JCC [Image heavy]A thread for art: See note on page 776

Shield of Gil-galad by MatejCadil on DeviantArt

Spoiler

My design of the Shield of Gil-galad. Originally inspired by the Inktober52 prompt "Shield". There are several interesting shields described in Tolkien's legendarium, but the one that's the most fascinating for me is the shield of Gil-galad, memorably described in the song above.

While I was tempted to really draw Gil-galad with his shield (and sword and lance and shining helm, as he's described), for the sake of simplicity I decided to do something different this time: just a pure shield design.⁠ An it was quite interesting and fun to play with the shape of the shield and all the stars.

Interestingly, only now after many readings of the song above I realized that it could be read in two different ways: As the shield being so smooth shiny silver that it literally mirrored the real stars in heaven or as a shield being adorned with stars and so figuratively "mirroring" the stars of heaven. Obviously I chose to interpret it as the latter. After all, we know that the heraldic device of Gil-galad, originally drawn by Tolkien himself, is composed of numerous stars.



And that is what I used as the basis for my design, the upper lozenge-shaped part mostly follows the design of the heraldic device (except the background, which is blue in the emblem there but I kept it silver/grey here in accordance with the text of the song), while in the other parts of the shield I tried to develop that same starry design.⁠

Drawing white or silver stars on a silver shield is quite challenging, but with the help of some darker outlines and blueish tint it can be done. Also, the shiny parts drawn by silver pen nicely add to it, which unfortunately can't be really captured in a photo.⁠

Earendil's heraldic device by MatejCadil on DeviantArt

Spoiler

Inspired by Inktober52 prompt "Star" ⁠ as well as the exploration of the story of Eärendil in my larger picture I have been working on and the ornamental design work of another recent piece, the Shield of Gil-galad.⁠
At any rate, Eärendil is one of my favourite characters from Tolkien's Legendarium, so this was something I wanted to do for some time.⁠
⁠
Did you know that J. R. R. Tolkien devised a whole system of elven heraldry in the form of beautiful mostly symmetrical geometric ornaments? He drew heraldic devices for many of the important characters from the Silmarillion. ⁠
He in fact made two variants of Eärendil's device and for my own rendition of the emblem I used elements of both, as well as some smaller additions and embellishments. Partly because I didn't want to just plainly redraw Tolkien's work, partly because I really love playing with such designs and reinterpreting them.⁠
Indeed, I enjoyed working on this one and it really inspires me to try some of the other heraldic devices.⁠
⁠
What do you think about it? ⁠

Tevildo the Prince of Cats by MatejCadil on DeviantArt

Spoiler

The inktober52 prompt "Cat" made me think where in Tolkien's Legendarium one can find cats. And only two places came to my mind: The Cats of Queen Berúthiel and Tevildo the Prince of Cats. And because I have (sort of) already drawn Berúthiel with her cats before (see here) and think Tevildo is an utterly fascinating character, I decided to draw him.

Have you never heard of him? Well, he is not part of Middle-earth as we mostly know it. He was present in the earliest version of the story of Beren and Lúthien, titled the Tale of Tinúviel, but his role in the story was later taken by Thû the Lord of Werewolves, who eventually becomes Sauron. I really recommend reading it, the history of the text is really interesting.

Here is the relevant passage:

(Melko) gave orders for Beren to be made a thrall of Tevildo Prince of Cats. Now Tevildo was a mighty cat — the mightiest of all — and possessed of an evil sprite, as some say, and he was in Melko’s constant following; and that cat had all cats subject to him, and he and his subjects were the chasers and getters of meat for Melko’s table and for his frequent feasts. Wherefore it is that there is hatred still between the Elves and all cats even nowwhen Melko rules no more, and his beasts are become of little account.When therefore Beren was led away to the halls of Tevildo, and these were not utterly distant from the place of Melko’s throne, he was much afraid, for he had not looked for such a tum in things, and those halls were ill-lighted and were fiill of growling and of monstrous purrings in the dark. All about shone cats’ eyes glowing like green lamps or red or yellow where Tevildo’s thanes sat waving and lashing their beautiful tails, but Tevildo himself sat at their head and he was a mighty cat and coal-black and evil to look upon. His eyes were long and very narrow and slanted, and gleamed both red and green, but his great grey whiskers were as stout and as sharp as needles. His purr was like the roll of drums and his growl like thunder, but when he yelled in wrath it tumed the blood cold,
J. R. R. Tolkien: The Book of Lost Tales II. The Tale of Tinúviel.
I have read the later version of the story of Beren and Lúthien many times, but only now I read the whole Tale of Tinúviel and I found it delightfully fascinating – bringing to mind many might-have-beens about Tolkien's Legendarium. And having a Prince of Cats in place of Sauron, with his host of evil giant cats is probably the most striking. While Christopher Tolkien in his commentary notes that "It would scarcely be true, I think, to say even that Sauron 'originated' in a cat: in the next phase of the legends the Necromancer (Thû) has no feline attributes", still he acknowledges there is a gradual development and many earlier elements are still echoed later (such as the cat-dog rivalry transformed to wolf-dog).

