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Tolkien Illustrator’s First Aid Kit: Elves

Tolkien’s texts are notable for their abundance of characters, many of them mentioned perhaps only once, other playing very important parts in the stories. However, it is often very difficult to find any description of how those characters look, and this is what we, artists and illustrators, are usually most concerned with.:)
So here it is – Tolkien Illustrator’s First Aid Kit:woohoo: – a list of all those characters, whose physical appearance is mentioned in the texts, including The Silmarillion and The History of the Middle-earth.
To start with, the Elves. As we know, during the march from Cuiviënén they were divided into three hosts. Sindar were part of Teleri, so I decided to treat them along with them.

The name referred to the hair of the Minyar, which was in nearly all members of the clan yellow or deep golden. – J.R.R. Tolkien, The War of the Jewels: “Quendi and Eldar”

This <the golden hair of Vanyar> was regarded as a beautiful feature by the Noldor (who loved gold), though   they  were themselves mostly dark-haired. Owing to intermarriage the golden hair of the Vanyar sometimes later appeared among the Noldor: notably in the case of Finarfin, and in his children Finrod and Galadriel, in whom it came from King Finwë’s second wife, Indis of the Vanyar. – J.R.R. Tolkien, The War of the Jewels: “Quendi and Eldar”
'They were tall, fair of skin and grey-eyed, though their locks were dark, save in the golden house of Finarfin. - J.R.R. Tolkien, The Peoples of the Middle-earth

The Sindar appear to have very closely resembled the Exiles, being dark-haired, strong and tall, but lithe. Indeed they could hardly be told apart except by their eyes; for the eyes of all the Elves that had dwelt in  Aman impressed  those of Middle-earth by their piercing brightness. For which reason the Sindar often called them Lachend, pl. Lechind 'flame-eyed'. – J.R.R. Tolkien, The War of the Jewels, “Quendi and Eldar”
Elwe himself had long and beautiful hair of silver hue, but this does not seem to have been a common feature of the Sindar, though it was found among them occasionally especially in the nearer or remoter kin of Elwe (as in the case of Cirdan). – J.R.R. Tolkien, The War of the Jewels, “Quendi and Eldar”    

Now, the specific characters, in alphabetical order:

But in early youth the fiery light could be observed; while his hair was notable: golden like his brothers and sister, but strong and stiff, rising upon his head like flames. – J.R.R. Tolkien, The Peoples of the Middle-earth: „The Shibboleth of Fëanor”

The twins remained alike, but the elder grew darker in hair – J.R.R. Tolkien, The Peoples of the Middle-earth: „The Shibboleth of Fëanor”
First and last of Nerdanel's children had the reddish hair of her kin – J.R.R. Tolkien, The Peoples of the Middle-earth: „The Shibboleth of Fëanor”

Ar-Feiniel she was called, the White Lady of the Noldor, for she was pale though her hair was dark, and she was never arrayed but in silver and white. – J.R.R. Tolkien, The Silmarillion, Chapter 5: “Of Eldamar and the Princes of the Eldalië”
She was younger in the years of the Eldar than her brethren; and when she was grown to full stature and beauty she was greater and stronger than woman's wont (...) – J.R.R. Tolkien, Morgoth's Ring.

Arakano was the tallest of  the brothers - J.R.R. Tolkien, The Peoples of the Middle-earth: „The Shibboleth of Fëanor”

Carnistir 'red-face' - he was dark (brown) haired, but had the ruddy complexion of his mother.                – J.R.R. Tolkien, The Peoples of the Middle-earth: „The Shibboleth of Fëanor”
Morifinwe 'dark' - he was black-haired as his grandfather. – J.R.R. Tolkien, The Peoples of the Middle-earth: „The Shibboleth of Fëanor”

Then Celegorm arose amid  the throng  (p. 169).  In QS  this is  followed by 'golden was his long hair'. In the Lay at this point (line 1844) Celegorm has 'gleaming  hair'; his Old English name was Cynegrim Faegerfeax ('Fair-hair'), IV. 213. The phrase was removed in The Silmarillion text on account of the dark hair of the Noldorin princes other than in 'the golden house of Finarfin' (see I. 44); but he remains 'Celegorm the fair' in The Silmarillion p. 60. – J.R.R. Tolkien, The Lost Road and Other Writings: the Commentary to “On Beren and Tinúviel”

But this does not seem to have been a common feature of the Sindar, though it was found among them occasionally, especially in the nearer or remoter kin of Elwë (as in the case of Círdan) – J.R.R. Tolkien, The War of the Jewels: “Quendi and Eldar”
Very tall he was, and his beard was long, and he was grey and old, save that his eyes were keen as stars - J. R. R. Tolkien, The Lord of the Rings: The Return of the King, Chapter: “The Grey Havens”

Atarinke 'little father' - referring to his physical likeness to Feanor, later found to be also seen in his mind – J.R.R. Tolkien, The Peoples of the Middle-earth: „The Shibboleth of Fëanor”
He also resembled Feanor very much in face – J.R.R. Tolkien, The Peoples of the Middle-earth: „The Shibboleth of Fëanor”

Now this babe was of greatest beauty; his skin of a shining white and his eyes of a blue surpassing that of the sky in southern lands - bluer than the sapphires of the raiment of Manwë – J.R.R. Tolkien, The Book of the Lost Tales II: “The Fall of Gondolin”
As both Idril and Tuor were fair-haired, we can guess, that their child also had golden hair.

The face of Elrond was ageless neither old nor young, though in it was written the memory of many things both glad and sorrowful. His hair was dark as the shadows of twilight, and upon it was set a circlet of silver; his eyes were grey as a clear evening, and in them was a light like the light of stars. Venerable he seemed as a king crowned with many winters, and yet hale as a tried warrior in the fullness of his strength. - J. R. R. Tolkien, The Lord of the Rings: The Fellowship of the Ring, Chapter: “Many Meetings”
Please note: this is a description of Elrond in the Third Age. In the Second Age, in his youth, he would probably look a little different, as there would be not as much “memory of many things both glad and sorrowful”.

Elwe himself had long and beautiful hair of silver hue, – J.R.R. Tolkien, The War of the Jewels, “Quendi and Eldar”   
For fair and noble as he had been, now he appeared as it were a lord of the Maiar, tallest of all the Children of Iluvatar, his hair as grey silver, and his eyes like unto stars. – J.R.R. Tolkien, The War of the Jewels: “The Grey Annals”
now he appeared as it were a lord of the Maiar, his hair as grey silver, tallest of all the Children of Ilúvatar – J.R.R. Tolkien, The Silmarillion, Chapter 5: “Of Eldamar and the Princes of the Eldalië”

But Eöl, though stooped by his smithwork, was no Dwarf, but a tall Elf of a high kin of the Teleri, noble though grim of face; and his eyes could see deep into shadows and dark places. – J.R.R. Tolkien, The Silmarillion, Chapter 16: “Of Maeglin”

He was tall, and fair of face, and masterful, his eyes piercingly bright and his hair raven-dark – J.R.R. Tolkien, The Silmarillion, Chapter 6: “Of Fëanor and the Unchaining of Melkor”

He was of his mother's kind in mind and body, having the golden hair of the Vanyar, their noble and gentle temper – J.R.R. Tolkien, The Peoples of the Middle-earth: „The Shibboleth of Fëanor”

Finarfin’s children:
It was from  Finarfin's Vanyarin mother Indis that he, and Finrod Felagund and Galadriel his children, had their golden hair'- J.R.R. Tolkien, The Peoples of the Middle-earth, Note on an Unpublished Letter

Finduilas ther Daughter of Orodreth was golden-haired after the manner of the house of Finarfin - J. R. R. Tolkien, Unfinished Tales, Appendix to Narn I Hîn Húrin.

Fingolfin was his father's son, tall, dark, and proud, as were most of the Noldor – J.R.R. Tolkien, The Peoples of the Middle-earth: „The Shibboleth of Fëanor”

He wore his long dark hair in great plaits braided with gold. – J.R.R. Tolkien, The Peoples of the Middle-earth: „The Shibboleth of Fëanor”       

Finrod was like his father in his fair face and golden hair – J.R.R. Tolkien, The Peoples of the Middle-earth: „The Shibboleth of Fëanor”

He had black hair, but brilliant grey-blue eyes. – J.R.R. Tolkien, The Peoples of the Middle-earth: “The Shibboleth of Fëanor”

Galadriel, most beautiful of all the house of Finwë; her hair was lit with gold as though it had caught in a mesh the radiance of Laurelin – J.R.R. Tolkien, The Silmarillion, Chapter 5: “Of Eldamar and the Princes of the Eldalië”

Her  mother-name  was  Nerwen  'man-maiden', and  she grew to be tall beyond the measure even of the women of the Noldor;… she was accounted beautiful, and her hair was held a marvel unmatched. It was golden like the hair of her father and her foremother Indis, but richer and more radiant, for its gold was touched by some memory of the star- like silver of her mother; and the Eldar said that the light of the Two Trees, Laurelin and Telperion, had been snared in her tresses – J.R.R. Tolkien, The Peoples of the Middle-earth: „The Shibboleth of Fëanor”

His sword was long, his lance was keen,
His shining helm afar was seen;
The countless stars of heaven’s field
Were mirrored in his silver shield
- J. R. R. Tolkien, The Lord of the Rings: The Fellowship of the Ring, Chapter: “A Knife in the Dark”

Glorfindel was tall and straight; his hair was of shining gold, his face fair and young and fearless and full of joy; his eyes were bright and keen, and his voice like music; on his brow sat wisdom, and in his hand was strength. - J. R. R. Tolkien, Lord of the Rings: The Fellowship of the Ring, Chapter “Many Meetings”

But fairer   than   all   the   wonders   of   Gondolin  was   Idril  Turgon's daughter,  she  that  was  called  Celebrindal  the  Silver-foot  for  the whiteness  of  her  unshod  feet,  but  her  hair  was  as  the   gold  of Laurelin ere  the   coming  of   Melkor – J.R.R. Tolkien, The War of the Jewels, The Later Quenta Silmarillion: “Of Turgon and the Building of Gondolin”

