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Welcome to the Quenta Silmarillion, sit yourself down by the fire and hear the stories of old.

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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.

Vanyar:
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”

Noldor:
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

Teleri:
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”    

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Now, the specific characters, in alphabetical order:

Aegnor:
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”

Ambarussa:
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”

Aredhel:
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.

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

Caranthir:
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”

Celegorm:
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”

Círdan:
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”

Curufin:
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”

Eärendil:
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.

Elrond:
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”.

Elwë:
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”

Eöl:
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”

Fëanor:
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”

Finarfin:
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:
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:
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”

Fingon:
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:
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”

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

Galadriel:
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”

Gil-Galad:
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:
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”

Idril:
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”

Indis:
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:
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”

Maedhros:
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”     

Maeglin:
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”

Mahtan:
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

Míriel:
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

Nerdanel:
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)

Olwë:
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".

Voronwë:
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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OH MY GOSH YOU GUYS. He's just AMAZING.

:iconcalculatus: This guy decided to make a breakdown of abilities of Blaze and Penn for me and there are some crazy stuff here!


Check it out!!!))


You gave us a few of Blaze's and Penn's abilities in the past but I decided that it wasn't good enough for me, so I fleshed their powers out some more by taking their skills and physical and spiritual properties of fire into account.

Blaze's powers


·Fire flows in his blood, making him immune to all foreign contaminants such as poison and disease.

                  o This would lead to regenerative healing factor since the flames would be constantly cauterizing his wounds. This is kind of like how phoenixes heal themselves.


Fire elementals are abnormally strong since fire spiritually represents strength.


·HEAT VISION!!!!


·He holds a symbiotic bond with fire, and can emit* it from his body through fire breath, explosions, flame armor, rocket-propelled flight, and temporarily transforming into a giant fire elemental like his mother.


·He is so talented at creating, controlling and becoming fire that he can phase through attacks.


·"Heat death": can cause the temperature of water or other internal fluid inside someone to rise dramatically, causing extreme pain, injury and very likely death. However, like Heat vision, this is extremely draining and really should only be used once before extended rest.

    

·He is capable of raising the temperature of molecules in objects, causing them to melt or evaporate.

    

·Depends on oxygen more than the average human, but does not need to drink. Dehydration is irrelevant.

    

·Able to create constructs, like shields and doors, from fire.

   

·A Fire elemental's power increases or decreases depending on the position of the sun in the sky, with their peak being Noon.

    

·talented enough in pyro-kinesis to superheat the air, creating an "air lens" to block off electricity and lightning

   

 ·By manipulating atoms in a different way he can create and control plasma and lightning. However these require concentration and peace of mind respectively.

 Penn's powers**

    

· Fire flows in his blood, making him immune to all foreign contaminants such as poison and disease.

        o This would lead to regenerative healing factor since the flames would be constantly cauterizing his wounds. This is kind of like how phoenixes heal themselves.

   

 ·Fire elementals are abnormally strong since fire spiritually represents strength.

    oPenn, however, inherited the Monstrous strength of Flame Queen. He is incredibly strong even among fire elementals

    

·He holds a symbiotic bond with fire, and can emit* it from his body through fire breath, explosions, flame armor, rocket-propelled flight, and temporarily transforming into a giant fire elemental like his mother.

    

·Penn draws strength, power and nourishment from his own rage.

    

·More skilled at swordsmanship than his brother.


·A Fire elemental's power increases or decreases depending on the position of the sun in the sky, with their peak being Noon.


·At least talented enough in pyro-kinesis to superheat the air, creating an "air lens" to block off electricity and lightning


·Though not good enough to create or control fire very well, he can still manipulate heat, like transferring heat from one object to another, and masking his own body heat.


·He CAN still cause Inflammation of the skin through his powers.


·Can FREEZE things by absorbing heat.


·Can dehydrate objects by blasting them with heat.


*It does not count as pyro-kinesis because it's not summoned from thin air, but rather channeled and expelled from their bodies.


**it should be assumed that, where flame control is concerned, Blaze can do everything his brother can.

You can choose any of these powers or all of them, and decide if they're innate or need to be figured out by them or if it just requires tons of training.

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...

Yet again the Mass Effect Fandom proved that it will not leave the ending in the state it was presented in the game. A certain (fan!) mod was created (and is right now in the testing phase) a Happy Ending Mod for ME3. We can destroy the Reapers, Shepard lives (EDI and Geth too) and most importantly of all we don't have to worry about the Star Child.

