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Similar Deviations
I said I'd attempt another version and I did.
Again, not *quite* satisfied...

But I think I like this one a bit better...

The B&W version can be found here: [link]
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Rían, daughter of Belegund, was the wife of Huor, son of Galdor; and she was wedded to him two months before he went with Húrin his brother to the Nirnaeth Arnoediad. When no tidings came of her lord she fled into the wild; but she was aided by the Grey-elves of Mithrim, and when her son Tuor was born they fostered him. Then Rían departed from Hithlum, and going to the Haudh-en-Ndengin she laid herself down upon it and died."
"Tuor was taken to foster by Annael of the Grey-elves, who yet lived in those hills. Now when Tuor was sixteen years old the Elves were minded to leave the caves of Androth where they dwelt, and to make their way secretly to the Havens of Sirion in the distant south; but they were assailed by Orcs and Easterlings before they made good their escape, and Tuor was taken captive and enslaved by Lorgan, chief of the Easterlings of Hithlum. For three years he endured that thraldom, but at the end of that time he escaped; and returning to the caves of Androth he dwelt there alone, and did such great hurt to the Easterlings that Lorgan set a price upon his head.
The Silmarillion (chapter 21 & 23)


watercolor pencils, soft pastels

The first picture of a commissioned six-part series of illustrations of the story of Tuor and the Fall of Gondolin (in the Silmarillion and the Unfinished Tales), which I made last summer. These illustrations were painted for an American Tolkien fan who liked my art displayed here on deviantArt.

Here you can see illustrations connected to the early life of Tuor. In the upper part there are Tuor's parents, brave Huor and faithful Rían saying farewell before the Nirnaeth Arnoediad. In the lower part you can see the Sindar folk of Annael, who fostered Tuor in the woodlands and mountains of Mithrim. And in the main part there is Tour just captured by Lorgan and his savage Easterlings, who settled among the ruins of the great civilization of Hithlum.
The corners feature heraldic devices having some connections to the story: In the upper left there's the House of Hador (paternal ancestors of Tuor) and in lower right the House of Bëor (his maternal ancestors). In lower left it's a swan, which was an emblem of Annael, and finally in the upper right there's the swan wing, later adopted by Tuor himself.

Part 2: Journey to the Sea
Part 3: In Vinyamar
Part 4: Coming to Gondolin
Part 5: The Fall of Gondolin
Part 6: A New Beginning

I hope you like it and I'll appreciate your comments. :-)

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

If you like my Tolkien-related art, look at my related journal or gallery folder.
But you can find even more of my pictures on my website Angrenost.cz. It's in Czech, but you can still look at the gallery of illustrations. Enjoy! :-)
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Engraving on plastic, fron Fine Arts School time.
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But when Tuor had lived thus in solitude as an outlaw for four years, Ulmo set it in his heart to depart from the land of his fathers, for he had chosen Tuor as the instrument of his designs; and leaving once more the caves of Androth he went westwards across Dor-lómin. But even as dim dusk came on the third day of his journey, Tuor found before him a wall of rock, and there was an opening therein like a great arch; and the stream passed in and was lost. Then Tuor was dismayed, and he said: "So my hope has cheated me! The sign in the hills has led me only to dark end in the midst of the land of my enemies." But even as the light of the coming sun shone pale in the far mists of Mithrim, Tuor heard voices, and looking down he saw in amazement two Elves that waded in the shallow water. So he found Annon-in-Gelydh, the Gate of the Noldor, which the people of Turgon built when they dwelt in Nevrast long years before.
Thence a dark tunnel led beneath the mountains, and issued into Cirith Ninniach, the Rainbow Cleft, through which a turbulent water ran towards the western sea. The sun rose behind his back and set before his face, and where the water foamed among the boulders or rushed over sudden falls, at morning and evening rainbows were woven across the stream. High hills now marched on either side, and fresh waters spilled from them into Cirith Ninniach over shimmering falls. Then he lifted up his voice, and plucked the strings of his harp, and above the noise of the water the sound of his song and the sweet thrilling of the harp were echoed in the stone and multiplied.
And Tuor came into Nevrast, and looking upon Belegaer the Great Sea he was enamoured of it, and the sound of it and the longing for it were ever in his heart and ear, and an unquiet was on him that took him at last into the depths of the realms of Ulmo. Then he dwelt in Nevrast alone, and the summer of that year passed, and the doom of Nargothrond drew near; but when the autumn came he saw seven great swans flying south, and he knew them for a sign that he had tarried overlong, and he followed their flight along the shores of the sea.
The Silmarillion (chapter 23), The Unfinished Tales (Of Tuor and his Coming to Gondolin)


