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Bigfoot hanging out in the woods.

painting for my Cryptozoology alphabet book
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"For they came to the seat of Morgoth in his nethermost hall that was upheld by horror, lit by fire, and filled with weapons of death and torment. There Beren slunk in wolf's form beneath his throne; but Luthien was stripped of her disguise by the will of Morgoth, and he bent his gaze upon her. She was not daunted by his eyes; and she named her own name, and offered her service to sing before him, after the manner of a minstrel. Then Morgoth looking upon her beauty conceived in his thought an evil lust, and a design more dark than any that had yet come into his heart since he fled from Valinor. Thus he was beguiled by his own malice, for he watched her, leaving her free for awhile, and taking secret pleasure in his thought. Then suddenly she eluded his sight, and out of the shadows began a song of such surpassing loveliness, and of such blinding power, that he listened perforce; and a blindness came upon him, as his eyes roamed to and fro, seeking her."

--The Silmarillion, of Beren and Luthien

How to draw a god; step one, accept the inherent futility of the endeavor; that anything you do will inevitably fall far short of conveying the power, terror, majesty and general 'godliness' of your subject.

One of the greatest difficulties in depicting gods (whether the valar of tolkien's world or the ancient greek/roman/nordic deities upon whom they are largely based) in a way that feels right and consistent with their character, stature and abilities, is that the gods are usually not that consistent in these things themselves, ranging wildly in their scale and their impact from the cosmic and metaphysical to the extremely temporal, even human (Melkor for example is the reason the world has clouds and winter snow, but  somehow he can't destroy the Trees of Yavanna by himself, and apparently you can hurt him with a steel sword, go figure) In Melkor's case, Tolkien at least seems to have tried to offer some rationalization for his devolution into an ever smaller and pettier entity (unlike the authentic myths of the greeks or nordics, which rarely obligate themselves to making any kind of sense) Morgoth is said to have lost his ability to leave his physical form like the other valar can do, presumably from his continued pouring forth of his own power and divine grace in an effort to establish himself as temporal god-king on earth. His fall into evil (or rather his discovery/creation of it) seems to have been chiefly motivated by that same force which in many religious traditions draws people (and angels) away from the will of God, Ego. Melkor wants to be his own master, he wants to be God unto himself, and have power over others. In this respect he is not so different from "evil" men - either of tolkien's fictional world or of our very real one - who hold themselves as all-important to the point of having no qualms about dominating and subjugating others. He is in some ways the original sociopath, believing all others to be either enemies or pawns for his uses, and having no love except for himself. If Melkor, his motivations and his ultimate trajectory says anything about evil, it is that, even in it's divine origin, evil is indeed stupendously banal; one of the first things that strikes about his "vision" (if he might be said to posses one) is just how limited it is, seeming to be motivated mainly by small-minded anger and jealousy, directed at increasingly smaller targets (first at God the father, then his fellow Ainur, and eventually down as far as elves and men) his only creations are perverse ripoffs, mockeries and re-appropriations of what others have done (though, to give credit where credit is due, dragons are irrefutably kick-ass ;)) I wanted to portray him, despite his goliathine stature, as appearing somewhat small and shrunken in his own trappings; the sharp spires of his Iron Crown rising to ridiculous heights, beyond any sense of scale or proportion, dwarfing the wearer. I imagine that, when finally uncrowned by Eonwe, the last power he could put forth to cause himself to appear beautiful or even formidable dissipates, leaving something that looks like a cross between a leper and a full body burn victim, the poison of his malice having indeed spoiled the jar it was kept in.

despite this, and despite being locked by this point into one form, morgoth is still a Vala, and still possessed of tremendous powers of both force and persuasion which make him a nigh unassailable adversary for the Children of Illuvatar. I imagine that, while unable to "go unclad" or to appear fair, as he did with the noldor in valinor, he is still capable of presenting different "versions" of himself suited to different audiences (like the many, many faces of Gary Oldman's Dracula) he emerges for battle with Fingolfin an armored titan, and appears before Hurin as the overlord of all creation, incontestable in his might, wisdom, and authority. His appearances are varied in their scale and their intended impact, but all conforming to a unified will and vision. here I thought he should appears as the Seductor; striding forward to meet the young, pure elven maiden like some dark prince; exuding power, poise and a kind of predator's charisma (Luthien is half an Ainur herself, and he has successfully brought many of them under his sway in the past)

my influences for this one were too many to keep count of, but among them William Blake's "Great Red Dragon" paintings and the beautiful, terrifying imagery from Tarsem Singh's  "The Cell" deserve special mention (not that my humble endeavor really lives up to either)

Part of the Weekly Tolkien Sketchblog
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A project for art class, turned out better than expected.
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Boba Fett and Bossk teaming up... apparently Bossk makes way too many mistakes to be an awesome bounty hunter.