:bulletblue: Instruction how to install it and the mod itself can be found here:
- social.bioware.com/forum/1/top…
:bulletblue: You can also check how the mod works here on youtube:
1) www.youtube.com/watch?v=KU7XJd…
2) www.youtube.com/watch?v=rhjNPW…
:bulletblue: And a few pictures:


( source of images-> lady-blackfish.tumblr.com )

...
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ProjectPorkchop Vol313

Sun Mar 9, 2014, 6:42 PM



ProjectPorkchop is all about bringing more exposure to the many talented yet under appreciated artists going unseen on deviantART daily. The artists chosen truly deserve more attention based on low counts of favorites, comments, and watchers, added to their incredible artistic talent.






If you enjoyed this article please be sure to :+fav: it, as this helps these artists get even more exposure.

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Coding by SimplySilent
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:film: Storm over Gondolin, a brand new Silmarillion inspired movie in making. Some of you have probably heard of it after seeing chvacher's Gondolin concept art to it www.deviantart.com/art/Gondoli…
Here are homepage and FB fanpage of the project:
www.stormovergondolin.com/
www.facebook.com/pages/Storm-o…
I guess it is still in preproduction phase, fingers crossed for coming true :fingerscrossed:

Update - here is the first video blog from the creators:
www.dailymotion.com/video/x150…

Update 11 XII 2013 - there will be no Storm over Gondolin, unfortunately The Tolkien Estate has forbidden making it - message form the filmmakers published at the projects fanpage at Facebook:

Dear fans,
We come to you today with some sad news. The Tolkien Estate, the legal body which manages the rights to Tolkien’s works, has asked us to immediately cease working on the movie Storm over Gondolin. Like you, we are extremely disappointed to have to stop the production of a movie inspired by Tolkien’s legendarium. However, the entire team is staying on board and we are more excited than ever by the opportunity to create a new world inspired by the ancient mythologies. Much of our work still stands, and we are therefore announcing the production of a new fantasy film where you will find elves and orcs in an original universe. Thank you for your support and your fidelity ; a new step in our journey is beginning, and it is for you that we are taking it!

Source: www.facebook.com/photo.php?fbi…


:film: Another movie in production is The Hobbit based animation - www.facebook.com/TheHobbitAnim… This one should be done for Christmas 2014 :fingerscrossed:

:film: Italian production based on stories of the II Age:
Diari dalla Terza Era www.facebook.com/DiariDallaTer…
 - this movie is completed, we're waiting for the promised English subtitles :thumbsup:

:film: Wings over Arda, a finalized project, yet not available to see on-line, apart trailers and a few production clips at YT: tolkiengateway.net/wiki/Wings_…

Are there any news on the raoulmike's Fingolfin vs Morgoth stop motion project?

According to it's FB page Ancanar is still on hold: www.facebook.com/Ancanar/posts…

Jan 18, 2010, 4:24:14 PM

:film: Born of Hope is latest LotR inspired movie made by JRRT fans.
More details in the news article here: news.deviantart.com/article/10… and at www.bornofhope.com :thumbsup:

Other interesting movies are:
:bulletpurple: The Hunt for Gollum www.thehuntforgollum.com/
:bulletpurple: The Sons of Elrond www.vimeo.com/4321409 & behind the scenes www.vimeo.com/4347722
:bulletpurple: Firiel - interesting animation with beautiful songs by Aire and Saruman whitepalm.ru/mp3.htm I'm in love with this one :love:

Movies in production, apart The Hobbit of course:
:bulletpurple: Ancanar inspired by the history of Gondolin, though officially not being strictly JRRT works related movie:
:bulletwhite: HQ trailer www.rainfallfilms.com/projects…
:bulletwhite: Death is a Gift: www.ralphlister.com/video/v_de…
:bulletwhite: Finlomë's Fortunes: www.ralphlister.com/video/v_fo…
:bulletwhite: YouTube link youtube.com/watch?v=K07UUVSux1…
News at Facebook www.facebook.com/Ancanar
:bulletpurple: There is also Arrival at Esgaroth, to me seems to be more distant from Arda given a Warcraft-like elf appearing there:
HQ www.rainfallfilms.com/projects… & www.ralphlister.com/video/v_es… + main site www.rainfallfilms.com/projects…
:bulletpurple: Finally it looks like  The Silmarillion Film Project www.youtube.com/watch?v=E0bMYk… is still active silmfilm.proboards25.com/

Have you seen those? What do you think of them?

I'm especially awaiting Ancanar, the story is not directly from Arda, but I feel it will have the mood and mystery of The Silmarillion. I still need to see Born of Hope and The Hunt for Gollum, unfortunately my PC doesn't want to display HD movies easily.

Firiel inspired me to make my own test, but it'll be a long road till I can call it a movie: sirielle.deviantart.com/art/Lo… :meditation:

Sirielle
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Tolkien's Birthday

Journal Entry: Thu Jan 3, 2013, 6:26 AM


Let us celebrate the Master's birthday (January 3rd, 1892) with a virtual toast! (It comes in pints) :beer:


JRR Tolkien by AudreyBenjaminsen

Tolkien Tribute by DanielGovar

Tolkien Daydreams by Lueb-Art


Rohirrim journal skin.