She was golden-haired, and tall,  and exceedingly swift of foot. – J.R.R. Tolkien, Morgoth’s Ring: “Of the Severance of Marriage”
She was a Vanya, close kin of Ingwë the High King, golden-haired and tall, and in all ways unlike Míriel. – J.R.R. Tolkien, The Silmarillion, Chapter 6: “Of Fëanor and the Unchaining of Melkor”

Lúthien was the most beautiful of all the Children of Ilúvatar. Blue was her raiment as the unclouded heaven, but her eyes were grey as the starlit evening; her mantle was sewn with golden flowers, but her hair was dark as the shadows of twilight. – J.R.R. Tolkien, The Silmarillion, Chapter 19: “Of Beren and Lúthien”

Maitimo  'well-shaped  one':  he  was of  beautiful bodily form. But he, and the youngest, inherited the rare red-brown hair of Nerdanel's kin. … So Maitimo had as an epesse given by his brothers and other kin Russandol 'copper-top' – J.R.R. Tolkien, The Peoples of the Middle-earth: „The Shibboleth of Fëanor”
The eldest also wore a copper circlet. – J.R.R. Tolkien, The Peoples of the Middle-earth: „The Shibboleth of Fëanor”     

He was tall and black-haired; his eyes were dark, yet bright and keen as the eyes of the Noldor, and his skin was white. – J.R.R. Tolkien, The Silmarillion, Chapter 16: “Of Maeglin”

He usually  wore a band of copper about his head. His hair was not as dark or black as was that of most of the Noldor, but brown, and had glints of coppery-red in it - J.R.R. Tolkien, The Peoples of the Middle-earth, Notes to “The Shibboleth of Fëanor”
Elves did not have beards until they entered their third cycle of life. Nerdanel's father was exceptional, being only early in his second. - Vinyar Tengwar #41

Silver was her hair and dark were her eyes, but her hands were more skilled to fineness than any hands even of the Noldor. (...) Her hair was like silver; and she was slender as a white flower in the grass. Soft and sweet was her voice, and she sang as she worked, like rippling water, in music without words. – J.R.R. Tolkien, Morgoth’s Ring, The Later Quenta Silmarillion

She was not among the fairest of her people. But she was strong (…) – J.R.R. Tolkien, Morgoth’s Ring, The Later Quenta Silmarillion, “Of Fëanor and the Unchaining of Melkor”
'the  first and last of Nerdanel's children had the reddish hair of her  kin'- J.R.R. Tolkien, The Peoples of the Middle-earth: "The Shibboleth of Fëanor”.
(...) herself had brown hair and a ruddy complexion(VT41)

The hair of Olwë was long and white, and his eyes were blue– J.R.R. Tolkien, Morgoth's Ring, The Later Quenta Silmarillion: “Of the Coming of the Elves".

Then the Elf turned and looked up, and Tuor met the piercing glance of his sea-grey eyes, and knew that he was of the high folk of the Noldor.- J. R. R. Tolkien, Unfinished Tales, “Of Tuor and his Coming to Gondolin”
As Noldor generally had dark hair, we can assume that Voronwë was no exception to this rule.

If you know any other descriptions, please let us now (comment below or send us a note), and we’ll add it to the list.:)

Edited by Breogán (28/4/12) & Sirielle (23/11/13)

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The Silmarillion-Club is a group on deviantART centred around the early events from the world created by J. R. R. Tolkien: from the beginning of time up to the ending of the II Age of Sun, described in The Silmarillion, The Unfinished Tales, The Children of Húrin and The History of Middle-Earth
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how cool would it be if you could buy a book of all your favourites from DA?!

or say you could buy a 50 page book, or 100 page book, and just pick your favourite favourites to be in it?

and if one of your images was included in another deviant's book, then you'd receive a little bit if money; so if you were in lots of deviant's books, you'd get some good money, which would be sweet! :P

and DA would make nice profits on it and maybe make the site ever hotter than it already is! :P

(but you could also have the option not to be included in people's books!)

if you like the idea, and think you'd buy a book of your favourites, fav this article!

marty :)
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Img-got-og by techgnotic

The current popularity of the bloody and salacious Game of Thrones and a host of paler imitators may have roots in Cate Blanchett’s Oscar-worthy performance as the historical Elizabeth (1998), the Queen who was perhaps the most important ruling Royal, King or Queen, in British history.

The politics and imputed romances of her reign embroiled both her throne and bedchambers. Released from her half-sister’s dungeon to go on to successfully stabilize a country wracked by religious war, all the while being threatened by Spanish invasion from without and overthrow by the plots of her male “suitors” from within, her life was epic and an intimate human drama rarely captured in fiction.

Then the British import The Tudors (2007–10), brought us an updated lusty beautiful/horrifying portrayal of King Henry VIII, this time focusing on the athleticism of his youth—before he was gravely injured (crushed under a horse while jousting) and became the iconic morbidly obese figure we’re more familiar with.

The Tudors casting of the svelte and smolderingly sexual Jonathan Rhys Meyers (as well as the alluring Natalie Dormer as Anne Boleyn) marks one of those important departures from the collective story we all carry in our heads, created from childhood on through college and beyond. We call this general narrative “history.” We become incensed over what we feel are profane depictions of our heroes and their beliefs and intentions—as if we could ever know what roiled the mind of a monarch in 1532. Protestants are understandably upset when the Reformation is de-emphasized as “back story,” the better to focus on a King maneuvering wickedly and recklessly in order to secure a divorce both secularly legal and religiously Hell-free, the better to pursue the super hot girl of his dreams.

There is Jeremy Irons in The Borgias as Pope Alexander VI in the late 15th Century committing every possible sin and debauchery that moderns minds could project or imagine for any man of power, much less a Pope surrounded by a family and College of Cardinals just as ruthless with privilege and wealth. Watching this re-casting of the past you need to pinch yourself to remember that the action is set within the Roman Catholic Church which was then and apparently still may be a political and social quagmire. The critics favor a modern French production of this story, Borgias, where they cavort and garrote in the same fashion. This version’s episodes are still in production.

The Nixon Presidency (1969-74) has long been held in the collective American consciousness as the high-level mark in Presidential criminality. But only fringe conspiracy theorists believe that the Nixon ninjas actually murdered political opponents and witnesses. Yet that’s currently accepted as “believable” plotting in popular dramas like Scandal and especially the American remake of House of Cards, in which Kevin Spacey’s deranged politician, Frank Underwood, has no problem with assassination as a method to attain his vengeance and promote his personal advance.

And that’s what it is all about on these current shows: politics as a means to personal revenge, enrichment, and power for sheer power’s sake. The good ol’ days of Henry’s romancing of Anne, let the world burn, seem naïve now.

Do viewers really accept this current storytelling as credible, that this stuff is really going on in the White House, in the royal court of the Tudors or at the Vatican or is this just “political science fiction” grounded in reality but played out into another world altogether?

Game of Thrones, adapted from a series of novels still being completed by fantasy writer George R.R. Martin, might just be the craziest-ever mash-up of wildly divergent time periods, some actual historical events, dragons, mysticism, warring Kingdoms of tangled bloodlines, political marriages, incest among the nobles all soaked in the blood of a thousand traitorous sword-thrusts and festooned with heaving bosoms in (and often out of) designer silks and satins. The interior and architectural decoration of the times of this tale seems to have been informed equally by combinations of ancient Babylon, Egyptian archeology, Conan the Barbarian and Victoria’s Secret. Ruminations by grizzled older warriors trudging toward the next battle touch upon the great themes of crime & punishment, political corruption, religion, loyalty and true brotherhood—but never rise above standard wooly maxims. Never has so much superlative acting and massive production value been expended on comic book level human drama.

“Thrones” is a new extension of Hollywood storytelling nonsense with every scene crafted to push my buttons in some pleasurably cathartic manner.

Worries over what conservative or liberal or sexist or pro—or anti-gay messaging is going on here must be laid aside as there is no algorithm detailed enough to explain what any of this story really “means.” It really is just a “game” to be won or lost by its ever-shifting rules. Being naked in its intent to be no more than sheer entertainment makes the series immune from serious academic, philosophic, historical or literary criticism. Game of Thrones frees us to enjoy it for what it is: a feast for the senses on the way to the next big lunatic lunge on the narrative rollercoaster. A sampling of tributes to the show as imagined by its many deviant fans is a testament to what will go down as one of the most marvelous box of chocolates one could ever hope to have opened. It’s undoubtedly not good for us—but it’s just oh, so good.

I wait every Sunday here in Los Angeles, attending screening parties when I can, for this glorious, masterfully crafted, and richly creative tour de force which acts as a deliciously sweet nightcap after another in an endless series of 80 hour work weeks.

How about you?

withWilliam Simpson


What is the most important information that needs to be expressed on storyboards at this point in production? This information usually flows from who (director/editor) to whom (set designer, etc)?

William Simpson:

In prep, the storyboards are full of the essential camera movements and green screen CGI elements. As always, Storytelling is the essential element, something that will be understood by the various departments, from Director of Photography and the camera dept, through the VFX green screen CGI dept for visual composites through to producers, determining what can be afforded to be shot.

I work directly with the director, interpreting his/her ideas, and sometimes with the line producer, working out the logic of the storytelling to give us a 'heads up' as to what may cause problems for the actual shoot.

The information flow, is usually from Director, to me, then on to production, before they distribute the sequences to all others who may need them.


Is there much "pre-editing" being done in the sequencing and layout of scenes? And if so, what is usually being emphasized by directors, editors and others in their input?

William Simpson:

There's quite a bit of pre-editing being achieved in the sequences, the process enabling a ' nailing down' of shots, especially for the cost constraints. Part of what we determine in prep, is what is logical and artistic to film, and then combine it with the shot list allowance of what we feasibly can actually have, What can be practical live filming, and what has to be an VFX shot.


William Simpson is an international artist, whose career began in comicstrip art, working on a range of character icons: Judge Dredd, Rogue Trooper, Batman, Transformers, Hellblazer, Tyranny Rex, Aliens, and Vamps. Now he's primarily in movies.

In recent years he has developed his work in the film industry providing conceptual art and storyboards for a variety of feature films, such as: Reign of Fire, directed by Rob Bowman, Freeze Frame, directed by John Simpson, Neil Jordan's Breakfast on Pluto, and most recently, Game of Thrones for HBO, David Gordon Green and Danny McBride's Your Highness for Universal, Lord Richard Attenborough's 2006 production, Closing The Ring and the Tom Hanks produced, City Of Ember. Currently on Game of Thrones for HBO.