And I would even argue that Sauron does retain some feline features. His cunning, preferring beautiful appearance and deception (at least while he could) to brute force could certainly be seen in such a way. But most importantly, read this description of the Eye of Sauron as seen by Frodo in the Mirror of Galadriel:

The Eye was rimmed with fire, but was itself glazed, yellow as a cat’s, watchful and intent, and the black slit of its pupil opened on a pit, a window into nothing.
Don't you see there a little bit of Tevildo retained even in the Lord of the Rings?

Anyway, I think this character definitely deserved an illustration.

A Knife in the Dark by MatejCadil on DeviantArt

Spoiler

"Frodo shut his eyes and struggled for a while; but resistance became unbearable, and at last he slowly drew out the chain, and slipped the Ring on the forefinger of his left hand.
Immediately, though everything else remained as before, dim and dark, the shapes became terribly clear. He was able to see beneath their black wrappings. There were five tall figures: two standing on the lip of the dell, three advancing. In their white faces burned keen and merciless eyes; under their mantles were long grey robes; upon their grey hairs were helms of silver; in their haggard hands were swords of steel. Their eyes fell on him and pierced him, as they rushed towards him. Desperate, he drew his own sword, and it seemed to him that it flickered red, as if it was a firebrand. Two of the figures halted. The third was taller than the others: his hair was long and gleaming and on his helm was a crown. In one hand he held a long sword, and in the other a knife; both the knife and the hand that held it glowed with a pale light. He sprang forward and bore down on Frodo." J. R. R. Tolkien: The Lord of the Rings. Book I, Chapter 11: A Knife in the Dark
Frodo attacked by the Witch-king and the Ringwraiths on Weathertop. It was great to draw again a white-on-black picture and I would love to draw some more. Although in this case it was tricky, as I mentioned before. The scene depicts what Frodo sees while wearing the Ring and therefore there is not supposed to be natural lighting but rather eerie wraith-world light.

It was originally inspired by the "X-Ray" prompt of Inktober52 and that in a way guided my approach: drawing the Ring-wraiths in a way to emphasize what Frodo sees beneath their black wrappings. I originally thought I would leave Frodo just as a dark silhouette against the glowing figure of the Witch-king. But I wanted to depict also the black cloak surrounding the white figure of the rider, so I needed to have Frodo at least outlined to make his figure stand out. And I realized that it makes sense to have him illuminated by different sources of somewhat warmer light, while the wraiths seem to be rather glowing by themselves.

Read more detailed description and thoughts here.
For such a relatively simple picture it was unexpectedly challenging – to find the right balance between the light and darkness and detail and vagueness – but it was interesting to work on it. I hope you like it!

The Hall at Bag End by MatejCadil on DeviantArt

Spoiler

In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit-hole, and that means comfort.
It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tube-shaped hall like a tunnel: a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats - the hobbit was fond of visitors. The tunnel wound on and on, going fairly but not quite straight into the side of the hill - The Hill, as all the people for many miles round called it - and many little round doors opened out of it, first on one side and then on another. No going upstairs for the hobbit: bedrooms, bathrooms, cellars, pantries (lots of these), wardrobes (he had whole rooms devoted to clothes), kitchens, dining-rooms, all were on the same floor, and indeed on the same passage. The best rooms were all on the left-hand side (going in), for these were the only ones to have windows, deep-set round windows looking over his garden and meadows beyond, sloping down to the river.
The Hobbit. Chapter I, An Unexpected Party
Here is my picture of the Hall at Bag End. The primary inspiration to draw this came from the Inktober52 prompt "Doorway". The most iconic door in Tolkien's Legendarium is of course the round door of hobbit holes. I have already drawn a picture of the Door at Bag End earlier this year, so this time, inspired by the prompt, I decided to take a different approach, the inside-out view, emphasizing the doorway as the way from the comfortable hobbit hole to the outside world where adventure awaits.