Horse head © 2009 - Grinmir-stock
Texture by kizistock
Knotwork by gbrgraphix
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I've been noticing a trend in a lot of Christians feeling like they need to defend themselves. So I'm going to share some things that have helped me with this.
An easy way to deal with this is to put more value on what God says about you than you put on what other people say about you. Which do you hold in higher regard? Does what other people think and say about you dominate your outlook? Or do you hold what God says in a higher esteem? It's good to value and respect other people. Even if someone is wrong about something, that person is still valuable. They are valuable to God, and so they should be valuable to you. But that doesn't mean you need to value that person's words or opinion, especially if they are wrong about something. If you only put value on what God says, no accusations or insults from others should affect you. For this to be effective, you need to know what God says. The bible, from Genesis to Revelation, is about Jesus and His finished work. Jesus is God's word. If it doesn't match Jesus, it isn't true. Let's look at some examples about what God says about you and who you are to Him.  

God loves you. The reason Jesus came is because He loves you (John 3:16, Romans 5:8). You are a new creation made with the nature of God (2 Cor. 5:18). You are accepted in the beloved (Ephesians 1:6). The word "accepted" here is translated from a Greek word that means highly favored. You are highly favored by God. In fact, His favor surrounds you like a shield (Psalm 5:12). No weapon formed against you shall prosper (Isaiah 54:17). God see's you as righteous and good. And this righteousness has nothing to do with your performance, but it has everything to do with your faith in Jesus Christ. (Romans 3:21-30). This righteousness status isn't for the people who do the most good things, or who avoid doing the most bad things, but for all who believe (Romans 3:22). Even if you feel guilty, God's truth is greater than your feelings (1 John 3:20). You are the righteousness of God in Christ (Romans3:22). God will hold nothing good back from you (Romans 8:32). You are not under law, but under grace (Romans 6:14). God loves you and wants to get personal with you. God wants you to know Him. Your body is a temple of His Holy Spirit (1 Cor. 6:19). He will never leave you or forsake you (Hebrews 13:5). You are a minister of reconciliation (2 Cor. 5:18). Jesus lives in you and expresses Himself through you. He loves you, and He gave Himself for you (Galatians 2:20). You are royalty. You are a child of light (1 Thess. 5:5). You are a child of God (1 John 3:1). You are one of God's precious gems. You are like Jesus (1 John 4:17) and His beauty radiates through you.

By all means, stand up for what is right. But don't feel like you need to come down to the level of arguing and defending yourself if someone doesn't agree or understand something. It's the Holy Spirit's job to help people believe. So tell people the truth and then let Him do His work. If something does need to be said, He will give you what to say. Don't be distracted from doing the right thing to stop and argue with someone. You know the truth. So be secure in your relationship with God. Why believe someone who didn't die for you over someone who did? Arguing is just a distraction. Believe what God says about you. You are valuable to Him.
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Paul Tobin, There and Back Again

Fri Oct 10, 2014, 1:28 PM
Approach to Rivendell by PaulTobin

























Most denizens of the West think of New Zealand as a little known outpost of civilization somewhere beyond Australia at the ends of the Earth.






Could any land be any farther from the European motherland, birthplace of the Renaissance that is the Genesis-point of the visual arts narrative we continue expanding and evolving today?  And yet this remote country of islands in the Pacific has suddenly become a cinematic storytelling powerhouse, a film-friendly factory for the creation of some of the most important touchstone mass entertainment experiences to influence our popular culture in recent years.







King Thranduil, The Hobbit: The Desolation of Smaug
© Warner Bros. Entertainment Inc.
& Metro-Goldwyn-Mayer Pictures Inc.


The digital revolution has liberated the “casts of thousands” from the Hollywood studio back-lots once needed to populate action-adventure epics, and the Internet is changing financing, production and distribution models so drastically as to forever diminish Hollywood’s hegemony over the movie business, with hundreds of smaller, but just as productive hubs becoming new centers of filmed story creation worldwide.


New Zealand is one such center, exemplified by Weta Workshop's role in changing the film-making landscape there, taking advantage of its wonderfully diverse landscape offering several completely different terrains to film in as well as its artistically talented inhabitants.


For over twenty years this creative powerhouse has been at the forefront of conceptualizing and then bringing to reality imaginary worlds. Beyond Lord of the Rings and The Hobbit, their work has guided the cinematic visions of films such as King Kong, District 9, Elysium, The Adventures of Tintin, Avatar, and most recently The Amazing Spider-man 2, and Godzilla.