Is there a tremendous amount of detail on storyboards on a big production like Game of Thrones that wouldn't exist with a more modest production—or is the functionality of deciding how a narrative is going to be told the key consideration always in any production?

William Simpson:

I think functionality of narrative is pretty essential, but, there's a lot of storytelling, good directors know, and don't need to be visualised in a board first, but on a show like Game of Thrones, the details in what will have to have CGI elements, a primary concern for compositing real with unreal. We’re creating Westeros here, and we have to see what can be achieved by drawing it first. It must be considered worthwhile as I've been there for 5 years already.


Is there a special feeling you get from being so deeply involved in the internal "DNA" of what is obviously going to be an important landmark series?

William Simpson:

I think the delight is in watching so much of what you've done, realised on screen. Game of Thrones is a vast production and requires quite a lot of prep over the ten episodes in a season, and so many drawn sequences turned into film footage is always a buzz. It's definitely great to be an essential part of fandom's fav series.

We’re creating Westeros here, and we have to see what can be achieved by drawing it first.


How did you come to get your job doing storyboards for Game of Thrones? Is this the usual pathway to being considered for such jobs, or are there others for interested deviants to pursue? What can you tell artists who want to do storyboarding as a dream job? What should they be doing?

William Simpson:

This is a really big question and there is a massively convoluted answer to it. You see, there's a lot of being in the right place at the right time, and having 20 years of comic strip experience doesn't hurt!

I was brought in to do some concepts, while I was working on Your Highness. I wasn't told what the project was, just given a few key pages of script, and asked could I come up with some castle images and knights and a few interesting location shots, one being the beheading scene at the beginning of the story. These images were then sent in a package to HBO, and they seemed to help them decide on coming to N.Ireland to film with their production base. When I was told we had the series, while still on Your Highness I asked my producer friend Mark Huffam, " do I have a job then" haha, to which he said "of course".

I asked my producer friend Mark Huffam, “do I have a job then” haha, to which he said “of course.”

William Simpson:

After I finished my concept art on "Your Highness" ad did a day of 2nd unit directing for it, I then moved on into Game of Thrones and started conceptualising weaponry. I created the designs for all the hero weapons, at that time, 'Ice', 'Needle', 'long claw', etc, were mine, as well as developing the very first set of images of the "White Walkers", "The Godswood Tree", "Cersei's" carriage, and "The Three Eyed Ravens". I helped on some of the armour and helmet elements for Costume. I did a pretty neat version of the 'Hound', pretty close to what was made. After that, I went on to Storyboarding.

The comic side of me has generated a diverse artist, so having been recognised as such, I was used properly to generate ideas in the beginning. I've since storyboarded all four seasons, and will be getting into the fifth, coming this year.

It's not been the usual pathway, but then I don't think there actually is a 'usual'. Sometimes, I pitch myself at films, if I know in advance they're happening, though now, most of my time, I'm called up and asked, when am I available. It's nice when you get a call, which has a value on what you do as an artist with experience.

For anybody wanting to do any form of art, including storyboarding, you have to be in love with drawing, and storytelling. You have to have a perverse nature that allows you to work long hours drawing as a job, and then finding yourself also drawing for fun. You have to love this pursuit. No half measures. I try to bring all the sensitivity I had in comic strips, into what I do in storyboarding, though some may do it as a job, I tend to come at it as a solver of problems in storytelling and somebody who says, 'great, I'm going to be drawing all day!' No fear! It's another great mode of self expression.

For anybody wanting to do any form of art... You have to love this pursuit. No half measures.

For The Reader


Would you assign world class literary and philosophical value to Game of Thrones? If so, why?


Is there an unspoken “agreement” between film producer and film consumer as to the intended “pure entertainment” vs. “think” purpose of a film experience?


Are you annoyed when historical figures are portrayed in ways that greatly diverge from the picture of them you have always had in your head? Or do you find this refreshing and creative, even if involving massive “poetic license?”


Do you think moviemakers have a duty to portray historical figures as they were, or is it enough that their life events are accurately recorded, as well as their beliefs and words. Is it OK to cast Peter O’Toole as Lawrence of Arabia when the real Lawrence was only 5 feet tall? Is it OK to give the young Henry VIII six-pack abs?


Do you think fantasy and science fiction stories should steer clear of politics generally and stick to common human questions of love, loyalty, valor as motivators for characters? Does the feeling that the author is subtly pushing his or her political or social beliefs on the reader, no matter how delicately, a turn-off for you? Or is this something writers should never hide in their art?


Do you think all the elements of Game of Thrones that could be found by individual viewers to be offensive, sexist, racist, homophobic, pro-violence, are “forgiven” by the utter outrageousness of the story in general? Should there always be a place for politically incorrect fun?

The current popularity of the bloody and salacious Game of Thrones and a host of paler imitators may have roots in Cate Blanchett’s Oscar-worthy performance as the historical Elizabeth (1998), the Queen who was perhaps the most important ruling Royal, King or Queen, in British history. The politics and imputed romances of her reign embroiled both her throne and bedchambers. Released from her half-sister’s dungeon to go on to successfully stabilize a country wracked by religious war, all the while being threatened by Spanish invasion from without and overthrow by the plots of her male “suitors” from within, her life was epic and an intimate human drama rarely captured in fiction.

Writers: techgnotic 
Designers: marioluevanos 

For more articles like this, visit depthRADIUS
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Talks with Tolkien artists: shyangell

Journal Entry: Fri Feb 13, 2015, 1:36 AM

Art nouveau and women of Arda - that's what comes to mind when describing the gallery of :iconshyangell: - shyangell. Take a look at it yourself to see how well these two concepts fit together, and then you can read our talk about it, and other topics as well.  

Recap: Queens of Numenor by shyangell
Elwing the Fair by shyangell Lady Haleth by shyangell
Earwen of Alqualonde by shyangell Lady Galadriel by shyangell
Aredhel Ar-Feiniel by shyangell Celebrian of Lorien by shyangell

1. Hello! For the beginning, could you tell us something about yourself?

Hi everybody! What to say... I am homebody that draws things for a hobby, and doesn't have nearly enough time to do so as much as she'd like. I am a student (though not for long) and like to let my mind wander with Tolkien (and others) when number crunching gets to be too much. I'm Catalan, female and study chemistry and engineering.

2. When did you read Tolkien's books for the first time, and what impression did they leave in you?

I was 11 years old, and read both the Lord of the rings and the Hobbit in less than a month. I read the Silmarillion over Christmas. At the time I adored LotR, I thought it was the best thing since sliced bread. I kept reading and rereading it, and being fascinated by each of its characters in turn. I thought the Hobbit was a funny little thing, cute, it did not help that I read it after LotR (although the story itself is cool enough). When I read the Silmarillion first I thought it was dry as dust. I changed my mind a few years later after a reread. I think it is possibly the best Tolkien ever wrote, and I am endlessly fascinated by the stories therein.

3. How extensive is your knowledge of Middle-earth? Do you consider yourself Tolkien expert?

I am by no means an expert, but I have read the books a good number of times. I have been told that the amount of Tolkien trivia that I keep in my head is extensive (and annoying). I once made a stab at learning quenya, and failed. I mostly like geeking out over family trees and obscure characters. I am nowhere as knowledgeable about anything else Tolkien (be it geography, calendars or languages).

4. When the movies came out, many of the inner pictures of characters and scenes in the mind of the readers have been replaced by actors and settings from the movie. Did it happen to you as well? Did you try to prevent it?

I had just read the books when the movies came out. I admit that my mental image of many characters corresponds with the movie. I did not try very hard to stop myself from adopting those portrayals that were good enough for what I had imagined. I have a great difficulty imagining concrete faces when I read, so if the general description fit I was happy enough. I think it is just that I was young, and not yet prone to bellyaching over random characters hair color. I may be lynched, but mostly the entire fellowship was OK to me. On the other hand, there are characters I just cannot see as in the movies, though admittedly they are few (cough: Elrond). As for scenes and plot changes... I have kept them separate in my mind, the book is the book and the movie is the movie. Of course in my head things are closer to book than movie canon (imagination has no budget).

5. Now, could you tell us something about you and art? Are you a professional artist, or is art just your hobby? When did you start doing it, and who or what influenced your style?

I started drawing as a serious hobby at the turn of 12 years old. At the time I started making graphite copies of classical pictures by great painters. Needless to say they were quite awful. As I said in the introduction drawing for me is a hobby. I have never done anything professionally, and I wouldn't like to. As soon as it became an obligation with a deadline it would kill all the fun. I have been inspired by all and sundry at one time or another. I adore Alphonse Mucha, and have a great appreciation for art nouveau. My style is far from consistent, and not nearly as polished as I'd like.

6. What art technique is your favourite? Do you rather keep to the art techniques and styles you are familiar with, or do you experiment with new ones as well?

I rarely have time for experimenting anymore! And when I draw I do it for comfort, so I rarely stray out of my comfort zone. I tend to draw and ink by hand, and later add color with Photoshop. I have tried drawing directly in the PC, but the result is mostly crap. I rarely color traditionally, I do not have any sort of technique (though I'd like to learn watercolors one day) and dislike the permanence of it. If you screw up in Photoshop you can always fix it!

7. Your Tolkien fanart is focused on the women from his books. What do you think about Middle-earth's women? Are they overlooked, or is their place as important as that one of the men?

I think the role of Middle Earth's women is understated, but important. Their subtle presence in Tolkien's opus is thoroughly coherent with the world he is trying to portray. In a way I have gotten the impression that although Tolkien did not create "action girls" that take action as a man would, women when they appear are generally well-respected and generally powerful in their own right. To me it would ring false a proliferation of fighting females in a world that was inspired by the early middle ages (all mention of Eowyn aside). But then again to me, being powerful does not have anything to do with the capacity to run someone through with a sword. It is true that most women are mothers and wives, sisters and daughters, but in Tolkien's world men are also rarely anything but fathers and husbands, brothers and sons. In a way there are always undertones of family in the way Tolkien sees the world.

8. Your portraits of the queens of Númenor are highly symbolic, telling about the personality and story of the queen in the picture. Can you tell us more about this symbolism?

