Posted May 04, 2010 | Comments (0) | Permanent link
I'm proud to announce that later this year publisher Spectra, a division of Random House, will release the 2011 George R.R. Martin Ice and Fire Calendar. It will feature 13 of 14 castle illustrations I painted for The Complete Guide to the Ice and Fire Universe (still in production). This is a welcome and unexpected honour. It had been suggested to me some months ago that the castle paintings, which were created in close collaboration with the author, would make a fine calendar, and it seems the dedicated editors of George R.R. Martin came to the same conclusion when considering material for the 2011 edition.
Most of the illustrations can be viewed here if you go to Other Works and click on the first thumbnail, which says George R.R. Martin. The original paintings are also available to purchase by contacting Malcx Lindley at www.adcbooks.co.uk.
As some will know, I have a growing association with the Ice and Fire novels, and have been a fan of the series since first being introduced to them several years ago. I'm hopeful that the relationship will continue; it represents an exciting new direction for me, as Mr. Martin's phenomenal fantasy epic continues to grow in popularity.
Posted April 09, 2010 | Comments (0) | Permanent link
Hello my friends.
Once again I return from my creative wanderings in 'Faraway Lands' with, I hope, exciting achievements. Picking up where I left off in my last detailed entry from mid-2009, I'd like to describe the next works I created leading up to my Brazil trip in October.
Legolas and Gimli Reach the Shores of Valinor
Continuing with the history of the Dwarves, and following completion of Durin I Discovers the Three Peaks, I went on to paint Legolas and Gimli Reach the Shores of Valinor, a simple piece based on the appendices in LotR, and the account of the companions' final journey.
Aule and the Seven Fathers
It was followed by a work titled Aule and the Seven Fathers, a depiction of Aule as he attempts to create the Dwarves, a scene related to my work titled Aule Prepares to Destroy His Children. This type of subject always presents difficulties, describing as it does a purely mythical event. Yet it can be very evocative and satisfying nonetheless, realism being merely the medium utilized to present a poetic, metaphysical image. All of it in order to better appreciate the wonder, pathos and beauty of Tolkien's invented myths.
The Nauglamir
Following Aule, the 4th of the Dwarf-themed works of last summer was something unusual, a depiction not of a character or scene but of an artifact; The Nauglamir. This most beautiful and rare necklace was said to be made by the Dwarves of the First Age for Finrod, and then its history has it coming into the possession of Thingol of Doriath, who commissions the Dwarves to incorporate a Silmaril into it. What soon follows is tragedy and destruction for Thingol and his kingdom, such that the necklace changes hands again a number of times until it is brought to Earendil by Elwing, the daughter of Dior, only child of Beren and Luthien. There, it is placed upon Earendil's brow, setting the stage for Earendil's transformation into a Star in the Heavens. (This last event was in fact the fragment of Story that Tolkien was inspired to build upon originally, resulting in the life's work he invested in the entire Silmarillion history!)
To accept the task of depiction of The Nauglamir, I had to accept that whatever I drew, it could not possibly fulfill the imagination of readers, given the poetic superlatives applied to the object. But as a project, it nonetheless was a fascinating puzzle. The qualities assigned to it--light on the wearer, yet heavily jeweled, and incorporating THE jewel, a Silmaril of Feanor, raised troubling questions. Tolkien uses the word 'carcanet' to describe it, and from what I could find, the definition of carcanet is understood traditionally as a 'choker' necklace. This type of necklace is worn wrapped around the neck, not resting on the shoulders like a 'bib'. Tolkien's description nonetheless suggests that it "rested lightly on the shoulders", leaving room for interpretation of his exact meaning.
The necklace was originally made for the Elf king, Finrod, and this suggests a more masculine design. Being made by the very male-centred Dwarf culture also lent weight to this rationale, such that I opted eventually for a quite geometric design, emphasizing angles and facets over curves and 'softer' elements. I also tried to incorporate the Silmaril in a way that suggested the technical demands of adapting the necklace to include the Jewel--a round, feminine object. In time, and with many revisions, I developed what seemed at least an intelligent design which incorporated all the criteria.