watercolor pencils, soft pastels

Second installment of the six-part series of illustrations for the story of Tuor and the Fall of Gondolin (in the Silmarillion and the Unfinished Tales), which I drew last summer as a commission for certain Tolkien-fans.
It shows some important moments of Tuor's journey from Hithlum to Vinyamar. The upper panel shows the Gate of the Noldor, even as Gelmir and Arminas the two Noldorin messengers emerged from it. The main scene shows the Rainbow cleft with Tuor playing his harp. And then there are the seven swans, sent as a sign by Ulmo.
As for the heraldic devices, the two swan-wing are of course Tuor's again. The upper-right is the device of Finarfin (Gelmir and Arminas were of Finarfin's people). The lower-left is Fingolfin's, which is not so closely connected to this story, but the Gate of the Noldor (though built by Turgon) was made as the best way from Vinyamar to Fingolfin's realm and the device of Fingolfin is a good counterpart to that of Finarfin (also I like it so I wanted to have it included in one of the illustrations).

Part 1: Tuor in Hithlum
Part 3: In Vinyamar
Part 4: Coming to Gondolin
Part 5: The Fall of Gondolin
Part 6: A New Beginning

I hope you like it and I'll appreciate your comments. :-)

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

If you like my Tolkien-related art, look at my related journal or gallery folder.
But you can find even more of my pictures on my website Angrenost.cz. It's in Czech, but you can still look at the gallery of illustrations. Enjoy! :-)
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First concept of Fingolfin for "The Fall of Fingolfin" - a stop-motion shortfilm that tells the story of one of the most desperate and epic fights in the history of Middle-earth - the Fall of Fingolfin, High King of the Noldor.

The armour design follows the lines of that of the noldorin soldiers, but heavier and with more engraving.

You can follow the project here - [link] :D
To see works of other people collaborating in the project:
*Nahar-Doa - [link]
*Brokenmachine86 - [link]
*Raoulmike - [link]
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A sketch of Fingon and Maedhros.
It was drawn under the expression of this poem - [link]
Of course it should be watercolours... :) Someday!
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"Huan followed Celegorm into exile, and was faithful; and thus he too came under the doom of woe set upon the Noldor"
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Watercolors, 59 x 44 cm


A scene from J.R.R Tolkien's "The Lord of the Rings: The Fellowship of the Ring - Chap. 8: Fog on the Barrow-downs".
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Middle-Earth's most famous lovers, living out their last days in peace under the eaves of Tol Galen, a slight change of pace for me.

The idea to depict them in old age was motivated primarily (if I'm being honest) by not feeling quite up to the task of depicting Luthien in her prime ;) but also because it seemed a really good place in their story (namely the end) from which to view the story as a whole; their timeless, perfect love, their unparalleled feats, their overcoming of fate and death (or perhaps they were simply fated to do exactly as they did; it is after all by their union that a strain of divinity enters into the human race, which stands to inherit the earth one day) and their life upon returning from the Halls of Mandos, lived out in a kind of heaven-on-earth, isolated and content in their love and seemingly retired from the troubles of elves and men (robin williams' and anabella sciora's happy home in the hereafter in "what dreams may come" is basically what I think of for Dor-firn-i-Chuinar)

I wanted both of them, and especially Luthien, to actually look old (you know, not like a twenty five year old beauty queen in old-age makeup, like you see far too often in the last scenes of those decade-spanning movies) in some ways the image (the one in my head, not necessarily the one I was able to put down on paper) of the most beautiful of all the children of Illuvatar, born to live forever, growing old and dying, but happy and in the arms of her beloved is both impossibly sad but also joyous, like the Lay of Leithian itself; the loss of Luthien is a sore one from which the elves and seemingly the earth itself will never entirely recover, but she was lost of her own decision, and did so, as per the lay's closing line, without sorrow. I could imagine the two of them leaving the world like this, to be found where they lie by Dior shortly thereafter.

Part of the Weekly Tolkien Sketchblog. Special thanks to John Howe for the bramble leaves (I never get tired of ripping those off)
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the sight of Maedhros' back.
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