Well, that's a loaded question. The idea was that by looking side by side you could tell a progression. Their attitudes are meant to show different approaches to power. And that in the end she who does not covet it reaps the fruits (or her descendants do). Silmarien does not covet it and won't fight for it. Tar-Ancalime is not desperate for it but will make herself unhappy just to spite those who want it to much from having it. Tar-Telperien has it and wants it, guards it zealously and will not share it with anyone and thus is alone. Tar-Vanimelde is unsuited to it but will not give it up because she wants the power to do whatever she wants, regardless of what others need. Míriel had it and gave it to the wrong person. Otherwise the symbolism I used was mostly intuitive for me, I did not think it overmuch while I was painting this.

9. Your art-noveau style goes very well with these portraits. How did you get the idea to use it for Tolkien illustrations?

I have always pictured Númenor as a pre-medieval world, but it did not strike me precisely roman. Instead I tended to think of it as Byzantine. I have always found that Art Nouveau meshes well with both roman and byzantine styles. On top of that I wanted to do a series of panels like you might find in a decorated gallery in a palace, and art nouveau lends itself to the making of series of panels. To top it all off I had just been to Prague. That just might be it.

10. Do you have some tips and tricks you would like to share with the other artists?

Hardly. I rarely have tricks or tips to share even with myself! I do not think what I do is in any way mysterious. Although if you insist... kids, when you don't know how to do something there are thousands of useful tutorials floating around. SOMEBODY certainly knows and has already lost time making this tutorial you just found. Try it that way before despairing. Use references. I think that's all.

11. Could you give us a link or thumbnail from your gallery of
- a Tolkien illustration you are most proud of?

Recap: Queens of Numenor by shyangell

- a picture from other fandom or original picture you are most proud of?
At the Chapel's door by shyangell

- a picture that fits your current mood?

Mother Earth Yavanna by shyangell

- a picture that was hardest to paint?
MoA The Circle of Camelot by shyangell

- any other picture you would like to share with us and why?
Morsmordre by shyangell
It isn't very original. But look your fill because I was this close to losing it FOREVER. And I was so proud of the green light. PC did a thing lost the original PSD document and the high-res copy got lost forever. Deviantart saved it for me because I had already uploaded and I downladed it from my own gallery. Sobs.

12. What key people in your life, (on or off of dA) have been inspirations to you, or has supported you, as an artist? You can also tell us why, if you want.

Well, obviously and embarrassingly my mother first and foremost. She was the one that kept buying me things for me to use back in the day and encouraged me. Even if she keeps telling me that I draw my women too fat. I have hardly maintained any relationship with other Devianart artists, even if I like to gawp to many pretty art pieces as much as any other.

13. Is there some artist(s) at dA you know, who doesn't have as much attention as they would deserve? If yes, could you give us some thumbnails from their gallery?

Yes, several actually. I'll leave you with some thumbnails so you can get right at getting a look at their gallery:
You will be the youngest in the squad by steamey Turgon, Aredhel(gon), Fingon by ancalinar
ha ha ha...fuck you legolas... by Kibbitzer What Are All These Dwarves Doing In My House?! by ramida-r

14. Is there something else you would like to tell to the fans of Tolkien and your art?

Well... Just hang in there! It right awful to be ensnared in a fandom nobody gives a crap about. So we have to keep being great together, and keep ourselves interested so everybody can come up with their things and be very happily overwhelmed when somebody else likes them. I certainly am.

Thank you for your time and answers!

All talks:

Rohirrim journal skin.

Horse head © 2009 - Grinmir-stock
Texture by kizistock
Knotwork by gbrgraphix
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Cthulhu is Still Calling

Wed Feb 29, 2012, 7:56 PM

Having been thinking a lot about the origins of our globally held Dragon mythos in a recent article Reptilicus Infernicus, I couldn’t help but notice the Cthulhu legend was always lurking at the edges of my mind as I was researching the subject matter.

The Enemy at the Gates, the “Other”, forever lurking in the darkness and plotting an invasion most evil and an enslavement most hideous, is probably the original seminal “narrative” that was born when humans first acquired self-awareness and began trying to explain themselves to each other as they sat around their fires built at the mouths of their caves.

These scary “cautionary tales” were not simply the superstitious nonsense of ignorant caveman minds. They served an important purpose. They taught clan members to stick close, to not wander to far from the firelight. Survival depended on creating a fear of the dark. The “invaders at the edge of our world” story has remained deeply imbedded in our human subconscious for the 10,000 years since we left the caves. In modern times, the invasion has become as paranoiac as the paranoid modern man, the invaders becoming “invisible” and walking amongst us:

Who is secretly a space alien in human form? Or a vampire or werewolf? Or a carrier of the spreading Zombie plague?

This month IDW Publishing buries the needle on the Mad Mash-Up Meter by unleashing Transformers and Teenage Mutant Ninja Turtles comics titles with storylines mining the Cthulhu Mythos, injecting what's sure to be heart-shocking dose of tentacle fueled intergalactic Lovecraftian menace into both these beloved series.

Science fiction and horror literature has long been the most fertile field for paranoid invasion narratives—and one master of all masters stands alone above all the others.

H.P. Lovecraft wrote some of

the greatest horror fiction ever created

during the 1920s and 1930s...

He published in the cheap pulp magazines of the era, including his mostly short story masterpieces that would come to be known collectively as The Cthulhu Mythos. I think the Cthulhu stories are so enduring not only because they are simply the best written and most terrifying of their genre, but because Lovecraft’s overarching narrative so perfectly fits the universal and eternal “lurking invader” paradigm. Cthulhu, one of the Old Ones—gods who once ruled the world but now mostly lie dormant in sunken cities beneath our oceans—is the ultimate invader: not from another land or even another planet, but an invader from beyond our universe.

Cthulhu himself has been a favorite of visual artists since his inception, described by H.P. Lovecraft as a sort of enormous intergalactic winged squid-headed deity. Most artists’ renderings of him remind me of the Hindu god, Ganesh—if Ganesh had an octopus head rather than an elephant head. It was a special talent of Lovecraft that he always managed in his writing to lend just enough but not too much detail in describing his shadowy lurkers—just enough to stoke the fires of his readers’ imaginations, making his creations, in their fertile minds, far more horrible than anything he could have rendered with more descriptive illumination.

ph'nglui mglw'nafh Cthulhu R'lyeh wgah'nagl fhtagn

Questions for the Reader

  1. If you have encountered Cthulhu in your literary wanderings, would you agree he is the Elder God supreme monster of all horror lit (and H.P. Lovecraft the supreme horror writer), or are there others you would propose for these Grand Champion of Horror?
  2. What is it about the god Cthulhu that you think has made him such an enduring subject for artists? Is it merely the aesthetics, the many possibilities, of his simply-limned description by Lovecraft? Or is it the shudder-inducing fearfulness of the stories that are evoked by seeing any depiction of the fiend?
  3. A cult of Cthulhu “believers” has been born since Lovecraft first created the stories in the 1930s—fans who claim to have become actual acolytes in a very real dark religion. Do you think this sort of thing is all in good fun?  Or can it be dangerous? What if the “belief” is in a “good” force rather than an evil one—like the 70,000 Australians who wrote in “Jedi” as their religion on the 2001 national census?
  4. What scares you the most?

    • The Great Lord Cthulhu
    • Vampires
    • Ghosts
    • Possession
    • Zombies
    • Aliens
    • A Jedi - Cthulhu War
    • Having to spell Cthulhu on command with your life hanging in the balance
    • Voldemort casting Imperio on Fluttershy
    • Commitment

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CLOSEDDD Results here!!!!!!!!!!!!!
Points/art giveaway-3 days left!!!!!!

Wow guys. After 4,669 pageviews (remember, kiribian at 5000 pgv), 625 comments, 53 deviations, almost $100 in points worth of commissions and donations, a dA jacket, a Fella plushie, and a Super Llama plushie, I finally have more than 100 watchers!!!!!! :iconhappytearsplz:

Thanks so much to each and every one of you guys, whether you have been with me from the first crappy drawing or just watched me yesterday for a free sketch. :icondignitylaughplz: It has been an amazing 10 months on Deviantart, and I feel like I improved a lot from all the tutorials and advice my fellow deviants have given me.
SO. (The moment you've all been waiting for.):icononiskiplz:

And to "celebrate" the end of summer. :iconranranruuplz:


Here are the prizes, and I will use to pick the winners, and each winner can choose what they want from all these prizes:

Kawaii Pastel Star Divider by miemie-chan3Kawaii Pastel Star Divider by miemie-chan3
Pointsss :iconpointslaplz:
:dalove:250 :points:

Kawaii Pastel Star Divider by miemie-chan3Kawaii Pastel Star Divider by miemie-chan3
Art :deviation:
:dalove:12 Fullbody color semi-realism commission, one a month for an entire year (worth 3000:points:)
:dalove:Fullbody color semi-realism commission (worth 250:points:)
:dalove:Waist up color semi-realism commission (worth 150:points:)
:dalove:Waist up color semi-realism commission
:dalove:Fullbody color Chibi commission (worth 25:points:)
:dalove:Fullbody color Chibi commission
:dalove:A blinking icon (worth 25:points:)
:dalove:A blinking icon

Kawaii Pastel Star Divider by miemie-chan3Kawaii Pastel Star Divider by miemie-chan3
:dalove:Year long feature in a custom box
:dalove:Year long feature in my journal
:dalove:Month long feature in custom box (x12 for each month)
:dalove:Month long feature in my journal (x12 for each month)

Kawaii Pastel Star Divider by miemie-chan3Kawaii Pastel Star Divider by miemie-chan3
More prizes!!!!! :iconla-plz:
:iconnew-plz:The amazing DragonFlyer139 is generously donating one beautiful friendship bracelet!! Something like this Rainbow bracelet by DragonFlyer139 or A different kind of braid by DragonFlyer139 will be one of the prizes!! :iconsmilieplz:

:iconamgtouchplz:That's 4 point prizes, 8 art prizes, and 26 feature prizes, 38 prizes total.


BUT. Before you guys are all like

Here's the steps if you want to take part in this huge giveaway!