Perhaps Weta Workshop's greatest contribution has been its ability to instill passion and inspiration to all those who follow their creative dreams. One such artist was so inspired eleven years ago through his love of Lord of the Rings and is now a senior concept designer at Weta Workshop.










Peter’s Shield,
Narnia, LWW

©Disney Enterprises Inc. &
Walden Media, LCC. All rights reserved.

















Paul is a conceptual designer, illustrator & graphic designer who has been working at Weta Workshop since graduating from Wellington’s Massey school of Art and Design in 2003.






He has worked on films such as Andrew Adamson’s The Lion, The Witch and the Wardrobe, Prince Caspian, Peter Jackson’s King Kong and James Cameron’s Avatar and most recently The Hobbit. An artist and concept designer who has had gallery showings of his own original fantasy artwork, he has taken it upon himself to become an advocate for other New Zealand fantasy and sci-fi artists.






“Weta Workshop...” says Paul,



...was the starting point of my journey and my 11 years of adventuring in Imaginary lands with a host of very talented artists. It was an experience that I would never have attained otherwise. Like everyone on a quest, sometimes the challenges can wear you down and that’s where your companions can help you onwards and help support you. For me this was the community that I discovered first at Weta, and then later through a broadening range of artists in NZ and eventually overseas at events like Spectrum Fantastic Art Live and on line like DeviantArt. White Cloud Worlds was me setting out on my own self determined quest to reignite my own creative interest and fan the flames in other like-minded artists.”










Bilbo Costume Concept
The Hobbit: An Unexpected Journey

©Warner Bros. Entertainment Inc. &
Metro-Goldwyn-Mayer Pictures Inc.









Miraz, Prince Caspian
©Narnia, LWW - ©Weta Workshop
Disney Enterprises, Inc. & Walden Media, LCC.







Radagast The Brown & King Thror - The Hobbit: An Unexpected Journey
©Warner Bros. Entertainment Inc. &
Metro-Goldwyn-Mayer Pictures Inc.


















The publication of White Cloud Worlds was a major statement demanding original digital fantasy art be considered collectible “fine art” rather than mere disposable commercial illustration.






In the volume’s foreward, Guillermo Del Toro shreds the stale bromide that illustration cannot be fine art because it relies on another narrative rather than standing alone as a singular expression. The best illustration “…pre-empt(s) the literary elements which it is meant to serve. In other words, the image becomes the tale. This is true of the best illustrators of all time: Pyle, Frazetta, St. John, Rackham, Tenniel, Quentin Blake, etc. They all become part of the essence of the book they illustrate and, in some cases, seem to reinvent them entirely.”



Of outside interests informing his art, Paul responds:



If I look at my career in design (I am more designer than illustrator) and my life interests outside of work they tend to revolve around exploration of cultures and archaeology and narrative “quests” in film, like Bilbo and his quest to the Lonely Mountain, the kids in Narnia and their journey to rid Narnia of winter. Even Avatar follows this ‘hero’s journey’.”








Asked about his own “hero” status amongst fans and fellow artists, Paul replies:



Just a note on the ‘Hero’ thing. I am keen not to be portrayed as a hero in the context of a modern day meaning of the word. It's more in context of the film meaning of the word where an ordinary person goes on an extraordinary adventure. Luke Skywalker the farm boy, Bilbo the ordinary Hobbit, a bunch of displaced kids in war-torn England for the kids in Narnia. I was quite an ordinary artist technically when I started out, but it was the journey and dedication that pushed me well beyond my humble beginnings.”









And we are all the richer for Paul’s dedication to his continuing journey as master and advocate of the arts.  His peers and admirers will continue to affirm his “hero” standing in fantasy and science fiction art.


More of Paul’s work can be perused at on his profile page.












Orcrist, The Hobbit: An Unexpected Journey
©Warner Bros. Entertainment Inc. &
Metro-Goldwyn-Mayer Pictures Inc.


















1.What’s your opinion on the continuing resistance to the acceptance of digital art as a “legitimate” art form? Is it just a general anti-technology impulse or an actual fear of the future and new realities?









I think within the commercial and wider art community the digital medium has become accepted as just another tool for an artist to employ and enjoy.







I think the primary resistance lies more in the monetary institutions that trade in “fine” art. Much of the fine art market is defined by the exclusivity of having an “original” and “physical” representative art form and this financial tradition spans centuries. Art is like any long-term investment, you need to protect it and control the criteria by which it grows in value. Digital art is problematic in that there is no “original” or physical representation and duplication is easy, so it’s harder to assign value within the existing art order.


Ironically with the proliferation of digital art many artists are rediscovering and pursuing traditional methods as there is greater value now being placed upon producing art the “old fashioned way”.






2.What was the popular reception of “White Cloud Worlds” like amongst fans and fellow fantasy artists, and what was the critical response to your achievement?