I was also reminded of J. R. R. Tolkien's own illustration of this same place so I decided to base my own depiction on Tolkien's illustration, which is something I love to do for places or scenes that Tolkien himself illustrated (I have made several such pieces, for example Hobbiton, Barrels out of Bond or Enchanted River).

If you want to read learn more about this picture, you can read it here. Also if you like my art and if you would like to see more of it, including various sketches and WIPs, hi-res pictures, time-lapse videos, artist commentary and other exclusive stuff not published elsewhere, please consider joining my patrons. I will very much appreciate your support, even as little as $1 per month. Check it out at www.patreon.com/matejcadil

The Three Stone Trolls by MatejCadil on DeviantArt

Spoiler

The sun was now high, and it shone down through the half-stripped branches of the trees, and lit the clearing with bright patches of light. They halted suddenly on the edge, and peered through the tree-trunks, holding their breath. There stood the trolls: three large trolls. One was stooping, and the other two stood staring at him. Strider walked forward unconcernedly. 'Get up, old stone!' he said, and broke his stick upon the stooping troll. Nothing happened. There was a gasp of astonishment from the hobbits, and then even Frodo laughed. 'Well!' he said. 'We are forgetting our family history! These must be the very three that were caught by Gandalf, quarrelling over the right way to cook thirteen dwarves and one hobbit.'
The Lord of the Rings, Book I.. Chapter 12, Flight to the Ford

Another picture that is based on one of Tolkien's own illustrations. Direct inspiration for it was Inktober52 prompt "Stone", which brought to my mind the trolls turning to stone in daylight.
Here is Tolkien's original illustration of the passage in the Hobbit.

If you want to read learn more about this picture, you can read it in this Patreon Post: The Three Stone Trolls.
Also if you like my art and if you would like to see more of it, including various sketches and WIPs, hi-res pictures, time-lapse videos, artist commentary and other exclusive stuff not published elsewhere, please consider joining my patrons. I will very much appreciate your support, even as little as $1 per month. Check it out at www.patreon.com/matejcadil

 

FionaCreates: Swallow

https://www.deviantart.com/fionacreates/art/Swallow-710949034

 

Cubes within Cubes by MatejCadil on DeviantArt

Spoiler

The recent Inktober52 prompt "Cube" really called for an Escher-esque treatment!⁠

I like to occasionally draw optical illusions and impossible objects inspired by M. C. Escher. There are various principles that can be used to construct impossible objects, most often they have just impossible spatial relationships between various parts (well-known examples are the Penrose triangle or Penrose stairs). So it mostly relies on empty or undefined spaces between parts of the objects that allow for ambiguity. I explored that principle in my pictures Escher Castle and City of Stairs.

But recently I have been intrigued by a different concept of impossible objects. I have not found a name for it neither any well-known figure and it is not so often depicted in art because from my experience it is much more difficult to achieve. In this kind of optical illusion the surfaces themselves are ambiguous. Because in axonometric projection certain structures (such as the rhombille tiling) can be interpreted in two different ways (the same surface can be facing left or right etc.), this impossible object uses that effect and uses other objects and details to define the space in one part of the picture contradictory to the other, while they are seamlessly connected to each other.

I first explored this concept in my picture Romeo and Juliet. I like how the concept nicely fits with the story: The two people inhabit utterly different spaces and yet they seemingly form one town.



I loved to play with this concept and explore it, but the Romeo and Juliet is perhaps too complicated.

So I later returned to this concept with a more simple design, the Brick Structure.



But I realized one disadvantage of such pictures where the lower part represents one view and the upper part the other: The left and right edges cannot be shown, because they cannot easily be drawn ambiguous enough to be seemingly consistent with both contradictory parts of the picture. Thinking about that brought me the idea to use the same principle of optical illusion but to draw it in such a way that it is not the upper and lower part but the outer and inner, so the edges of the structure could be drawn in an entirely consistent way, whereas the centra part would be contradictory and make the whole object impossible.

And that is where the "Cube" prompt came as a welcome inspiration. I hope you like it.