Kawaii Pastel Star Divider by miemie-chan3Kawaii Pastel Star Divider by miemie-chan3
1.) Watch me if you like my art. Don't watch me just for this giveaway. There are plenty more out there. EDIT: I guess this wasn't clear enough, but YOU MUST WATCH ME TO JOIN THIS GIVEAWAY.
2.)You must do ONE (or more) of these:
Like my Facebook page OR follow my tumblr OR comment 5 deviations of mine if you don't have a Facebook or tumblr.
3.) Add this journal to your favorites so I can get a general idea of how many people are participating.
4.) Finally, write a journal/poll about this giveaway, and comment below with the link back to your journal or poll. I will be updating everyday in this journal with a number for everyone who advertised this giveaway.
5.) Smile at this ridiculously cute gif.
Kawaii Pastel Star Divider by miemie-chan3Kawaii Pastel Star Divider by miemie-chan3

That's it!!


The deadline is December 31st, 2012. This gives you almost 4 months. Yay!! :)

Every 100 people that enter, I'll have a new prize :) Please donate here or commission me or buy my adoptables to have bigger point prizes!!

Again, thanks so much for everything my lovely watchers!:iconletmehugyouplz: I love you guys so much, I wish I can give all of you a big hug.


1.)xXxSakuma-KunXxX 2.)kittycat5678 3.)SilvyNeko 4.)Lady-Autobot17 5.)Firminus 6.)Flashikku 7.)Riarri 8.)CherryKokoroPromise 9.)BlackFireOpal 10.)bluediamondpikachu93 11.)Aurourastar 12.) MiniViva 13.)Tennosei-No-Hime 14.)AlexaSpears1333 15.)Glowzor 16.)RinARinI 17.)Jigoku-Yoru 18.)Neon-Fizz 19.)Silver-Rainbow-Kitty 20.)Metarex12 21.)Alyssa921 22.)AngelLoLion 23.)StrukbyLightning 24.)CoreyAMurray 25.)MyaMyaChan 26.)Firepoppy 27.)Trent-Khaos 28.)Nappah 29.)Wolvergirl 30.)AlexisDragonStorm 31.)haileysthelimit 32.)Raven-Mist 33.)hacker103 34.)cynthia-2901 35.)jojokitkat 36.)XxTwilightCryxX 37.)Kagura81 38.)bunny-lover14 39.)Jakoda 40.)Hridya 41.)Robofluff 42.)123456789williamloor 43.)LovelySurrender 44.)Flashikku 45.)seprisite 46.)ichiruki4ever 47.)Pinkiekitty 48.)XRavenheart 49.)PinkMelodii 50.)The-One-in-Flames 51.)daman23 52.)sephire25 53.)guintar 54.)SaryThornIce 55.)RekiRyu 56.)witchstone 57.)Natashalea 58.)Aqua-Melody101 59.)migbox 60.)Carlchang 61.)White-Wave-Queen 62.)Alex20877 63.)pjohootkc 64.)PrincessD95 65.)winterwolf227 66.)Serenity-Hatake 67.)Odd-Llama 68.)PeachyTwist 69.)ochanotsuki 70.)ShadowRyghas 71.)PastelLights 72.)PKMNTrainerJeff 73.)stephaniescarlet 74.)holyromanempireepic 75.)SoHeavenlyItsSinful 76.)vibby-k 77.)KillerStalkerPerson 78.)evermorefire 79.)Death-Shape 80.)DragonFlyer139 81.)James-Reed 82.)Beagon 83.)shysillystupid 84.)IgnisArdor 85.)gaysenpai 86.)MuzikMaestro 87.) SaviouRFilths 88.)NotSeenSoul 89.)Jaysephs 90.)ShadowBeastiiiePaw 91.)MagicalOtaku 92.)CreatingTheMix 93.)RAMENmanga-ka 94.)Emma-Jade 95.)ixirhell 96.)BittersweetObsession 97.)immilesprower 98.)ShadowKakkoii 99.)shelbyhorsegirl40 100.)chubbyfox44
100 entrants 9-28-12 :iconlaplz:
101.)chubbyzebra 102.)bigblackdog44 103.)xXdreamxcreateXx 104.)allyalltheway 105.)Masters92 106.)ChloeRockChick14 107.)spotsthecheetah44 108.)Taremimi 109.)SugarTofu 110.)Rocket14 111.)Bobhostern 112.)raexie 113.)iTiggy 114.)NightElf86 115.)SugarTofu 116.)SpacedOutBunny 117.)ganzato1000 118.)GloomyLovesLiv007  119.)Teddywangdoodle 120.)Luffffy 121.)RedRoronoa 122.)DiversityDanceQueen 123.)Yoko-tan 124.)meloetta-shiny 125.)MixieTheChiauau 126.)Malyre 127.)AlwaysHappys 128.)TheWritingDragon 129.)Sameunagi 130.)Kuzimu1233 131.)ochako 132.)Luskish 133.)allie12341 134.)FreedomeSoul88 135.):devyndaquilgirl: 136.)Shays-Ways 137.)Neon-Fizz 138.)Syito306 139.)AdeleEevee 140.)YumeHimura 141.)Choaru 142.)mio-amane-the-sweet 143.)DreamersArcadia 144.)Loza-Muse 145.)Xavria 146.)Starija 147.)Torke159 148.)Lady-WynterFyre 149.)CookieVampWolfNinja 150.)Fire-Kitty-Wolf 151.)PandaPie29 152.)nevershoutelric 153.)PeterSFay 154.)SeaPlume 155.)slycooper11 156.)RainbowSparkleBitch 157.)KibaPandaRo 158.)valurauta 159.):devshadowfoxnip: 160.)Luskish 161.)Bri-Sama14 162.):devskittles-ana-hetalia: 163.)Otato-Otato 164.)Li-ten 165.)Celestial-Blackrose 166.)Anastasia-Ri 167.)oXz-A-n-KXo 168.)Arcaninewolfie 169.)miyako-miku 170.)songohanart 171.)waterangel17 172.)HeartANGELfied 173.)Sol-karasu 174.)Meeya-san 175.)Colorful--Melody 176.)oOFrosteehOo 177.)x-HuntersWolves-x 178.)azuriin 179.)Serenity-Fantasy 180.)CorporalCornbread 181.)i-Mel 182.)Kia-chaaan

Dragon by magicwingsforeverVanilla Twilight by magicwingsforeverFriendship by magicwingsforeverMew by magicwingsforever:thumb326295960:

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A magic of effective art can be a drawing that appears to be a movie still, clipped from a film narrative, evoking a powerful sense of storytelling— and the viewer wants to know the rest of the story. This phenomenon has recently manifested itself on deviantART— and in a big way— once again.

Dwayne “The Rock” Johnson will produce a movie based on a drawing (“sweet Halloween dreams”) by deviantART digital artist begemott. The drawing depicts a tiny teddy bear with a tiny wooden sword and shield defending a sleeping child from the advances of a hideous beast sprung from the child’s nightmare.

The drawing was spotted on deviantART and brought to the attention of The Rock, film company, New Line, and the production company that produced The Rock’s successful movie “Journey 2: The Mysterious Island.

Begemott’s gallery is full of wildly imaginative art works... We want to become a part of that world and find out what happens next.

Begemott’s gallery is full of wildly imaginative art works that succeed in capturing the moment in an idea’s “story” that represents a portal into a separate world. We want to become a part of that world and find out what happens next. Almost any of the images from this artist’s gallery could serve as a more interesting story platform than the mostly stale stories released every Friday in our movie theaters. So what at first blush might seem a bit crazy— constructing an entire film narrative from a single artist’s image— becomes much more understandable.

Even within short viewings, the striking and evocative story possibilities of begemott’s artworks spark the imagination. But so many of these paintings deserve longer viewing sessions offering even greater reward by allowing the constructed tableau to percolate and truly come to life. Sensing the dilemma these characters are facing becomes the core focus when viewing these works. Empathy for the subject and situations and the just occurred events comes easily as the scenes unfold and the characters’ relationships with themselves and others become clear. These newly familiar characters exude more identity and personality than the scripted clichés populating too many a screenplay.

The creativity, imagination and resonance with seekers of art that is always next-level, delightfully wicked and yet thoroughly human, always the portal moment of a story we want to enter, is what makes begemott’s art so special. And as a moment of captured “living narrative” his work is drawing in those in the entertainment businesses charged with finding life buried in the stacks of deadheaded old-thought pitches and submissions.

DeviantART's great proletarian aesthetic is infusing media. Presented for your consideration: the likeness of a central character in Bioshock Infinite was sourced from a prominent cosplayer on deviantART, ormeli; and the recent suggestion by a snarky critic that the key art poster for The Great and Powerful Oz must have been made by a “14 year old on deviantART”— it certainly reflects deviantART because that’s what the world wants to see.

This community is the dominant aesthetic.

DeviantART is becoming known as the place to come to, where the imagination for the new millennium and the new narrative spaces of the Internet are to be found. And begemott is the newest example of the narratives being discovered here.

Deviants should be made aware that this phenomenon of Hollywood finding movie ideas in the galleries of deviantARTists is not novel. This community’s impact on the aesthetic and narratives of all media is substantial and constant though frequently invisible. This event is distinguished by the high profile acknowledgement of the artist and of deviantART as the source of his work.

Interviewwith begemott

How integral was your network of friends and watchers on dA in the “discovery” of this artwork?

I think it was crucial. It is only a guess, since I cannot know the people who posted the image on reddit and facebook, but I would expect that it started from people watching me on dA. Same for the people who posted links to my page in comments when the image appeared without attribution. I'm very thankful to them.

With so many screenplays competing for the attention of movie producers, how surprised were you that your drawing was chosen as the basis for a feature film?

It was very unexpected. I guess it shows how social media are changing the landscape. I think that recently another movie project was based on comments on a thread in reddit. It is certainly exciting to have such opportunities offered to outsiders. I would guess that one attractive property of picking up an idea from the internet, is that it has already received feedback from people.

What do you think it was about your drawing that so intrigued a producer looking for a unique story to tell?

I think that the drawing implies a larger story, and it's probably easy to relate to. The night is scary when you are a kid, and I'm sure many children have comforted themselves by imagining that something in the room protected them from all the imaginary dangers in the dark.

There are so many elements balanced in your simple piece – childhood fear and wonder, heroism and loyalty, the safety and the terror of one’s own bed. Do you spend a lot of time thinking about achieving desired balances or effects, or do you just construct “story narrative platforms” instinctively? What can you tell us about your process?

