves of spring. ~(Paul Leone, the commissioner of this piece)
You’ll remember this one of Finarfin being reunited with his daughter Galadriel around the War of Wrath. I redid it as a commission – as you know, the old version was coffee, and it wouldn’t be a good idea to hang it on a wall! :)
On my latest workshop, so many people were doing terrific things with masking fluid, so that I decided to give that another go as well. I used it for a layered look of negative space throughout; here you can see how:
This is a commission I took on last November (…!), for a wonderful guy and one of the greatest clients I’ve ever worked with. He wanted a painting of Fëanor holding his slain father, and the scene quickly evolved from there.
As usual, the fist sketches I made were digital, so I could shift around elements and try out what looked good where – digital thumbnailing. In the margin, quite a lot changed; the centre was pretty clear for me right from the start. Only Fëanor’s head went all over the pace during the sketching phase.
At this stage, I took it to pencil and paper, lightly sketching out Fëanor and Finwë.
In the end, I had everything where I wanted it (and had corrected Fëanor’s leg and Finwë’s head wound). For the centre image, I had been working in A4 format, which I find easiest to handle. (Especially on a desk otherwise overflowing with unmarked exams – school really kept me away from drawing for the better part of 2013. But you probably noticed that from the absence of pictures this year.)
I then started on the background. For this, I printed out the centre piece on an A3 sheet of drawing board, in light orange, so I could filter it out digitally later and put the two different elements together but was in less danger of smudging anything. I wanted the centre piece there with me, because the entire piece was to have a unity (Fëanor was to be in direct eye contact with Morgoth across the different picture elements, and later, I continued certain flow lines across the borders- such as Fëanor’s clothing continued in Manwë’s clothing behind Nienna).
Outlining the Valar. Ungoliant would be redrawn completely – she looks absolutely wonderfully terrifying, but I assembled her wrong – the legs are attached between the head and the main body of a spider, not on the main body. I can’t believe I studied spider anatomy for this image, and actually desensitised myself (huge arachnophobic here) enough to be able to google wolf spiders and draw them as terrifyingly as I could make it. Incidentally, the desensitising effect was enough for me to clean the basement floor for the first time since we moved into this house. If I’m feeling particularly daring, I might scrounge up the courage to pack up the spider-infested tent that has been lying around in the laundry room since last September.
Apart from arachnophobic concerns, another huge topic was how to portray the Valar. I’m really glad that the client gave me completely free reign with this. I had a hard time finding back to my view of some of them – I’ve seen entirely too many Morgoths, Mandoses and Manwës looking entirely too pretty. Many will disagree with me for Manwë, and feel free to, by all means – I know that “they took the forms of the children of Ilúvatar”. And yet, Tulkas has a beard, and when I first read the Silmarillion, I imagined the Valar like Greek or Norse Gods, with Manwë definitely in the tradition of Odin and Zeus.
Fun fact: Nienna, for me, has always looked like the woman in the video of “Babe” from Take That. The song was in the charts in 1993, while I was reading the Silmarillion excessively during my last year at school, and the video featured a solder coming home from a war (?) in a wintry landscape, where a woman clothed head to toe in some sort of black gauze was walking through the ruins of a Russian palace covered in snow, usually with her head in her hands. I’d never been much of a Take That fan (my teenage tastes were rather unusual – Maedhros, Hannibal and football players instead of Mark Owen and Gary Barlow), but the video fascinated me visually. And gave me a clear vision of Nienna.
Next up: Watercolours!
This commission really took me some failed attempts – I couldn’t get two people and a harp to work without reference.
It only worked when I grabbed my husband and daughter and had them pose for a few reference shots. My daughter’s cutely contorted feet then made it into the drawing. The harp ought to go between Elrond’s legs, I know – but hey, Maglor still has a lot to teach him. And I really, really had to keep those legs.
And finally, a light watercolour wash (that still took age to dry last night – the humidity was so high that it took over an hour. I had to resort to the hair dryer!)
I doodled a very nice Fingon and Aredhel into my sketchbook yesterday – with coloured pencil, which yielded some really charming results. I decided to try watercolour on top of those – only to realise that my coloured pencils were water soluble.
So I printed the sketches out on watercolour paper again, and got to work, spraying the entire paper with water and then laying down a Quinachridone Gold wash.
A bit of flesh-tint with Burnt Sienna and Madder Red.
Some Ultramarine for the shadows.
More reddish and bluish tints. I really like this effect. Maybe next time I try this technique, I won’t do it on a character with dark hair.
Painting the hair with Ultramarine, Madder, and rather a lot of Shadow Violet.
Some final touches with paint, and later some more with Polychromos and white gel pen.