 

dashinvain: Marian

https://www.deviantart.com/dashinvaine/art/Marian-186017815

 

The Light of Hope by MatejCadil on DeviantArt

Spoiler

One of the greatest themes in Tolkien's Legendarium is certainly Hope. And the most significant symbol of hope is the Star of Eärendil, originally one of the three Silmarils that was cut out from Morgoth's Iron Crown by Beren and later borne by Eärendil into the West where he asked the Valar to aid the Men and Elves in Middle-earth and fight against the Dark Lord. Eärendil's ship Vingilot was then made fair and marvellous and rose up in the sky with the shining Silmaril as a new star and a sign of hope for Elves and Men, called Gil-Estel, the Star of High Hope.

Hand-embellished prints of this picture are available in my Etsy shop: etsy.me/3Bf4Tvo

The inspiration for this picture came from two sources: One was the theme of this year's Tolkien Reading Day "Hope and Courage" and another the Inktober52 prompt "Spaceship". Sounds very un-Tolkienesque, but fits quite well with Eärendil and Vingilot. However, because I had already made a picture of Vingilot as the Star of Eärendil, I decided to make something different and more complex, inspired by a famous quote by Sam in the Pass of Cirith Ungol:

"and the Silmaril went on and came to Eärendil. And why, sir, I never thought of that before! We've got – you've got some of the light of it in that star-glass that the Lady gave you! Why, to think of it, we're in the same tale still! It's going on. Don't the great tales never end?"
So here I show a few scenes of this great tale, where the star of Eärendil shines as a light of hope throughout the Ages.

If you like my art and if you would like to see more of it, including various sketches and WIPs, hi-res pictures, time-lapse videos, artist commentary and other exclusive stuff not published elsewhere, please consider joining my patrons. I will very much appreciate your support, even as little as $1 per month. Check it out at www.patreon.com/matejcadil


If you want to read more about my process creating this piece, I have written a series of articles detailing that. Here you can read the first part about the central section, as a freely available sample of special behind-the-scenes content I would like to provide to my patrons:
The Light of Hope - process, part 1 – Vingilot



Eärendil did't always remain just a remote heavenly light. Therefore, for one of the four panels accompanying the central picture I chose the first scene where Eärendil plays an important role after being lifted up in the sky. It is the final battle in the War of Wrath, fought in the sky between the Winged Dragons of Morgoth led by Ancalagon the Black on one side and Eärendil on Vingilot with the host of the Great Eagles on the other. Read more details about creating this picture:
The Light of Hope - process, part 2 – Ancalagon



In the second of the four corner panels you can see the next moment in history when the Star of Eärendil played an important role: as a guide of the Edain towards Númenor. Read more about my art process:
The Light of Hope - process, part 3 – Númenor



While the upper two panels show scenes from ancient history two other two depict events in the end of the Third Age, from the story of the Lord of the Rings. The lower left section shows Galadriel, who is the perfect link in the story for the other parts: she herself remembered the Elder Days and from the light of the Silmaril she also created the Phial that was later used by Frodo and Sam. But here she is shown in the beautiful scene at her mirror where the Star of Eärendil is also explicitly mentioned and interacting in an interesting way with the ring on her finger. It is quite fascinating. Here you can read more about this part:
The Light of Hope – process, part 4 – Galadriel



And the last of the corner panels shows Sam with the Phial of Galadriel in the Tower of Cirith Ungol. There were several other scene that I considered, but in the end I decided for this one. Read more about my process here:
The Light of Hope – process, part 5 – Cirith Ungol



Thank you much for your interest, if you read it so far as here!

As I said, I appreciate all your support either through Patreon or through my Etsy shop. You can also follow me on Facebook or Instagram.

The Light of Hope - detail 1 : Vingilot by MatejCadil on DeviantArt

Spoiler

Detailed view of the central part of my picture The Light of Hope.