I try hard not to think! When I do try to think about such things explicitly, it all goes wrong. I don't have a process as such. What usually happens is that at some point, usually late at night, often after listening to music for a long time, I have an idea, and I make a quick sketch on a piece of paper to remember. These quick sketches are very rough and probably totally incomprehensible to others. At some other time, when I have time to spare, I go through these sketches, find one that seems like it's worth the effort, and finish it.

Have you been approached by Hollywood about obtaining film rights to your other artworks?


Can you share with us your preferred tools when creating your artworks?

I usually draw with a mechanical pencil on plain paper. When I want more detail, I may use larger Bristol paper. I then scan it and do the coloring on the computer using a Wacom pen.

There is an ongoing rash of movies “updating” classic fairy tales that all seem to fail by losing all sense of childhood as adult themes are added to the mix. Do you think the “Rock” might succeed in creating a gem like “Time Bandits” amidst the current mishmash affairs like “Snow White and the Huntsman?”

I don't really know much about the movie. I will not be part of the creative process, but I certainly hope the end result will be enjoyable. I don't think that adult themes are necessarily a bad thing in a child story. I think that the problem is that in many recent movies revisiting fairy tales, the adult themes are simplistic and inserted in a forceful and explicit way. On the other hand, many good child stories have real underlying adult themes, without losing their magic.

Questionsfor the reader


Is there a particular artwork, or an artist’s work in general, in which you notice this “moment from an unwritten story” phenomenon?


Have you ever been intrigued enough by a “narrative moment” artwork on dA to ask the artist in a comment to tell the rest of the story? Would you like to do that?


Do you think the Hollywood studio trend in seeking more imaginative narratives in dA’s “unwritten stories” will increase?


Is this because audiences in the Internet age in general are demanding more full spectrum or multifaceted platforms for their narrative entertainment?

A magic of effective art can be a drawing that appears to be a movie still, clipped from a film narrative, evoking a powerful sense of storytelling— and the viewer wants to know the rest of the story. This phenomenon has recently manifested itself on deviantART— and in a big way— once again.

Writers: $techgnotic
Designers: $marioluevanos
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2011 As Seen Through Art

Mon Jan 9, 2012, 8:13 PM

When a major world event occurs, human beings naturally gravitate together, express feelings, and share memories. And while news websites have a responsibility to present stories as a matter of fact, deviantART has the unique ability to showcase emotions and humanity through art.


2011 was full of emotional events the world around, and our community responded at unprecedented levels. From natural disasters to historical celebrations, entertainment milestones to tearful goodbyes, our community spoke out like no other community can — artistically, creatively, and emotionally. In many ways, last year marked the final chapter of a few eras, opening the door to new beginnings for 2012. Let's take a look...


The Arab Spring movement continues with Zine El Abidine Ben Ali ousted from Tunisia.



Egypt's revolution begins.


AOL Inc. announces
its acquisition of
The Huffington Post.


Nintendo's successful game franchise "The Legend of Zelda" celebrates the 25th anniversary of its first game's release.



Libya's "Day of Rage" protest is held, kicking off what will eventually become a successful full-scale rebellion against Muammar Gaddafi.

Libya, 2011

i. cartography

fly east, a
21st century
trade, where
the desert
blows. the sahara
kicks sandstorms,
brief, wavering
oases, gashes
into the skin
of your people.

brega falls.
the westerners
arrive in time
for benghazi,
and your land
bends subject
to sanded annals
of hindsight
battle jargon.
routed. ras anuf, lost.
two killed, five wounded,
one missing.

ii. ajdabiya

a boy
viva la libye
under the overpass.
you crunch
over bottles
and brown grass,
wait. he turns,
the rebel flag
tied around
his head:
red, black,
true green.
grab a gun,
you say.
a fighter plane
roars overhead.
his eyes
are dark
and young.
grab a gun,
or go home.

he fancies himself
a revolutionary;
you fancy him
stupid. and thank
, you think,
as he hesitates
before flipping
over the fence,
he is afraid.

iii. the government channel

everything is okay.
flash green.
fine, okay,
in its place. the
newscaster's eyes
run black. flash
green. flash green.

iv. great socialist people's libyan arab jamahiriya

he would
have you
as terrorists
in your own
country. his
spokesman, mid-speech,
pauses. he sweats.

they say
these bullets
touch humans
for the first
time. five inches
in your brother's
leg. flash green.

v. the news

"even his mother
could not spell
his name,"
she mutters,
rolling her eyes.
you mess
your daughter's
hair. short moment
of laughter.

vi. the parisian summit

his son, they say,
and raise
their eyebrows,
sip water,
pass copies
of his letter
to a foreign
president. the
lady american
mutters something
about the republicans
loving this. the
africans peacekeep
on their own
continent; they
roll tanks
and order lunch.

vii. the road

in egypt,
they vote
on their next
coup. your
brother, back
from medical
school, teaches
the younger boys
how to roll
in the bed
of the truck.
you snort
and stop
at the gas station,
come out
with a pack
hitting your palm.
I buy quality,
you say, grinning;
your brother
scowls. you
tell the boys
to watch
his leg
and themselves.
you rumble
into tripoli, and
a few of you
return. the desert
blows around
your feet.

viii. ghibli

and you
will know us
by the wind
that dries
our blood
and carries
our names.

Libya, 2011 by ~soporous


A magnitude-6.3 earthquake rattles Christchurch, New Zealand, toppling buildings and claiming 181 lives.


A magnitude-9.0 earthquake rocks Japan, setting off a series of catastrophic events that claim the lives of more than 15,000 people.



Academy Award winning actress Elizabeth Taylor passes away at age 79.



The viral sensation "Nyan Cat"
is posted on YouTube,
eventually garnering more than 50 million views.

Powerful tornadoes devastate the Southern US, claiming over 300 lives and causing nearly $11 billion in damages.



The first episode of "Game of Thrones" airs, HBO's hit series based on "A Song of Ice and Fire" by George R. R. Martin.


Prince William marries Kate Middleton in a televised spectacle broadcast around
the world.


Osama bin Laden is killed
by a team of highly skilled United States Navy SEALs during a raid on his compound.


An EF5 tornado nearly 1 mile wide stampedes through Joplin, Missouri, claiming 161 lives.



The season finale of the animated smash hit "My Little Pony: Friendship is Magic" airs on The Hub.


After 25 years on the air, the last episode of "The Oprah Winfrey Show" airs.


Actor Peter Falk, most well-known for his portrayal of "Columbo," passes away at 83.



New York becomes the largest state in the US to legalize same-sex marriage.


"Harry Potter and the Deathly Hallows: Part 2," the final film in the acclaimed Harry Potter series, debuts in London.


The Space Shuttle Atlantis lands, ending NASA's 30-year space shuttle program.


Long-troubled singer Amy Winehouse passes away from alcohol poisoning at 27.



South Sudan declares its independence from Sudan.


A man in Oslo, Norway, detonates a car bomb then goes on a shooting spree at a nearby summer camp, claiming 77 lives.


Riots and looting break out in North London, lasting 4 days and eventually spreading to several London boroughs and other English cities.



The "Occupy Wall Street" protest begins, eventually sparking demonstrations around the world.



Nearly 20 years after becoming law, "Don't ask, don't tell" is repealed, allowing homosexual and bisexual citizens to openly serve in the US military.


Steve Jobs, co-founder of Apple and Pixar Animation Studios, passes away from cancer at the age of 56.



After over 34 years in power, Muammar Gaddafi is shot
and killed by members
of the Libyan National Liberation Army.


Police pepper-spray student protestors on the University of California, Davis campus sparking international dialogue about freedom of speech.



North Korea's Supreme Leader Kim Jong-il passes away at the age of 69.



Nearly 9 years after it began, the Iraq War ends and remaining US troops
are withdrawn.

2011 was full of emotional events the world around, and our community responded at unprecedented levels. From natural disasters to historical celebrations, entertainment milestones to tearful goodbyes, our community spoke out like no other community can — artistically, creatively, and emotionally. In many ways, last year marked the final chapter of a few eras, opening the door to new beginnings for 2012. Let's take a look...

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Living Rainbow Taking Flight

The vibrant digital paintings of alicexz are fiery, emotional, and incredibly memorable.

The colors of her creations (mostly portraits of popular TV and Film characters) are unusually vibrant, which is remarkable considering how layered they appear to be. It’s sort of like what manga characters might look like if painted by one of the Dutch Masters. And this artist exhibits just the right amount of quirkiness to leave us wanting to know more: she has a penchant for painting redheads. But, then of course, there’s a lot of red and golden fire burning through most her artworks.

The Boy Who Lived by alicexzKatniss by alicexzThe Better Man by alicexzIrene Adler by alicexz

Sherlock - Time Lapse Process Painting

alicexz’s amazing art has recently been extended by the artist into a whole other dimension. Be sure to experience her marvelous live-stream time-lapse digital painting video, “Virtuoso.”

"Virtuoso" is a process video showing how her “Sherlock” portrait was created, step-by-step, on a Wacom Cintiq tablet. It’s an art+ music video that’s not only mesmerizing to watch, but one that can serve as an instructional resource for deviants and others. Watching the artist’s invisible hands brings to mind the Venetian painting from the Rennaissance, in which painters created compositions directly on the canvas, using layered patches of colored brushstrokes rather than line to define form. In this way they explored the relations of color, light and air on the substance of their subjects, replacing contour lines with transitions of light and shadow. They also used rich, saturated hues to imbue their paintings with a sort of luminosity. alicexz appears to have recaptured the spirit of the "Venitian Palette" and is now exploring new dimensions for the effect digitally, using only her tablet and her talent.

alicexz has recently come to the “devil’s crossroad” that many a deviant member of the deviantART community has found herself or himself approaching with a mixture of exhilaration and dread: She has decided to make the leap to supporting herself exclusively as a freelance illustrator. She has been quite successful with her commissions and selling prints of her artworks on deviantART, and she’s created a number of stunning, unique t-shirt designs (see especially “Deliquesce”!) But this is nevertheless always a nerve-frazzling moment for any artist.  Surely the deviantART community will always be there to support her as she spreads the flames of her digital paintings (and videos!) worldwide.

