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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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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


For more articles like this, visit depthRADIUS.
Want to submit any ideas, suggestions, collections, or an existing work for consideration for the Today page? We'd love to look at it. Email us at share@deviantart.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.

If you would like to suggest someone for a future ProjectPorkchop article please send a note to our group:

:iconprojectporkchop:

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Coding by SimplySilent
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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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: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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Talks with Tolkien artists: jgilronan

Journal Entry: Mon Jan 13, 2014, 4:12 AM


Allow me to introduce you a wonderful professional artist and Tolkien illustrator who joined deviantArt just recently, Joe Gilronan :iconjgilronan: - jgilronan.






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

I am a full time professional artist and create work exclusively influenced by the writings of J.R.R Tolkien. I am originally from Chester, England but have lived in sunny Southern Spain for the last 6 years. I have exhibited and sold work world wide and work primarily in oils, acrylic and clay.

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

I suppose it all started from a very early age when I first heard a reading of the Hobbit on a British children's TV show called Jackanory. I just loved the whole world that he had created, this in turn led me to The Lord of the Rings/Silmarillion. Ever since a part of me has inhabited this world and art has allowed me to continue this magical journey.

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


Huge, not a week goes by without having to dip into (reference) one of the books, they never leave my side whilst painting; they are the main driving force behind all of my works. Tolkien's writings have been a part of my life for so long that they have inevitably had a huge impact on how I see and live my life. There is a lot of wisdom to be gleaned from the writings and in some ways the books have become an unofficial guide as to how I live my life; so yes, I suppose I am a Tolkien nerd.

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?

Although the books will always be the major source of inspiration behind my work, the films cannot be dismissed out of hand. After finishing a painting, I realize that certain characters and settings sometimes strongly resemble the film versions. Tolkien’s Middle-earth and the Peter Jackson/Ralp Bakshi films have become such an integral part of one another, that at times it is very difficult to separate one from the other.

5. Now, could you tell us something about you and art? We know you are a professional artists, so what influenced this decision in your life? Who or what influenced your style?

It probably all started from a love of early fantasy films, films like King Kong, Jason and The Argonauts, The Wizard of Oz, the list is endless.

Trying to capture these fantastical worlds on paper is what first led me to want to create. Then Tolkien came along and that was it, I just knew that I had to try and commit his writings to canvas.

6. You only recently joined deviantArt. How is your experience with the site so far?

Fantastic, its such a warm, friendly and supportive site and best of all there are lots of groups with some amazing artists dedicated to Tolkien/fantasy inspired art work.

7. Where do you find inspiration for the Middle-earth sceneries you paint? Is it just your fantasy, or real locations as well?


I pretty much allow Tolkien’s writings to reveal themselves in the landscape and nature around me. I currently live amongst mountains, hill top castles and sprawling olive groves; it takes very little to imagine elves dwelling amongst the mist shrouded trees, dwarf strongholds in the mountains or proud knights populating the castles.

8. Most of your pictures are painted with oil or acrylics. Do you rather keep to the art techniques and styles you are familiar with, or do you experiment with new ones as well?

I constantly experiment and use lots of different mediums and feel it is very important to try out different ideas and techniques; it helps to keep things fresh. At the moment I am playing around with earth mixed with modelling clay in order to produce some very texturized pieces.

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

- a Tolkien illustration you are most proud of?

This is difficult as each painting has its merits and flaws, however this piece is set during the opening chapters of TLOTR and for me is the best part of the book; so I have a soft spot for this one.


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

upload.wikimedia.org/wikipedia…

Anything by J. M. W. Turner who is my all time favourite artist.

- a picture that was hardest to paint?




Mordor was a challenge as I deliberately avoided using black, which is the first colour that comes to mind when interpreting the land of shadow.

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.

Without a doubt my Father who made a name for himself as a leading British landscape painter. As a child I was constantly in and out of his studio and without even knowing taking my first art lessons by watching him paint.