White Cloud Worlds had a fantastic reception amongst fans and artists alike. I always assumed that it would be well received in NZ, but I was really pleased and surprised at the level of interest we got from abroad. We were always keen to offer up a book that treated genre art with the respect it deserves, but as kiwi artists not take ourselves too seriously. I think this combination of really high level art and informality and fun struck a cord with many readers. I also think the level of professionalism we brought to the project which was in large part due to Kate Jorgensen’s production management skills (I like to think of her as a master artist wrangler) that really helped lift our game and give the artists confidence in what we were promising to produce.






One thing I did feel we improved upon with the second volume was seeking out artists that had less connection to the film industry and a greater number of women genre artists. Ironically, I found many of these new artists here on DeviantArt!







Susan's Horn, Bow & Arrow
©Narnia, LWW, Disney Enterprises, Inc. &
Walden Media, LCC.













3.What do you see as the next level for digital art in movies, video games, etc?  what’s the next big thing that few see coming?



I think the trend thats become very evident in film and games is the gradual removal of 2D artwork and design in favour of designing and rendering in 3D. As a 2D artist I hope there will always be a place for 2D design, but 3D has the advantage of being one step closer to the final product whether its a in game model or digital effects asset or a prop that can be rapid prototyped for physical use. Programs like ZBrush that work much more intuitively to painting and drawing have really accelerated this process and with the ever increasing demand for digital worlds and the convergence of film and games designing directly into a 3D space is going to become the norm I suspect.




4.“White Cloud Worlds”, your coffee table volumes of New Zealand fantasy artists, has been out for several years now. Do you feel it has made a real impact in how you and your fellow artists are regarded in the fine arts milieu? Is real respect growing for what you do?



I think the books in combination with the travelling art exhibition (which was seen by over a 100,000 people nationwide) had a huge impact in raising awareness that NZ produces world class fantasy artists. This was especially true of school kids who flocked to the exhibition and became big fans of the books. For many of these young artists it was a revelation that you could make a living producing fantasy art from New Zealand. I think for all of us this generational influence was one of the greatest outcomes from the whole endeavour.






5.What comments have other artists included in the volume reported back to you?  Has the book’s publication changed the lives of some of these talented working artists?



I think the greatest endorsement from the artists has been there incredible level of enthusiasm and support that spilled over in creating volume 2 and the desire to now do a volume 3 (hey we always wanted to do a trilogy.) I think the community that we have created around WCW has really had an impact, especially around events like San Diego Comic Con and Spectrum Fantastic Art Live. White Cloud Worlds gave us all a product and purpose to take to the international stage and its still unbelievable to me that many of these artists have poured their savings into traveling half way across the world to share in our artist adventures at these events.











Smaug Head Concept, The Hobbit: The Desolation of Smaug
&Warner Bros. Entertainment Inc. & Metro-Goldwyn-Mayer Pictures Inc.









Goblin King Head Concept, The Hobbit: An Unexpected Journey
©Warner Bros. Ent., Inc. & Metro-Goldwyn-Mayer Pictures, Inc.






6.With the continuing production of Peter Jackson’s “Hobbit” movies coming out of New Zealand, can this “Land of the ‘LOTR/Hobbit’ Giants” sustain as the center of all such epic fantasy filmmaking?  Or is the Jackson phenomenon sui generis and a gradual dispersal of digital fantasy adventure movie production inevitable? Is the model that has been built in NZ being adopted in other parts of the production world?











Bard, The Hobbit: The Desolation of Smaug
©Warner Bros. Entertainment Inc. & Metro-Goldwyn-Mayer Pictures Inc.



Whew thats a big question! I think that New Zealand has certainly generated a convincing legacy around fantasy based projects that certainly had its genesis with Peter Jackson. However, it’s long been acknowledged in the NZ industry that we have need to form new creative partnerships with other giants in the fantasy and science fiction industry to stay relevant and viable. When a director like James Cameron actually shoots in NZ then that really helps a much larger part of the industry. At Weta Workshop there has always been a huge focus on diversifying and not limiting ourselves to just working on fantasy project being brought to NZ. A good example of this is the work we do for Neill Blomkamp who shot in South Africa for District 9 and Mexico forElysium but we provided principle design and physical manufacture on.


As for this model being adopted abroad? Well I certainly saw signs of this in Belfast Ireland when I visited the Game of Thrones studio and taught some workshops. They very much reminded me of where NZ was at after LOTR became a global phenomenon. There was the same determination and sense of pride to build a industry from the ground up and to foster local talent while still embracing the expertise of folks from abroad.









Radagast, The Hobbit: An Unexpected Journey
©Warner Bros. Entertainment Inc. &
Metro-Goldwyn-Mayer Pictures Inc.