Leptocephalus by alicexzDeliquesce by alicexzAriel by alicexzBeauty Before Death by alicexz

Interview with Alice X. Zhang

You’re an “artist on the edge” in more ways than one, not only breaking out as one of deviantART’s more well-known illustrator online but also in deciding to quit the day job and support yourself as a fulltime freelance illustrator. Is this scary or do you have everything under control? Any words of advice to fellow deviants facing this same crossroads?


I'm continuously grateful for and humbled by the support I get for my artwork, on deviantART and elsewhere online; I don't think I would've had the guts to leave my job otherwise! I was happy to be hired after college in an art field (as a designer at an apparel graphics company) and full-time work was a very educational experience. In the end, though, I felt a freelance career as a illustrator/painter would be more personally rewarding. I was spending nearly every free moment painting anyway (or thinking about painting), and I was losing (a lot of) sleep trying to balance the job and the side projects I always had going on. I had a never-ending to-do list that I kept putting off - I really just wanted to finally 100% focus on my own projects. I've already found some success as a freelancer and that gives me confidence - it is a bit scary, but I think I'll be okay. And I also now have more free time to travel, to read, to catch up on TV shows I've always wanted to watch… and to sleep more. Maybe.

As for advice, I feel that I can't specifically direct anyone's choice, as everyone's situation is different… But! I would definitely advise that this decision isn't the type you make on a whim. I thought about my choice for months, and talked to many people I trust; I think it's so important to talk it out with those who you know will be honest with you, and weigh the pros and cons completely. A year ago, two years ago - I don't think I would've been ready.  I think in the end it comes down to personal happiness. If you begin to wake up every day thinking you'd rather be doing something else, then it's time to make a change. There's always a level of uncertainty in a freelance career, so you have to truly believe that you have the potential to "make it" on your own. Another important factor was that I knew there were many things I could improve on as an artist, and I really wanted the extra time to practice and to learn. Removing the security blanket and the luxury of being paid steadily no matter what you do each day forces you (or at least forces me) to work harder than ever, to keep people interested in your work!

Will most of your commissions income be from your t-shirt designs or from your commissioned art scenes and portraits? So many of your artworks are homages to the modern TV and film pantheon of heroes and heroines. Can you talk to us a little bit about how that evolved?


To be honest - usually, quitting a steady job in exchange for more free time to work on personal projects… is not something you do because you're hoping to suddenly make more money, haha. (Although one hopes for that eventually, of course.) Thus, I am not focusing at all on the "income" aspect right now - I've reached a point as an artist where I'm confident that if I need money, I will always be able to take on a project that offers it - be it a t-shirt design or a "please draw my entire family tree" commission. There are always art and design jobs out there (really!), as long as you have the ability and willingness to do them. I made my decision not for any income-related reason but because I want to improve and branch out artistically; I want to spend a good amount of time dabbling in new media, new projects, and creating a fresh body of work that I am proud of, and not always feel constantly rushed about it because of other obligations.

I think it's no secret that I am a huge film/TV/literature/pop culture geek; always have been, always will be. I think I will be forever influenced by it - I have SO many ideas all the time - for example, I'm doing an ambitious personal movie poster series this year that I'm really excited for… I think my interest in painting famous characters really just evolved out of just pure, simple fangirlishness. I am very easily excited and obsessive (haha) and it's just great to express that excitement through art and inspire other fans at the same time. I draw what I love, I draw what is visually and emotionally inspiring to me - everyone should draw what they love as often as possible!

Particularly in your portraits of TV and film characters there’s such an amazing vibrancy to the colors that there’s an almost 3D effect. The faces are so much more expressive than in other “flat” illustrations. How do you capture this effect? Can you explain a little about your process and tools necessary in creating your artworks?


Portraits are probably my favorite type of art to create, for many reasons. I think there's really a measure of romanticism, prestige, and timelessness associated with having one's portrait painted - I mean, as I'm sure every aspiring artist knows - whenever you mention to random people that you like to draw, usually the first words out of their mouth are "You're an artist? WILL YOU DRAW ME?!" It's a universally appreciated type of art… I think portraits of beloved characters appeal to many in particular because a portrait is especially moving when a viewer KNOWS, loves, recognizes the person in the artwork - be it a painting, photograph, sculpture, whatever. Portraits of your personal friends and family are moving in the same type of way. A compelling portrait captures the "essence" of the person; that "expressiveness" and "vibrancy" that you kindly mention of my work is me trying to capture that essence - there's many things to consider, getting the subject's correct features down is just a baseline requirement.

Color, cropping, and composition are all as important, if not more important, than mere accuracy, as are a wealth of other factors… for example, what expression best suits this character for this particular piece? Are they happy, spirited, loving, angry, sad, cold, distant, frightened, dangerous, flirtatious? Even in a simple headshot, a bit of personality should shine through… choose your models and/or photo references wisely, and always think to yourself: why am I drawing this particular person? What am I trying to say about this character? What mood am I trying to get across - what type of lighting best highlights their features - is this photo ref giving me enough information - what sort of color scheme would be associated with this character… etc, etc.  This is the kind of stuff goes through my head in my painting process, and it's also why I like to paint characters I know and love, because the answers come naturally that way. There's a lot more to think about if you're unfamiliar with your subject; I always get very paranoid drawing people or characters I don't know, because I'm worried that it won't "look like their personality"… crazy as that sounds. I choose to express myself through vibrant color and a style that's somewhere between impressionism and realism, but there's many other ways to paint a portrait of course. In my opinion it's important to consider all these factors no matter what your style though - think about being compelling, eye-catching, interesting  - think about what will be memorable to your audience, elevate your subject, and always add your own artistic touch!

Your t-shirt designs are very different from your “character studies.” How do you come up with ideas for illustrations that are going to be worn as opposed to framed?


Apparel graphics in general have always been almost an entirely separate artistic category in my mind - it's always been more "commercial" and less personal for me. It was, after all, my full-time job for quite some time - there's just a variety of other outside factors you have to consider and that's why those designs seem to vary stylistically from my other work. What people want to wear can be very different than what they're willing to hang on their walls - you have to think about your market, as my art director used to always tell me. People like graphic tees that have an interesting concept, or a funny inside joke, but it still has to look good on a shirt, y'know? It's a very specific subset of apparel design, because you have nothing but a basic tee or tank to start with; you usually don't have an interesting shirt or anything - it isn't clothing design, but it isn't exactly graphic design either. You absolutely have to think about the piece differently if you're trying to make it work on clothing - tee illustrations are usually "borderless" - it's very important that the design melds with the color of the shirt, so that it's not just a harsh-edged rectangle. That's why a lot of my other paintings wouldn't work on shirts unless they were heavily modified. You also usually have a limited number of colors to work with (although I've generally disregarded this, as screen-printing techniques can be quite sophisticated as long as you have the budget.) I think it's most important to remember that in a tee design, clarity of your concept is key. There's no point in getting to hung up on tiny storytelling details, as no one will see it anyway and a print on cloth much less crisp than a print on paper. The most popular type of graphic tee, or at least I think so, is a design that combines artistry with an interesting concept. I often collaborate with other artists on my tee designs if I come up with a great concept and need help with the execution - for example, if I feel I need very clean lineart (which isn't my strong point) to make my concept work, then I will send another artist a proposal and split the earnings with them. Two heads are usually better than one!

Sometimes a shirt will be very popular for no other reason than it looks awesome - no concept or joke or anything. Sometimes a totally ugly shirt (haha) will sell massively just because it says something funny. Anyway, to anyone who's looking to get into tee design - is a fabulous place to start; it's where most of my designs have been printed and sold. It's an ongoing contest - basically, you submit a design, and if it's picked they buy the design from you and print/sell it online. There's also a rich community over there that's very willing to help out new artists!

House Brawl by alicexzStar-cross'd Lovers by alicexzSpring Wind Rising by alicexzAlice in Zombieland by alicexz

What sort of response have you gotten from your “Virtuoso” video? Have you any ideas about creating longer “video tutorials” for budding digital artists? Is there a special reason you prefer your current combination of digital tools?


The response I've had to the one and only time-lapse video I've managed to edit together has actually been stellar! (I will make more in the future, I promise!) Process videos are really interesting to any art appreciator, I think. The Virtuoso video is just a sped-up version of one of my Livestream recordings - I do Livestream sessions occasionally - streaming my monitor to viewers so they can see me creating a digital painting from start to finish.   Slightly nerve-wracking, but I do the sessions because I know a lot of people like to "watch and learn." I have many Livestream recordings in my channel, but they're all in real-time so they're hours long and quite dull to watch - in the future, I do plan to make more "speedpaint" videos out of my recordings and perhaps even incorporate some visual tips and/or voiceovers.


My program of choice for all digital artwork has always been the illustrious Adobe Suite, specifically Adobe Photoshop, combined with a Wacom tablet. I use Photoshop because it's an incredibly versatile graphics program and suits all of my needs perfectly. Currently my home workstation is a dual-monitor setup consisting of an iMac desktop and a Wacom Cintiq 21UX. Dual monitors are great because it allows you to work on one screen… and watch TV on the other. The Cintiq tablet is a wonderful luxury item (a pricey monitor/graphics tablet that I received as a gift, it allows you to draw directly on the screen), but has the drawback of being absolutely non-portable. Since I travel a lot, many of my artworks are done with a laptop and a "regular" tablet - either a Wacom Bamboo or Wacom Intuos. I believe a graphics tablet is essential to anyone hoping to get into digital painting. A common question I'm asked is "what kind of tablet do you have/recommend??" My philosophy is buy whatever tablet you can afford at the time, and practice with it as much as possible. I have seen digital painters create masterpieces with the cheapest, littlest tablet and the most unsophisticated of programs - it is more important to familiarize yourself with and "learn the hell" out of whatever tools happen to be available to you!

alicexz's Travel Space & Workspace

As the Gallery Moderator who selects daily deviations for the digital art gallery, do you find yourself conflicted between choosing a piece that you simply like, that inspires you for some unknown ineffable reason, and another piece that, while not so much to your liking, displays a superior technique, a more notable artistic achievement, than the piece that simply moves you more? Do you feel like the community enjoying the daily deviations you find for them has any idea how questions of ethics, fairness, responsibility and other concerns can exert such tremendous pressure on a "moderator" -- especially when the moderator really cares about the job they're doing?