With the aid of Círdan Eärendil built Vingilot, the Foam-flower, fairest of the ships of song; golden were its oars and white its timbers, hewn in the birchwoods of Nimbrethil, and its sails were as the argent moon. (...)
But they took Vingilot, and hallowed it, and bore it away through Valinor to the uttermost rim of the world; and there it passed through the Door of Night and was lifted up even into the oceans of heaven. Now fair and marvellous was that vessel made, and it was filled with a wavering flame, pure and bright; and Eärendil the Mariner sat at the helm, glistening with dust of elven-gems, and the Silmaril was bound upon his brow. Far he journeyed in that ship, even into the starless voids; but most often was he seen at morning or at evening, glimmering in sunrise or sunset, as he came back to Valinor from voyages beyond the confines of the world.
The Silmarillion. Chapter 24, Of the Voyage of Eärendil and the War of Wrath

The inspiration for this picture came from two sources: First was when I read about the theme of this year's Tolkien Reading Day being "Hope and Courage", it got me thinking, because there are of course so many scenes of hope and courage in Tolkien's Legendarium. And then I saw the Inktober52 prompt "Spaceship". A very untolkienesque prompt, but when I thought about it, I realized that there is in fact one ship in Tolkien's stories that can be considered a spaceship: Eärendil's ship Vingilot that gets raised up to the sky. And because it bears the shining jewel silmaril, it becomes a symbol of hope for the peoples of Middle-earth, known as Gil-Estel, the Star of High Hope. I took that as a clear sign what I should draw.

I had in fact already drawn the Star of Eärendil or Vingilot once before, for Inktober 2018 prompt "Star": The Star of Eärendil. My idea for that drawing was to combine the picture of a ship floating in starry sky with the shine of the silmaril, stylized as a six-pointed star, inspired by Tolkien's own heraldic device for Eärendil.
But I didn't really like how it turned out then. Still, I liked the idea and as soon as I finished it, I knew that I would like to revisit this same topic once more.

Read more about it here: The Light of Hope - process, part 1 – Vingilot

The Light of Hope - detail 2 : Ancalagon by MatejCadil on DeviantArt

Spoiler

Detailed view of the first corner panel of my picture The Light of Hope.
Then, seeing that his hosts were overthrown and his power dispersed, Morgoth quailed, and he dared not to come forth himself. But he loosed upon his foes the last desperate assault that he had prepared, and out of the pits of Angband there issued the winged dragons, that had not before been seen; and so sudden and ruinous was the onset of that dreadful fleet that the host of the Valar was driven back, for the coming of the dragons was with great thunder, and lightning, and a tempest of fire.
But Eärendil came, shining with white flame, and about Vingilot were gathered all the great birds of heaven and Thorondor was their captain, and there was battle in the air all the day and through a dark night of doubt. Before the rising of the sun Eärendil slew Ancalagon the Black, the mightiest of the dragon-host, and cast him from the sky; and he fell upon the towers of Thangorodrim, and they were broken in his ruin.
The Silmarillion. Chapter 24, Of the Voyage of Eärendil and the War of Wrath
Eärendil did't always remain just a remote heavenly light. Therefore, for one of the four panels accompanying the central picture I chose the first scene where Eärendil plays an important role after being lifted up in the sky. It is the final battle in the War of Wrath, fought in the sky between the Winged Dragons of Morgoth led by Ancalagon the Black on one side and Eärendil on Vingilot with the host of the Great Eagles on the other.

Read more about my process here: The Light of Hope - process, part 2 – Ancalagon

The Light of Hope - detail 3 : Numenor by MatejCadil on DeviantArt

Spoiler

Detailed view of the second corner panel of my picture The Light of Hope.
Then the Edain set sail upon the deep waters, following the Star; and the Valar laid a peace upon the sea for many days, and sent sunlight and a sailing wind, so that the waters glittered before the eyes of the Edain like rippling glass, and the foam flew like snow before the stems of their ships. But so bright was Rothinzil that even at morning Men could see it glimmering in the West, and in the cloudless night it shone alone, for no other star could stand beside it. And setting their course towards it the Edain came at last over leagues of sea and saw afar the land that was prepared for them, Andor, the Land of Gift, shimmering in a golden haze. Then they went up out of the sea and found a country fair and fruitful, and they were glad. And they called that land Elenna, which is Starwards; but also Anadûnë, which is Westernesse, Númenórë in the High Eldarin tongue.
The Silmarillion. Akallabêth – The Downfall of NúmenorWhile this panel was for me the easiest one to make, it might be (at least in my opinion) the most impressive in its finished appearance. The composition of the ships on the sea approaching the island with the star above works quite well: I like the way the unusual quasi-triangular shape of this panel lends itself for the composition, from the fleet of ships in the foreground, opening towards the wide view of the island and leading the eye towards it. And the light on the water creates a really nice effect (I was afraid I wouldn't be able to create the "rippling glass" effect that Tolkien describes in the Silmarillion, but it ended up quite nicely in my opinion). Maybe I will redraw this as a stand-alone picture someday.