With the final wearing of the necklace being said to have been upon Earendil's brow, the question arose: Could he have been wearing the necklace itself, or only the detached Silmaril? Tolkien doesn't say, but given the emphasis on the time the Dwarves devoted to adapting the necklace to hold the Silmaril, it seemed incongruous that Tolkien, had he been able to fully reconcile all conflicting information in the unpublished MS, might have had Earendil dismantling the priceless, supremely beautiful and unique necklace in order to wear the Silmaril upon his brow. Therefore, its design was partly dictated by that thought, and if thus worn, it became a tiara, the Holy Jewel resting just between the eyes. The overall effect might be like a golden crown.
The Window on the West
Following my trip to Brazil, I began work on a full size version of a private commission, The Window of the West. I had generally shied away from painting the scene, despite its evocative description, but as I studied the passage in question, and in consultation with the gentleman it was intended for, I came to appreciate the interesting play of light which could be captured. The character of Faramir is always an interesting challenge; this gentler, higher minded brother to Boromir. I was careful to depict him with what I imagined would be his accouterments and costume during this episode, and to make sure his height was appropriately Numenorean, given his ancestry. Frodo is seen looking worried but respectfully at the great Gondorian, while Sam, ever cautious and skeptical, looks unimpressed.
A Conversation With Smaug
This new painting, A Conversation With Smaug, which I worked on over several weeks into February, is unapologetically inspired by Tolkien's iconic illustration for The Hobbit. Despite my thoughts of drawing the scene ever since I began depicting Middle-earth, I was never happy enough with the sketches (at least one in colour) or sufficiently moved to take on the subject before now, and was content to turn to the many other scenes and subjects instead. However, a thumbnail sketch I made while experimenting (as mentioned in a previous post) with new artwork from The Hobbit, expressed "Smaug-ness" as effectively as I've ever contrived, plus with the colour sketch that followed, such that I was happy to find I had the time to take it on to a finished work.
The challenge was to express the character of old Smaug; wily, shrewd and dangerous, yet vain and overconfident, as well as to 're-imagine' the elements in Tolkien's familiar original; the treasure piles, the deep catacombs, evidence of a final battle, plus the great vats of yet more gold and treasure. And of course there is Bilbo, who must 'register' despite his invisibility, and be juxtaposed against the great dragon in his lair. Many artists have depicted this scene, of course, so it was a scene I wanted to interpret only when I felt I could offer something interesting enough to justify adding mine to theirs.
The Riddle Game
As with the colour thumbnail posted several months ago, I found I had some time available, and turned my attention to this equally iconic scene, The Riddle Game. I once did paint an early version of it (also titled The Riddle Game), in acrylics in the mid-1970s. I now wanted to apply the intervening 35 years of experience to the subject. And the first difficulty for the artist is the darkness of the scene. As with Aule (see above) and other subjects requiring artistic license, it's necessary to ignore the obvious in order to portray the characters, and I did my best to suggest darkness while still lighting the setting.
Gollum, looking suitably wizened and slimey, emerges out of the gloom with glowing 'cat's eyes', while a clearly out of place Bilbo nervously confronts this ugly thing with his blue-lit sword Sting. Tolkien gives us a description of Gollum's cannibalistic feeding habits, so I felt justified in emphasizing the imagined results of his isolation--not unlike Shelob's lair--with bones, rottenness, and decay evident. This I feel is in keeping with The Ring's longstanding presence, it's undead evil. The coracle Gollum sits inside sends out ripples around it, not unlike the radiating malevolence within The Ring itself.
Currently on the board is a work provisionally titled Entering Mirkwood, which continues the project of new Hobbit-based scenes. I will shortly post information on the coming exhibition, Edge of the Wild, in England set for this August, where these and other new artworks will be available to see.