Ahh… the coveted Daily Deviation. A very notable, occasionally dramatic bit of deviantART culture, I think, because of all the attention an artist can receive from the feature. As someone who selects DDs I am completely familiar with the pressure and the multiple factors that come into the selection process - my primary standard being, above all, excellence (oh, and please - the art shouldn't be plagiarized.) Of course, there's the ideal "everybody-wins, perfect Daily Deviation" - a beautiful, original, and well-executed artwork from a relatively unknown talent, who has had no previous DDs and is also an active deviant who would see and appreciate the feature - it's very hard to find something like this every single day, even with suggestions from the community. So, as a mod, you try and hit at least two of those "good" factors. And I think sometimes naysayers of a so-called "amateur" DD (or a "this artist is too popular already" DD) might not realize all those factors exist during the selection process, and also might forget that DDs are chosen by a real person, a person who's volunteered their time to the community, and not some web algorithm. It's impossible to take personal taste completely out of the picture, and impossible to please everyone in general.

That aside, though, I do believe a mod DOES have a certain obligation to the community-at-large to choose the features as tastefully as possible, and not let that personal, what you call an "unknown ineffable reason," come into it too much. It's more important to me that I choose something polished and well-executed that can be universally appreciated, something that I think the community would enjoy - after all, the DD section isn't my Favorites folder, I've got my own Favorites folder. I always write a caption saying why the piece was chosen, as I think that's important as well. I'm lucky to be moderating the Digital Art gallery, which is an absolutely enormous field and there's plenty of talent for me to look through everywhere! It's a job I care about deeply and I hope to keep up the highest standards during my volunteer term.

What technical, business, spiritual (or any other) advice do you have for beginning illustrators who would like to emulate your success and one day achieve your advanced level of artistry (and self-sufficiency)?


This is an incredibly loaded question! In terms of advice on a technical/business level… the best advice I can give any aspiring artist in this day and age to remember what an incomparably powerful tool the internet is. (Yes, the interwebs.) I've self-taught myself nearly all my digital painting skills through tutorials and other information available online - but that's an obvious use of online resources - information isn't the only thing that makes the internet so powerful. After you create a body of work that's good, that you're proud of - often the question is, "what now?" Then comes the struggle to get noticed for your work, right? What I mean is - what really matters - and this is something I feel many artists forget - is the raw power of a web presence. If you want to achieve any kind of "self-sufficiency" as an artist, it's not good enough just to be good if nobody knows you exist. If you were opening a gallery show, you'd print fliers, you'd put up ads, you'd send invitations - you'd do everything possible to get people to come to the show. Agents at galleries often require you to pay thousands of dollars for this sort of advertising and promotion service. The best thing about the internet is that you essentially have your very own endless gallery show… and you are your own agent! And it's completely free! I mean, think about how awesome that is, and how it should always be taken advantage of. It's important to learn how to market your work, and one of the best ways to do that nowadays is to maintain an interesting presence online. That includes immersing yourself in a community (such as deviantART); collaborating with other artists; helping your fans, sharing your insights, answering questions, doing an interview, letting a bit that artist personality shine through can go a long way. You get what you give, just like everywhere else in life. The support and love of the fans of your work is crucial if you want to make a career out of art.

And as for spiritual advice… please, please draw what you love, as often as possible. My favorite type of comment to get on my work is when someone tells me they now love so-and-so show because my art alone intrigued them enough to go out and watch it. That's kinda the best feeling ever. So keep calm and carry on, don't be afraid to get silly, and don't forget why you love to make art in the first place. :)

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Myths and Legends Across the World

Journal Entry: Fri May 27, 2011, 7:04 AM

Myths and legends are somewhere deep in the subconscious of every nation, often unique and wonderful tales, yet different from other stories - once they were alive. People lived with them, considered them true... and in a way, they are all true. They are a part of our heritage, and with every legend forgotten, something inside us dies. I wandered wide and far through dA to gather these tales. Sit down by the fire and listen…


Gilgamesh and His Last Acts by DaMaupin Gilgamesh vs Enkidu by DaMaupin Inanna by Lakandiwa The Death of Enkidu by MeteoDesigns Ishtar by SofiaNightwings


Anubis and Ammut by Dracunnum He Who Balances by Hbruton At Edfu by Hbruton Anubis by silvestris Schemers: Set and Horus by blayrd Lord of All Growing Things by neffinesse Gods by Hbruton


Orpheus and Charon by llewllaw The Female Trinity by fanitsafantasy The champion of mankind by lucasalcantara Icarus falling by Amyhoi Demeter Goddess by midoriharada Moiras by shvayba Zeus by VargesPoseidon by GENZOMAN centaur by sandara Perseus and Andromeda by Himmapaan

Mature Content

.: europa and the bull :. by xdragonflyx
Hercules by wraithdt


Caer Ibormeith by darktear83 Morrigane looks the Thiefeyes by Chonunhwa Kernunnos by Yannig-Germain BRIAN BORU by soys Macha by MoonSpiral

Mature Content

Cu Chulainn by Crowsrock
The Blood of Cuchulain by Ionus Horned God at the Solstice by Becka-Van-Filth The Death of Cuchulain by miss-a-r-t Deirdre agus Naoise by Breogan Claws in the Night by puimun

German and Viking (Edda)

Yggdrasil by fenix42death of balder-norse myth-Fmp by Zompaws Death of a Viking by anubisreddeath Ride of the Valkyries by EvaKedves Art Trade - Tyr by MaverikElf The sons of Ivaldi by Hellanim The Death of Ymir by Elric888 Idun and Bragi by smolenskaya Norns by smolenskaya Valhalla by lemuren Loki by luisflores RAGNAROK by soys Thor - Odin and  Sleipnir by michaelkutsche :thumb62997382:

Finnish (Kalevala)

Heroes of Kalevala by jjnaas Vainamoinen ja Joukahainen by drandula In sauna by Laineilla Vainamoinen by lAhlbeck Kalevala Journal 12-13 by graffitihead Kalevala: The Fate Of Aino by sikuriina Kalevala: Son of Evil by nopsku


Bogatyr by michalivan Slavonic mystery by smolenskaya Alkonost by Jo-Freyr Baba Yaga by MarkTarrisse The Alkonost by mashpotato18 Firebird by AnHellica


Mora by DreddaBrutallac the Zlatarog by felixxkatt

Mature Content

Morena brings death by zzen
Perun and Yarovit by Righon Vodnik by Adrakitt Perunova dubrava by DuszanB :thumb119574513: :thumb109653200: Rusalka by Kaelycea Milosnice by DreddaBrutallac


Ganesh by SARYTH Vishnu, Lakshmi by zaradei shiva by CRYSTAL-2012 The Ramayana - Book 2 by mimezu The Prince Of Ayodhya by DennyKotian Mahabarata by dezygn Hanuman by kometani


Bridge of Wings - The Weaver by puimun Monkey King by SARYTH Hua Mulan by Veronica-Art dragonball by breathing2004 Fu Dragon by beastofoblivion On stage by phongduong Ten Suns by puimun Shenlong the rainbringer by VampirePrincess007

Ainu and Japan

Ainu Creation Story 1 by BigFaceReter-cikap-kamuy by jurithedreamerAmaterasu Hi by Lakandiwa Tanabata by AnHellica The Legend of Tokoyo by solangiana Amaterasu by GENZOMANFeathers and Arrows by MischievousMartian Amaterasu by Zephyri Kitsune by who-stole-MY-name

Other Asia:

Maligno by artstain The Adoration to The Lost Clan by rinaswan Seon-nyeo Pungcha by Lakandiwa Emperor Hung Vuong by splendidriver Machanu and Supanna Matcha by azrael1984 The Eleventh Full Moon by rinaswan


Africa vision by sabin-boykinov Detail2 African Creation myth by Nytlin Detail1 African Creation myth by Nytlin :thumb122225216: Heyoka by Loren86 Abatwa with Legend by WolfWhoSings

North America

Teachings of the Sweat Lodge by AaronPaquette White Buffalo Calf Woman by AaronPaquette Raven Kouth by Artkon72 TOTEM by Agarwen Raven Steals the Sun by EskimoScrybe Spirit by Zephyri Copperwoman by AaronPaquette

South and Central America

Mayan god: Hunab-Ku by XLordAndyX Mayan Myth - Goddess Ixchel by EmanuellaKozas My Gran Quetzalcoatl 2010 D. by rykyramirez Quezacoatl by Lakandiwa The Jaguar by TigerNinja The Rebirth of Seven Macaw by TempestErika Xolotl and Tonatiuh by graoww


Legend of the Rainbow Serpent by screwbald Dreamtime by SkylaStarDreamer

Mature Content

Australian dream time by AzureAngel2ihrs


Saint Joseph by Theophilia Mary by marianmalecki Archangel Michael by PaperCutIllustration

Mature Content

Eden by wicked-vlad
THE PROMISE by JoseRafaelCruzpagan ARMAGEDDON by artstainDelilah by leventepsalome by hishaSt.George and the Dragon by PaperCutIllustration


Parsifal of RichardWagner by andrekosslick :thumb186271020: Forgotten Bells of Ys by puimun Joan of Arc by Michael-C-Hayes Lady of the Lake- Painting by Lamorien Tristan and Isolde by midoriharada The Seduction by puimun Excalibur by alanlathwell Unicorn 2- Heraldic by who-stole-MY-name

Mature Content

Lady Godiva by feliciacano
The Green Knight by LittleFrog626 the lady of lake by monicakuo Joan Of Arc- Juana de Arco by Giacobino Lohengrin - The Journey by alarie-tano Merlin and Arthur by alanlathwell The Fisher King by rainesz Robin Hood by JessiBeans

Later legends and fairy-tales:

PIPER by Sargiel Nisse or Tomte by neuromantiker Der Schimmelreiter by Gold-Seven Piper's Lullaby by Artgerm Scarlet Flower by Dolgopolov Troll and Valravn by humon The Kraken attacks by Chongo-zilla The Lorelei by orphicfiddler Rhinemaidens- Study of Rackham by Lamorien :thumb108689554: The Aspidochelone by DaemonReaper Lucky Leprechaun by mreach

Riversong Journal skin
Artwork by SnowSkadi
Design & coding by Grinmir-stock
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