Read more about the process of creating this picture here: The Light of Hope - process, part 3 – Númenor

The Light of Hope - detail 4 : Galadriel by MatejCadil on DeviantArt

Spoiler

Detailed view of the third corner panel of my picture The Light of Hope.

The evening star had risen and was shining with white fire above the western woods.
(...)
She lifted up her white arms, and spread out her hands towards the East in a gesture of rejection and denial. Eärendil, the Evening Star, most beloved of the Elves, shone clear above. So bright was it that the figure of the Elven-lady cast a dim shadow on the ground. Its rays glanced upon a ring about her finger; it glittered like polished gold overlaid with silver light, and a white stone in it twinkled as if the Even-star had come down to rest upon her hand. Frodo gazed at the ring with awe; for suddenly it seemed to him that he understood.
(...)
'Did you see my ring? ' she asked turning again to Sam.
'No, Lady,' he answered. 'To tell you the truth, I wondered what you were talking about. I saw a star through your finger.'
The Lord of the Rings. Book II, Chapter 7 – The Mirror of Galadriel
While the upper two panels show scenes from ancient history two other two depict events in the end of the Third Age, from the story of the Lord of the Rings. The lower left section shows Galadriel, who is the perfect link in the story for the other parts: she herself remembered the Elder Days and from the light of the Silmaril she also created the Phial that was later used by Frodo and Sam. But here she is shown in the beautiful scene at her mirror where the Star of Eärendil is also explicitly mentioned and interacting in an interesting way with the ring on her finger.

Read more about it here: The Light of Hope – process, part 4 – Galadriel

The Light of Hope - detail 5 : Cirith Ungol by MatejCadil on DeviantArt

Spoiler

Detailed view of the last corner panel of my picture The Light of Hope.

He looked about, and then within the shadow of the gate he saw the Two Watchers. They were like great figures seated upon thrones. Each had three joined bodies, and three heads facing outward, and inward, and across the gateway. The heads had vulture-faces, and on their great knees were laid clawlike hands. They seemed to be carved out of huge blocks of stone, immovable, and yet they were aware: some dreadful spirit of evil vigilance abode in them. They knew an enemy. Visible or invisible none could pass unheeded. They would forbid his entry, or his escape.
Hardening his will Sam thrust forward once again, and halted with a jerk, staggering as if from a blow upon his breast and head. Then greatly daring, because he could think of nothing else to do, answering a sudden thought that came to him, he drew slowly out the phial of Galadriel and held it up. Its white light quickened swiftly, and the shadows under the dark arch fled. The monstrous Watchers sat there cold and still, revealed in all their hideous shape. For a moment Sam caught a glitter in the black stones of their eyes, the very malice of which made him quail; but slowly he felt their will waver and crumble into fear.
He sprang past them; but even as he did so, thrusting the phial back into his bosom, he was aware, as plainly as if a bar of steel had snapped to behind him, that their vigilance was renewed. And from those evil heads there came a high shrill cry that echoed in the towering walls before him. Far up above, like an answering signal, a harsh bell clanged a single stroke.
The Lord of the Rings. Book IV, Chapter 1: The Tower of Cirith Ungol

One of the main sources of inspiration for the whole Light of Hope picture was Sam's beautiful dialogue in the end of the Two Towers, just before they enter Shelob's lair, about the great tales never ending and they being part of the same tale as Beren and Eärendil. So from the beginning, I wanted to include one of the scenes with the hobbits from this part of the story. There are several that could fit in here quite well: Frodo facing Shelob with the star-glass (crying "Aiya Eärendil elenion ancalima!"), Sam later facing Shelob with the star-glass, Sam coming through the gate, Sam singing the song in the tower (In western lands beneath the Sun) or Sam seeing the star out of Mordor as a sign of hope. But I already depicted two of them not so long ago: Sam vs Shelob and the Star of Hope. So I chose the other great moment where the Star-glass is used besides confronting Shelob, that is Sam's arrival to the Tower of Cirith Ungol, through the gateway where he confronts the power of the Two Watchers.