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?

There are to many to mention and I feel it would be unfair to choose just one; I am a particular fan of lots of the digital artists, which is a art form I used to brush off before joining Deviant Art.

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

2014 promises to be a very exciting year with many exhibitions planned and the release of my first book "From The Shire To The Sea"

Thank you for the interview!

Previous talks: Bullet; Blue with Gold-Seven fav.me/d6aprnx
                            Bullet; Blue with steamey fav.me/d6bx1lc
                            Bullet; Blue with ekukanova fav.me/d6dzooz
                            Bullet; Blue with Tulikoura fav.me/d6gqc7f
                            Bullet; Blue with AbePapakhian fav.me/d6l0qap
                            Bullet; Blue with kimberly80 fav.me/d6nt0jo
                            Bullet; Blue with jankolas fav.me/d6o41tp

Rohirrim journal skin.

Horse head © 2009 - Grinmir-stock
Texture by kizistock
Knotwork by gbrgraphix
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Talks with Tolkien artists: RobleskaZeppelin

Journal Entry: Mon Oct 27, 2014, 7:17 AM


In today's interview, I would like to introduce you a Czech student and hobbyist artist,  :iconrobleskazeppelin: - RobleskaZeppelin:


I hate him by RobleskaZeppelin Idril, Earendil, Tuor by RobleskaZeppelin
Aredhel, the white lady by RobleskaZeppelin Finrod vs. Sauron by RobleskaZeppelin
Tuor as an outlaw by RobleskaZeppelin Elwing running away by RobleskaZeppelin


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


Hello! My name is Šárka, pronnounced Sharkah. I’m a 20 years old student of biology at Charles university in Prague. I come from the south of Czech Republic (the country with beer) , from beautiful South Moravia (the region of wine). I have a tarantula called Ungoliant and I love everything related to J.R.R.Tolkien.

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

When I was 10, I found an interesting book in a bookshelf in our livingroom. It had some strange runes on the cover and there was an illustration of a dragon at the spine of the book. Of course, it was the Hobbit. The book impressed me a lot with something I could not describe. If you remember the feeling that Bilbo had in the first chapter, when the dwarves were singing in his hole and when he was looking out the windows to the nocturnal scenery – that was exactly what I felt. The desire to wander in the mountains, discover secrets long forgotten, see the wonders of the world, cross through no-man’s lands, leave the comfort of home… After a while there was this LOTR movies mania that passed around me with no consequences, but when I realized that the Trilogy comes from the same author as the Hobbit, it all could fully begin. Not speaking about the Silmarillion. Professor’s books lead me through the whole adulthood, and they lead me now as well.

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


No, not at all. Tolkien’s legacy is my hobby, I especially love investigating the maps and learning the family trees of Eldar and Edain, but…Who can call themselves Tolkien expert? Maybe the professor himself? :-) (Smile) It is also true that I’ve learned much by collecting informations necessary for drawing and painting pictures.

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 adore PJ‘s Trilogy, much more than the Hobbit. I saw the moives before I read the book and I can’t imagine them in another way. In my opinion, the choice of actors is accurate. That’s also why I don’t do much Trilogy illustrations: it is not challenging enough, while all the scenes and faces are so wonderfully depicted.

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 am a pure hobbyist. It is not easy to say when I started painting, actually I’ve never stopped doing it, since I was a small child. The person that had always given me much good advise is my dad, who is an amazing artist in many ways!

6. How do you choose which scenes and characters to illustrate?

I love painting scenes that were not much portrayed before, as well as classical issues as Beren and Lúthien. Now I have a long lists of scenes and characters to paint. So I choose what to paint usually according to my current mood and taste. Sometimes it happens to me that I don’t feel skilled enough for a long time to paint a scene, but then I just accept it as a challenge and it simply works.