Na'vi Costumes, Avatar
©2009 Lightstorm Entertainment









Na'vi Costumes, Avatar
©2009 Lightstorm Entertainment






7.What projects are you working on currently?



If only I could say… It’s the hardest part of working in the film industry, you get to work on the coolest projects but can’t say anything about it. I just did a fun stint of design work on the new Hercules film starring The Rock and a cool Chinese fantasy film called Zhong Kui: Snow Girl And The Dark Crystal. Then of course there is the final Hobbit: Battle of Five Armies coming out in December.




8.Is there a “dream” project (like your “Atlantis” story) that you hope to one day put into production?



I have no shortage of dream projects but a serious shortage of time Even with the help I receive from my small team on White Cloud Worlds working and working the full time job at Weta Workshop there seems little time to work on my own projects.


However, things are freeing up a bit and after reconnecting with all my new friends in the US and abroad I am all fired up to tackle some new projects. I guess after helping to build worlds for clients I am really excited to embark on creating my own world and I am at work on a Reimagined Atlantis that I want to produce as both a story and concept design book. So hopefully it will hit Kickstarter later this year, so watch this space!






9.Could you speak about the importance of community in an artist's life artistically, professionally and personally?







I think with art there's really no right or wrong way about how you learn and thats where community is hugely beneficial. Getting involved with a wider circle of artists exposes you to a diverse range of approaches and helps you find your own path. At a professionally level it's really important step in building up a network of friends and peers that can help you navigate the the challenges of making a living in art. When I first started out as a freelance illustrator I never knew what to charge and so I reached out to other artists for advice as just one example. Now as I get further down the professional road it's more about passing on what you have learnt from hard work and experience to a new generation of artists.




With online communities like DeviantArt it's never been easier to share and at the same time keep learning as well.


At a personal level it's simply about FUN! I love discovering new art and artists and working collaboratively whether it's at work like Weta, a personal project like White Cloud Worlds or talking to someone at a convention or online!


















:iconevenskarangerart:

Even Skaranger


EvenSkarangerArt

“I really enjoy Even’s bold use of shape language and attention to detail. He also presents his work really well, often giving additional information about the design through graphic design elements.”


PaulTobin



























:iconyip-lee:

Yip-Lee


Yip-Lee

“Yip-Lee was a student at my old design school and I am really impressed with his use of lighting and stylish rendering and design coming through in his more recent work. I hope he keeps cranking out pieces like these as he would make a great addition for White Cloud Worlds 3!


PaulTobin












:iconowl-in-a-box:

Mallie


Owl-in-a-box

“Mallie does great costume design! I love the huge variety of designs communicated with a simple and very effective rendering style. Each round of design is frequently accompanied with a great write up explaining the culture and history behind the costumes. Fantastic stuff.”


PaulTobin
































:iconstucat:

Stuart Thomas


stucat

“Stu had the honor of introducing me to all the awesome that is DeviantArt. He’s a colleague at Weta Workshop and in his spare time he produces what I think is some of the finest anthropomorphic art anywhere. Not only is it technically mind-boggling, its also damn funny!”


PaulTobin












:iconkr0npr1nz:

Ilya Kuvshinov


KR0NPR1NZ

“Unbelievably awesome work. Enough said!”


PaulTobin











































  1. Before reading this article, were you aware of New Zealand becoming such an important hub of fantasy adventure filmmaking, even beyond Peter Jackson making LOTR there?

  2. Do you agree with Guillermo del Toro and Paul Tobin that fantasy "illustration" should be considered as a fine art when the quality warrants that assessment? Are you tired of college professors, art magazine critics and art galleries deciding what's "real" art and what's just "advertising?"

  3. Paul Tobin has an "Atlantis" dream project. Is there a book, historical episode, children's fable, childhood favorite TV show, movie, cartoon or comic book that would be your dream of seeing on the screen in full LOTR digital glory?








Most denizens of the West think of New Zealand as a little known outpost of civilization somewhere beyond Australia at the ends of the Earth. Could any land be any farther from the European motherland, birthplace of the Renaissance that is the Genesis-point of the visual arts narrative we continue expanding and evolving today? And yet this remote country of islands in the Pacific has suddenly become a cinematic storytelling powerhouse, a film-friendly factory for the creation of some of the most important touchstone mass entertainment experiences to influence our popular culture in recent years.

Writers: techgnotic 
Designers: marioluevanos


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Who is Dr. Strange?

Mon Oct 27, 2014, 4:59 PM
Img-01 by techgnotic














For several months the world has been asking the question ‘Who is Doctor Strange?’


The faces of Ethan Hawke, Johnny Depp, Jon Hamm, Joaquin Phoenix, Tom Hardy, Jared Leto have been click bait for a thousand sites waiting for news of the star of the next Marvel movie franchise. According to Mike Fleming over at Deadline it now looks like Marvel have finally landed their perfect Doctor Strange in Sherlock’s Benedict Cumberbatch.


