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).
Drawing Morgoth.
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!
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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.)
Jenny Dolfen Art 