Posted March 30, 2010 | Comments (0) | Permanent link
I was invited to fabled Rio de Janeiro Oct. 8th to 12th for a gathering called HobbitCon. As with my very wonderful trip to Sao Paulo and Brasilia in June 2004, I was again surrounded by some of the most exuberant and passionate Tolkien fans imaginable, and I cannot praise them enough for the very special welcome I received during my few days in this most exotic of world cities!
It was always a hope, after the 2004 experience, that it might be possible for me to return, and this year it was accomplished, with dedicated fundraising efforts on the part of the local Rio smial of Conselho Branco (White Council), the Brasilian Tolkien Society. On the day of the conference, held at the Hotel SESC Copacabana, I was pleased to present a lengthy retrospective of my Tolkien art on slides, featuring successive versions of many subjects (eg. Rivendell or Minas Tirith), ably translated by my friend Rosana Rios. I also included examples of automotive and (recent) pastoral art, plus some of the castle paintings from the fantastic world of George R.R. Martin. Immediately following my talk I sat down with a beautifully hand-crafted, locally made guitar which I was loaned, to sing a few of my songs. I was deeply grateful for the very enthusiastic response on both counts, and most grateful to the organizing committee members whose hard work and dedication allowed me to be among you and renew our acquaintance so happily. All who I met and enjoyed conversations with during my stay are fondly remembered. I think Brasilian 'hobbits' (or elves) would be hard to match anywhere for conviviality or hospitality.
Very special thanks to Betina Dengler, who kindly gave of her time in order to be my guide and host through the days before and after HobbitCon. Despite a fair bit of spring rain initially, she made sure I saw the best of Rio's many and varied sights and attractions; everything from stunning Baroque churches, the Sugarloaf, the Carnaval workshop complex, Botanical Gardens, pan-Brasilian Festival, or mountain-top National Park--and of course those superb beaches. The tourist posters do not do the city justice; it is unquestionably one of the most beautiful and exciting places on the planet.
I came home very much inspired, and encourage others to put a priority on visiting our fellow keepers-of-the-flame in this tropical Wonderland! Obrigado!
Posted October 23, 2009 | Comments (0) | Permanent link
Dear friends,
It's been a busier than usual six months! By January this year, my partner Marian and I had already been tentatively browsing the market for a house on a couple of occasions prior to Christmas, and once the holidays ended, we took up the search in earnest. After carefully viewing 2 or 3 dozen properties, we'd narrowed it down to a short list, and then one in particular had hit us in just that certain way... Then, nervously, came the offer, but which was duly accepted, opening up the joyful but harrowing OMG process of preparing for the transition and getting a mortgage.
After the ensuing scramble to work out the details of combining our two households, plus a studio, we are now, at last 'gathered in', and slowly managing the business of determining where all the stuff should go. This is a lot harder than it might otherwise be (or have been years ago), since both of us are/were parents (she of four, I of three), which tends to mean you function to a degree as warehouses for the things said offspring don't want/need, but which cannot in good conscience be discarded, or is of sentimental value, etc, etc.
At any rate, the worst is over, and we are now enjoying our first spring and summer in the new house, located in an older part of this community. The town of Bradford is about 75 minutes north of Toronto's downtown, and about 40 minutes northwest of Markham, my former community. Inspired by and newly appreciating Upper York Region (as it's known) in the two years plus I've known Marian, and recognizing that her roster of clientele requires proximity to the immediate district, it didn't take much to persuade me to move this further distance out of the Greater Toronto Area (GTA), serene as it is with rolling hills, valleys, towns, villages, and farms.
I think for a long time I felt drawn to such surroundings, and to a degree Markham provided that with its open country to the immediate east. Now I've taken it the final step, and I'm hopeful that the change will be therapeutic without inadvertently signaling any less of a commitment to continuing my level of productivity. Much the opposite, this is consciously intended to reinvigorate my creative energies, refresh my spirits, and provide a more integrated creative base for the future.