But while everyone is chasing the casting news, who is asking the real question here of ‘Who is Doctor Strange?’








In the Marvel Comics Stephen Strange was a brilliant neurosurgeon with a bright future ahead of him and was the envy of his collegues for his achievements. Unfortunately his success consumed him. His desire for more and greater wealth blinded him to his sacred doctor’s oath of first and foremost caring for those in need.


All of that came crashing down in an instant one evening when Strange was in a car accident that ends his medical career. Damaged beyond repair his hands were no longer capable of surgery. Strange’s stubbornness leads him to exhaust his considerable wealth to find a cure, traveling the world and ending at the doors of a hidden temple in the Himalayas, home to a humble hermit known only as the Ancient One.



In reality the Ancient One was our worlds Sorcerer Supreme and Stephen’s last chance at finding a cure. The Ancient One refused to help Strange but allows him to stay at the temple until a snowstorm passes. Also at the temple was the Ancient One’s disciple, a nobleman from Transylvania named Baron Karl Mordo. That night, Strange selflessly foils Mordo’s plan to kill his mentor. With this noble act, the Ancient One sees Stephen’s potential and while casting out Mordo, takes in Strange as his new disciple. Mordo leaves to become Doctor Strange’s mortal enemy.


Eventually Stephen returns to New York and takes up residence in his Sanctum Sanctorum in Greenwich Village as Doctor Strange, Master of the Mystic Arts.


But where did Doctor Strange come from and Who created him?


Doctor Strange was created by Stephen ‘Steve’ Ditko in 1963. Steve Ditko had already co-created the Amazing Spider-Man but now he was set to create something himself rather than step into something that had been started by others (Spider-Man had previously had Jack Kirby working on it but Stan Lee was looking for something different). One day Steve turned up at the office with the first story already drawn. The dark character was clearly something different than the bright superheroes that Marvel was starting to make its name for but Stan decided to give it a try.







Stan Lee in February-1963—

Well, we have a new character in the works for Strange Tales, just a 5-page filler named Dr. Strange. Steve Ditko is gonna draw him. It has sort of a black magic theme. The first story is nothing great, but perhaps we can make something of him. Twas Steve’s idea; I figured we’d give it a chance, although again, we had to rush the first one too much.”



Stan Lee may have sounded a little negative about it as his contributions to the character was mostly dialogue and Steve went on to write most of the stories he worked on with Stan supplying the dialogue.


The method that Marvel used for writing in the 1960’s later became known as the “Marvel Method”. Stan Lee wanted to have as much control as possible but clearly story and plot weren’t his strong points. By having Jack Kirby and Steve Ditko write their own stories with only a brief call or note from Stan they were able to move a lot faster and produce the material quickly. Stan would dialogue the comics leaving him more time to spend handling marketing and distribution.


We are definitely looking forward to seeing Doctor Strange on the big screen in November 4, 2016, and Steve Ditko getting the recognition he so rightly deserves.








By the sands that time has shifted, By the Winds of weird Watoomb, Let the masking veil be lifted, Though it means a demon's doom!”


— Dr. Strange












Your Thoughts


  1. Do you believe in magic?









For several months the world has been asking the question ‘Who is Doctor Strange?’


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Talks with Tolkien artists: Tulikoura

Journal Entry: Mon Aug 5, 2013, 7:05 AM


Previous talks: :bulletblue: with Gold-Seven fav.me/d6aprnx
                            :bulletblue: with steamey fav.me/d6bx1lc
                            :bulletblue: with ekukanova fav.me/d6dzooz

Today we are going to talk with a Tolkien artist who drew Dwarves before it was cool (before the Hobbit movie, I mean...) Meet Tulikoura :icontulikoura:!

The Siege of Moria by Tulikoura     Battle of Five Armies: Elves of Mirkwood by Tulikoura

Battle for Moria by Tulikoura     Balins decision by Tulikoura

War of the Dwarves and Orcs by Tulikoura     The Fall Of Azaghal by Tulikoura

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


Hi, my name is Joona Kujanen, I'm 24 years old, studying economics at the university of Eastern Finland and going to finish my master's degree next spring. My hobbies are reading (favourite authors being J.R.R.Tolkien, B. Cornwell, G.R.R.Martin, T. Zahn, A. Sapkowski and D. Gluhovski) and drawing (with drawing ink + graphite pencil).

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

I read the Hobbit first time when I was in the elementary school (and saw a fancy theatre version of it as well) but I read the trilogy first time in 2001 - I got the book as a Christmas present.

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

Well, I can say without hesitation that I'm a Tolkien nerd. Reading of Silmarillion may be regarded as one step towards that goal in my opinion, hah. I'm very fond of the vast history Tolkien has created for Middle-Earth.

