I am the song brought with the wind|
Ever present, but never seen
A old as hills, as deep as sea,
forever young, forever free.
My other account: - the house of my Middle-earth collection
Personal Quote: To learn how to use a sword, one must first master when to use a sword
I first read The Lord of the Rings when I was 13. Without exaggeration, those books changed my life. The elaborately detailed fantasy, the plot's epic sweep, and the characters' classically heroic qualities grabbed hold of me and never let go. I obsessed over them, frequently referring to the appendices at the end of The Return of the King: Who was Beren? How old Moria? When was the First Age? It took forever to read each chapter as I referenced names, places, and events in those notes: each offered a trip to another time and a story as complex as the tale I was engrossed within. Very so afterwards The Lost Tales, Unfinished Tales and The Simarillion were a part of my canon after reading them at my local library.
I still have the books I first read, with paperback covers by Darrell Sweet. A few years ago I was fortunate enough to be able to purchase his original cover painting for The Hobbit. It hangs in a place of honor in my entry hall.3. How extensive is your knowledge of Middle-earth? Do you consider yourself Tolkien expert?
Art was a passion, but only a hobby, as my formal art training came late. After starting in electrical engineering at the University of Vermont, I dropped out that course of study in the middle of my third semester. My grades were fine, but I felt frustrated with and unmotivated by the lack of creativity in engineering classes. Uncertain of my path, I enrolled in an art course for my very first formal lesson. After creating some horrible oil paintings, I realized I needed guidance - lots of guidance.
In 1989, I enrolled at Syracuse University, majoring in fine art painting. The exceptional faculty at SU introduced me to the key concepts that underpin all great art: color theory, composition, anatomy, paint techniques, experimental drawing, and post-modern, modern and abstract theorizing. SU also gave me a studio, and I spent nearly all my free time in it, working not only on class assignments but also on numerous personal projects. I worked relentlessly during my three years at Syracuse, finishing my BFA in 1992.
I find inspiration through studying the world's greatest art masters, in the real world about me, and in photography. Some of each of these elements can be found in my most successful works.
Some of my favorite painters are Hans Memling, Jan Van Eyck, Velazquez, Caravaggio, Vermeer, Rembrandt, Ribera, Rubens, Titian - and Mondrian. I strive to bring their complexity into my work, melding classical aesthetics with modern abstraction.
You can see both types of influences in some of my illustrations. For example: Cartographer is inspired by Lorenzo Lotto's portraits; the dense compression of figures in Faramir at Osgiliath combines Caravaggio-like renderings with Modrian's surface patterning; and the vertical columns in Ashling recall Barnet Neuman while building upon the atmospheric illusions of Van Eyckian perspectives.
Visiting the actual paintings is what most inspires me. While images of many great paintings can be readily found in books, nothing impresses as much as being in the presence of the real works. How can a book convey the almost overwhelming scale of a 16' by 10' Velazquez painting, with life-sized figures? Or the squinty, exquisite detail of a tiny, 8Ó x 12Ó Van Eyck? I habituate the many great museums in my home city, New York, and no vacation is complete without a pilgrimage to another great art museum.6. How do you choose which scenes and characters to illustrate?
My studio contains many different oil paints, brushes, turpentine, linseed oil, palettes, paper, Masonite, panels, art boards, rags, easels, photographs, cameras, mat boards, frames, studio lights for photographing models, and props for the models (cloths, costumes, etc.). My shelves are filled with books of reference for costumes, landscapes and architectural designs. My office contains, a computer, printer, various papers, templates, rulers, etc.
The most necessary and favorite tool I could never do without is a pencil.
Currently the increasing presence of digital illustration with its faster production time and on-the-fly-changes is shrinking the market for traditional illustrators who work by hand. Nonetheless, those with creative ideas and the strong skills to realize them can still find a niche. Furthermore, digital hardware still does not substitute for a powerful idea, strong composition, and developed narratives which form the foundation for all quality art, no matter how it is made.
8. Do you use references?
When creating an illustration I primarily work from photos but always produce gesture drawings from live figures. The many happy accidents and discoveries that occur from real life cannot be anticipated or made up. I use these gesture drawings as springboards for the final illustrations and paintings.
I don't use 3D models in creating my architecture, dragons or aliens - not from lack of desire but rather from my inability to create a nice miniature.
The Heart of the Mountain - synopsisA man knelt on the blood-soaked battlefield. He was the last one. The last of the Ar-Venui, the Swords of Death: Nothing to live for, just looking for something to die for. A sword was hanging above his head. The last rays of the dying sun were like a road to the oblivion
My stories from Middle-earthI usually do not post my fanfiction stories here at dA (and won't until they enable to post multi-chaptered stories as one deviation, otherwise it would make a mess in my gallery...) I post them under my fanfiction.net: http://www.fanfiction.net/u/1740140/Mirach and Stories of Arda account: http://www.storiesofarda.com/author.asp?AuthID=2706
Art for Trees - project:iconspringtree-1plz::iconspringtree-2plz::iconspringtree-3plz::iconspringtree-4plz::iconspringtree-4pl5:
sifro. - solve the codes and win points! IMPORTANT: the login into the submmitting system currently doen't work. I'll try to fix it somehow, but until then, the "Try it without login" link still works. If you submit the solution to a cipher, it will give you a link to the next one. It just won't remember your position in the game, so better save that link, or remember the solution so you can get it again.
Memories of Battle: Aragorn: First Meeting
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