Continued Output
Despite the demands of moving, for the past six months my output of artwork has not slowed down much, although the recession has been felt, and some projects were self-assigned. Within the framework of freelance work, the constant dilemma is that despite the relative freedom to follow one's own muse, the pressure to stay engaged with the continuum of commissioned work is very strong, and we artists typically have difficulty with something as benign as a proper vacation! So despite the constant attention to the house sale and the logistics of the three stage move, I kept to a timetable of painting and drawing to prepare work for the exhibition in April titled Lands of Enchantment, held as our other exhibitions have been, in Moreton in Marsh, Gloucestershire, then on to other projects afterwards.
Prior to the exhibition, which again I attended and enjoyed thoroughly, I was able to finish the demanding private commission called Thus Came Aragorn, depicting the difficult subject of the arrival of Aragorn as he lands at The Harlond in the Black Ships of the Corsairs. This was quickly followed (in the nick of time) by The Glittering Caves, a fresh take on the work I did in the 90s titled The Glittering Caves of Aglarond. Both works had pride of place at the exhibition, along with the new version, painted late last year, of the iconic scene The Fair Valley of Rivendell.
Sketching The Hobbit
In September of last year, I was in a position to paint a new Hobbit scene derived from a piece of decorative landscape I did some years ago for The Hobbit board game. It is titled Eagles to the Carrock. Incorporating aerial landscape and featuring the Company riding the eagles to the great rock beyond the Misty Mountains, it added a dramatic new scene to my output. This spring, Sophisticated Games, makers of The Hobbit game, expressed interest in using the illustration for a new box cover, but unfortunately it is/was the wrong shape. I suggested creating a whole new cover piece, and produced a series of thumbnails of various Hobbit scenes in the process.
One requirement was that this new scene not feature the dragon Smaug, in order to emphasize the more benign image the book evokes. After considering a number of possibilities, we agreed it should be a more tailored verson of the eagles scene so favoured, this time set above the Misty Mountains just after the Company are borne aloft. We're calling it simply Bilbo and the Eagles, and it was completed in May.
Taking the set of Hobbit sketches a little further, I worked a small number of them up into colour sketches, revisiting scenes I've tried in the past such as The Riddle Game, Conversation with Smaug, or Bilbo and the Trolls. Others were developed into pencil sketches of varying degrees of sophistication, and I hope in the months ahead to return to them.
Finally, last year I painted a series of small, sketchy works under the theme of Tolkien's Dwarves for a colleague and friend. Four colour works and two in pencil were done celebrating the theme of Dwarf history, and that first series featured scenes from the pre-history of The Hobbit, such as Thrain Discovers the Arkenstone or Thorin and Gandalf at Bree. I am now continuing that series with another set of artworks in the same vein, having completed Durin I Discovers The Three Peaks.That brings us to the present time.
In closing, I should add that within the past couple of summers, along with Marian, I've returned to sporadic plein air sketching sessions. I feel I want to develop that side of my output, and the surrounding rural splendour should provide ample inspiration. Just to the south at the edge of town there is a sprawling geographical feature known as The Holland Marsh, a large wetland drained and cultivated by (mainly) Dutch and Portuguese settlers in the early 20th century (their descendants are still the backbone of the community). Besides having been for a long time a favourite place for me, it is now close enough to enjoy routinely, filled as it is with hundreds of vegetable farms stretching into the distance, bounded by wooded hills. The old workers' shacks and farm buildings, and discarded equipment, plus the system of irrigation canals green with duckweed under changing skies, offer an abundance of picturesque inspiration. I am looking forward to exploring some of these possibilities as I continue to express my Tolkienian and other themes alongside.
Posted July 10, 2009 | Comments (0) | Permanent link
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