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?

To some extend, yes. I read the trilogy only some weeks before seeing the movie so it's no wonder. I have mixed feelings towards this issue, as some characters and scenes from the movie trilogy "fitted" to my vision quite well whereas some didn't at all. It's kinda like a patchwork, really... On the other hand, when I read the book I hardly think about the trilogy at all, so it's a "problem" only experienced while drawing - it's easier to use familiar elements there.

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?

This is just a hobby for me. In general it's hard to see my drawings in a "professional" way, especially if it comes down to things like trying to make a living out of art.

I would say it was something more than just sketching and doodling to notebooks right after high school. I started to pick themes and pay more attention to usage of drawing ink, which I had started to use in middle school. About that time I was inspired by Finnish artists Petri Hiltunen and Hannu Lukkarinen as well as by Ian Miller's great art which guided my drawings.

6. You are one of the few artists who illustrate the history of Dwarves. How did you come to be interested in it, and what influences the choice of what part of the books will you illustrate?

Like I mentioned, I'm very fond of the lore Tolkien created. But there's this special melancholy in stories of Dwarves that appeal to me very much. Battle scenes are also a plus (and one can find plenty of wars and battles when reading about dwarves), as well as drawing  of series like War of the dwarves and orcs, which contains interesting sceneries (Moria and its surroundings) and events (duel between Nain and Azog).

7. Where do you look for inspiration for your paintings, not only from contentual, but also artistic side? Do you use references?


Seeing Ian Miller's artwork was the initial kick start for me, I wanted to draw similar kind of sceneries and characters as he did and eventually added own layers to it. Many artists in dA have also been sources of inspiration when it comes to drawing elements of nature, shading etc. and I have learnt to use more white space in my drawings just by looking at other artist's works. I hardly use references, but when I do it's mostly in cases of animals like horses (I always mess up the size) or details like coat of arms, or runes.

8. Your artwork is mostly black and white, and apparently this style suits you well. But nevertheless, didn't you think about experimenting with color?


In my opinion using only black drawing ink is way easier than using all kind of colours, and frankly speaking I just don't have patience or skills needed for colouring in general. I enjoy watching colourful paintings and drawings more than doing that myself.

9. Could you give us a link or thumbnail from your gallery of

- a Tolkien illustration you are most proud of?

Battle of Nanduhirion, part 3 by Tulikoura
I really like how this turned out. It took a long time to finish those chainmail armours as I ran out of marker pens three times when drawing this... but it was worth it.

- a picture from other fandom or original picture you are most proud of?

Surface by Tulikoura
Aquaria is one of the best games I have played, and about the only one that makes me want to draw about it...

- a picture that was hardest to paint?

Gothmog Strikes Fingon Down by Tulikoura
I had some problems with drawing fire and smoke - it didn't look too good at first as I was inexperienced with graphite pencils. Luckily I got some good feedback and suggestions how to cover it. And Gothmog looked like Hulk Hogan for few hours before I changed it, hah.

10. 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, my twin brother drew with me when we were younger and nowadays he gives me constructive criticism and suggestions... which I usually tend to ignore but it still gives me an another perspective. If I would have to name persons in dA that have been sources for inspiration and have supported me as an artist during these years, those would be woutart, EthalenSkye and Grishend. Very nice chaps indeed.

11. 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?

A tricky one. Well, I know that artist known previously as JustinRaven started a new account so if there are his old contacts still looking for him, his new account is :iconjdr-illustrator:
. 'Moonlight Encounter' by JDR-Illustrator, 'Underwater City Map' by JDR-Illustrator.
He has some fine and classic looking RPG-style fantasy art in his gallery.

12. There are many Tolkien-themed groups at dA. Do you have some favourites which you would recommend watching/joining? What about other art and fantasy groups?


:icontolkien: and :iconthelotrclub: are the only groups that I really know when it comes to Tolkien-themed ones. These two contain art based on every book and LotR-movies which is a very nice thing, and I thank group admins for organizing activities, events and discussions. There are of course many groups that target, for example, only art based on Silmarillion (:iconsilmarillion-club:) or the Hobbit (:iconthehobbit-tba:). When it comes to other art groups and groups in general - it's quite easy to find a group where people share similar interests. For example Warhammer 40k has :iconeye-of-terror:, :iconcommissariat: and when it comes to even more specialized subcategory like Imperial guards... and there you have :iconthe-imperial-guard:. Good stuff.

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

Looking forward to draw more Middle-Earth -themed art in the future - I have to finish my battle of five armies -series and I have received some really good suggestions as well.

Thank you very much for the interview!


Rohirrim journal skin.

Horse head © 2009 - Grinmir-stock
Texture by kizistock
Knotwork by gbrgraphix
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