7. 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’ve always loved watercolor and it is the medium I feel most sure in and also the medium with admirable possibilities and effects. The problem is that I have no basis, so my paintings used to be difficult - I used to use the watercolors the way as oils or acrylics and now I have to learn so much! So when I’m experimenting, it’s only within the radius of watercolor techniques.

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

I don’t feel skilled enough to give advise here, in the environment of hundreds ingenious artists, but if I had to: Try to accept new and new challenges! It can kick you very much forwards.

9. Could you give us a link or thumbnail from your gallery of
- a Tolkien illustration you are most proud of?
The two trees of Valinor IV by RobleskaZeppelin

- a picture from other fandom or original picture you are most proud of?
Evening in the hills by RobleskaZeppelin

- a picture that fits your current mood?
Rhovanion-the brown lands by RobleskaZeppelin

- a picture that was hardest to paint?
Beren Meets Luthien by RobleskaZeppelin

- any other picture you would like to share with us and why?

Orome hunting beasts by RobleskaZeppelin
I’d like to share this painting because it was the first one where I achieved the atmosphere I planned.

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.

I’m supported by my family a lots. My dad is suporting the artistic side of my pictures, while my brother always cheers me up to produce new Tolkien illustrations. Then there are my friends from the University. Without them I would lose a huge part of my will do paint. And also a huge thanks to all supportive lovely people on DA. And I have to thank to Jacek Yerka, my favorite painter, whose paintings are full of inspiration.

11. Is there some artist(s) at dA you know, who doesn't have as much attention as they would deserve?


These people are very inspiring, lovely and their art is amazing. I don’t know, whether they have as much attention, as they deserve, or no, but take a look at their gallery, if you can!
:iconbrunild:, :icongawarin:, :iconviolletcz:, :iconmoi-keiniku-sang:, :iconneral85:, :iconakitku:

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

Thanks to anyone who gives favorites and writes comments about my art; thanks to all Tolkien and fantasy artists for so much inspiration! And thank you for the possibility of this interview! :-) (Smile)

You are welcome! :) I thank you as well for your time and answers!

Previous talks:Bullet; Blue with Gold-Seven fav.me/d6aprnx
                            Bullet; Blue with steamey fav.me/d6bx1lc
                            Bullet; Blue with ekukanova fav.me/d6dzooz
                            Bullet; Blue with Tulikoura fav.me/d6gqc7f
                            Bullet; Blue with AbePapakhian fav.me/d6l0qap
                            Bullet; Blue with kimberly80 fav.me/d6nt0jo
                            Bullet; Blue with jankolas fav.me/d6o41tp
                            Bullet; Blue with jgilronan fav.me/d720ty2
                            Bullet; Blue with ebe-kastein fav.me/d7432vw
                            Bullet; Blue with MatsumotoSensei fav.me/d76jc7r
                            Bullet; Blue with TurnerMohan fav.me/d78r8wr
                            Bullet; Blue with ullakko fav.me/d79rfcc
                            Bullet; Blue with batwinged-squirrel fav.me/d7aoebk
                            Bullet; Blue with wolfanita  fav.me/d7awlf3
                            Bullet; Blue with marisoly  fav.me/d7awlg4
                            Bullet; Blue with kaijukid  fav.me/d7n5duj
                            Bullet; Blue with faQy  fav.me/d7ox700
                            Bullet; Blue with hitogata / kittykatkanie  fav.me/d7qsais
                            Bullet; Blue with spiegelscherben  fav.me/d7r6bdi
                            Bullet; Blue with The-Black-Panther  fav.me/d7r8jjz
                            Bullet; Blue with SceithAilm  fav.me/d7vtf2s
                            Bullet; Blue with Candra Talks with Tolkien artists: Candra
                            Bullet; Blue with evankart Talks with Tolkien artists: evankart
                            Bullet; Blue with greensap Talks with Tolkien artists: greensap
                            Bullet; Blue with DonatoArts Talks with Tolkien artists: DonatoArts


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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