lines: Michael Ramova
coloring: Hannah New
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Mordian is the embodiment of the Nazi and 3rd reich in 40k setting. Being racist, pure blood, uniform, jewsterminatus, hitlol, yadda yadda and awesome weaponries and discipline~

the hive world is a highly regimented society, its subjects separated by a caste system of high spire, mid spire, lower spire and underhive inhabitants. Majority of Mordia citizen are conscripted into the guard as imperial tithe, it is a tradition, of martial servitude.

but of course, as you would guess, a low spire soldier could not become lord commander, even if he is blessed by the emprah. the caste system is both a political governing body of the masses as well as a tool of discipline. Officers only came from the top spire and men of lower tiers are to serve them without questions, or it is heresy. With this, throughout millennias, the reputation of the Ironguard as a ruthless, discipline and effective martial force is forged.

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Ironhearts is senior veterans of the low spire, (mid spire can buy their way into junior officer while underhivers is cursed with a lifetime as levy troops and cannon fodder) their years of service marking them as heroes of the regiment they come from, but could not promote any further into officer school due to the caste system. Thusly, created the storm-trooper/elite role where they serve out the ends of their lives. Younger Mordians look up to them as grandfather exemplars, legendary hero figures, the old breed, the soul of the fighting regiment and they rally around them. Ironhearts are as much as a spiritual core as well as a fearsome fighting machine. Skills honed throughout a lifetime of war and carnage, these men are cold blooded killers who said farewell to mercy and compassion along with the foes they have slayed along the way, long time ago. what is left is just the honor of serving the imperium till the last day of their life. Most have serious augmentic surgery and holders of the prestigious Iron Aquilla and Macharius Sash.

-----------------------------------------------------------------

Just need to finish this, been put too long away and skill level is so different now it is hard to finish.

ps: greater good illuminated, with imperial steel~
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Same as last one... illustration for the magazine.
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Watercolor.
Childrens' book illustration for a book about a little sun conure who flies away from home.
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Deep in the hills and sticks of Eastern Ohio, during a cold mid-November rain storm (A little GNR reference another, eh!), the stillness of the hills is awaken to the distant sound of steam locomotives. One to the east and one to the west.

To the east, a Holloway humper crawls upgrade with a beast of a locomotive, a 7600 series 2-8-8-4 EM1, the largest on the Baltimore and Ohio. Behind it, 100 cars of West Virginia real estate, destine for the dock at Lorain, Ohio along lake Erie. Pushing on the rear is a P3 4-6-2 Pacific, downgraded from passenger service and serving its last few years pushing coal out of the Ohio Valley.

To the west, a 8000 series Wheeling and Lake Erie 2-8-8-2 mallet has an easier task with empty hoppers destine for the coal mine at Saint Clairsville to load another train of Ohio real estate.

And so, in the cold soaking rain, under thick dark clouds, the two came together in perfect unison. The B&O crew waves and gives the whistle a few hoots as the W&LE crew returns the greeting. All too soon, the caboose on the W&LE mine run comes into view, over the bridge over the B&O mainline, and out of view behind a hillside. A few minutes later, as the loaded hoppers slowly trudge by, the pacific on the rear of the humper pushes forward in one last great scene. All too soon, the stillness returns and all your left to hear is the constant sound of rain. But oh what a great moment has been rewarded to you! Forget the rain, theirs a smirk on your face as you walk back into town soaked to the bone.

Fast forward 60 years, both lines are gone, the steam engines are gone, and coal is no longer mined at St Clairsville. The CL&W went in the 1980s while the W&LE line lasted until the early 90s until the mine was closed.

Maynard, Ohio, 1953.
Pencil, 20 hours. <---I really should write that info down, Im guessing!
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When Archduke Franz-Ferdinand of Austro-Hungary and his wife were assassinated in Sarajevo in July, 1914, the whole world started its preparations to and open conflict. Austrians blamed the Serbs for arranging the whole affair and set an ultimatum, which meant an inevitable war in the Balkans. What we know as The Great War, soon became a worldwide struggle of old empires... A stalemate in Serbia resulted in construction of new weapons of war, one of which was the mighty Austrian "Mobilzitadelle", a huge steam- and diesel-powered fortress on wheels, capable of destroying a city within a few days.

The day is 15th July, 1916. This is the day when the Zitadelle was assaulted, immobilized and successfully destroyed by Serbian soldiers, despite its fanatic defence conducted by both Austrians and Prussians...

--
Old idea, but I only had a rough sketch of it. I finished it in the last few weeks. HB pencil on A4.

Regards,
Tom.
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Did this for a semiregular thing called twitter art jam where people on twitter get a theme and all post images on a certain date so that everyone can see and... stuff. Anyhow, this is my entry for this month when the theme was Santa vs. Ninjas

Inked it fast and sloppy and figured I'd play with it in gimp. Really should have worked on that pose more though because it's a mess.

If you are on twitter you should totally follow @TwtrArtJam and participate in it. Think about it.
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