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...and came from the Valarin, second greatest of the Lords of the Valar and one of the Aratar. A lover of water, Ulmo was one of the chief architects of Arda.
and here he is! Ulmo. My final drawing for now. This drawing is my masterpiece now. I couldnt do anything like that before, and from now on, I think this is my beginning too.
I hope you'll like it guys. I worked so much for him. I've never drew waves before and I was scared to do this. but here it is! :)
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''Aulë fashioned the substances of which Arda was composed and is the master of crafts and of the knowledge of substances. He delights in the nature of substances and in works of skill, but he is not concerned with possession or mastery. ''
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Illustration of Vingilot, Earendil's ship on (as it seems) futile search for Valinor. (Based on Tolkien's Silmarillion).
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Watching weta stuff yep...
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My vision of Manwe, the King of the Valar, husband of Varda Elentári, brother of the Dark Lord Melkor, and King of Arda. He lived atop Mount Taniquetil, the highest mountain of the world, in the halls of Ilmarin. The winds and airs were his servants, and he was lord of air, wind, and clouds in Arda. He was the noblest and greatest in authority, but not in power, of the Aratar and Ainur.
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''Manwe and melkor are brothers in Iluvatar's mind. At the beginning, the most powerful ainu was Melkor who had came to the earth. But Manwe is favourite child of ERU. Manwe is Lord of Arda and Aratar. His happiness in the wind and clouds. He loves all the fastest birds and the power of the wings. Manwe lives with lady of the stars; Varda. They lived in Valinor. They rost in Oiolosse, top of the Taniquetil.. The highest mountain of the world. İf Varda with him, Manwe sees behind the fogs, darkness and deep of the sea...''

I illustrated him again. You can see other drawing in here : [link]
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Media: Copic multiliner with warm and cool greys and ink wash inside a bristol sketchbook

Size: 7x7.5
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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. :-)

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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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''...There is malice in this sword. The dark heart of the smith still dwells in it. It will not love the hand it serves, neither will it abide with you long...''


Illustration for the Children of Hurin by Tolkien
gouashe, watercolour and colored pensils on paper, 33x35cm

fragment- [link]
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Ulmo raises the Sea against the defiant Numenorians that broke the Ban of the Valar.
Based on the Silmarillion. Painted in Artrage and Photoshop.

Note: This is the third version of this drawing. Lots of things were still bothering me in the composition, lighting and the sense of scale (not to mention the JPG artifacts).

The old one is here for comparison: [link]
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