Read more about this picture: The Light of Hope – process, part 5 – Cirith Ungol

 

Skullbastard: Ar Pharazon and Tar Miriel

https://www.deviantart.com/skullbastard/art/Ar-Pharazon-And-Tar-Miriel-729420954

 

The Silmarils heraldic device by MatejCadil on DeviantArt

Spoiler

J. R. R. Tolkien invented a whole system of elvish heraldry, with heraldic devices for persons or families based most often on symmetrical geometric shapes drawn into square, circle or lozenge. Some are more abstract, looking like stylized stars or flowers, others are less symmetrical, mostly of the human heroes of the Edain in the First Age, who apparently adopted elvish heraldry. Tolkien himself drew lots of them, but of course they have been redrawn by many other artists since them. I already attempted it once as a stand-alone picture with the heraldic device of Eärendil that I just recently posted, but previously also a border decoration accompanying my Tale of Tuor pictures and others.
But there is only one known device that is designated for objects instead of a person: the Silmarils. Why they should have their own heraldic device is unclear. Perhaps the device was used as a banner by the Noldor in the wars with Morgoth, to mark their intentions. The tree in the background is probably Laurelin, the Golden Tree, from which the Silmarils got part of their light.
Made for the first day of Inktober 2021, prompt "Crystal".

Anar - the Sun vessel by MatejCadil on DeviantArt

Spoiler

The Sun as described in the Silmarillion, made for Inktober prompt "vessel". ⁠
Someone suggested this to me and I really love the idea, because it really catches more than one meaning of the word "vessel" – it is both a container to hold the last golden fruit of Laurelin and a ship to traverse the sky. One of the things I as a non-native English speaker like about Inktober is that it makes me think carefully about the prompt words and consider multiple possible meanings.⁠
⁠
Anyway, in this picture I really love the concept, I originally wanted to colour it with shades of yellow and gold, but I am not quite satisfied with the line art and I think it deserves better execution, so I will probably leave this as just a sketch and later redraw it in larger scale (this is only in an A4 sketchbook page) and more carefully and then make a coloured version out of it. ⁠
What do you think about it?⁠
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Here is the quote from the Silmarillion:⁠
Yet even as hope failed and her song faltered, Telperion bore at last⁠ upon a leafless bough one great flower of silver, and Laurelin a single trait of gold. These Yavanna took; and then the Trees died, and their lifeless stems stand yet in Valinor, a memorial of vanished joy. But the flower and the fruit Yavanna gave to Aulë, and Manwë hallowed them, and Aulë and his people⁠ made vessels to hold them and preserve their radiance: as is said in the Narsilion, the Song of the Sun and Moon. These vessels the Valar gave to Varda, that they might become lamps of heaven. (...) ⁠The maiden whom the Valar chose from among the Maiar to guide the vessel of the Sun was named Arien.⁠
J. R. R. Tolkien: The Silmarillion. Chapter 11, Of the Sun and Moon and the Hiding of Valinor⁠

Roac son of Carc by MatejCadil on DeviantArt

Spoiler

Before long there was a fluttering of wings, and back came the thrush; and with him came a most decrepit old bird. He was getting blind, he could hardly fly, and the top of his head was bald. He was an aged raven of great size. He alighted stiffly on the ground before them, slowly flapped his wings, and bobbed towards Thorin.
"O Thorin son of Thráin, and Balin son of Fundin," he croaked (and Bilbo could understand what he said, for he used ordinary language and not bird-speech). "I am Roac son of Carc. Carc is dead, but he was well known to you once. It is a hundred years and three and fifty since I came out of the egg, but I do not forget what my father told me. Now I am the chief of the great ravens of the Mountain. We are few, but we remember still the king that was of old. Most of my people are abroad, for there are great tidings in the South – some are tidings of joy to you, and some you will not think so good. Behold! the birds are gathering back again to the Mountain and to Dale from South and East and West, for word has gone out that Smaug is dead!"
J. R. R. Tolkien: The Hobbit. Chapter 15, The Gathering of the Clouds

Made for Inktober Day 5 "Raven". As you could have guessed from my previous post, I haven't had much time to work on it, but still I wanted to make a picture for this prompt, which sounded very fitting for a Tolkien treatment.
Roac is probably the most important raven in Tolkien's Legendarium and I think the only one named beside his father Carc, so it was quite easy to decide what to draw.

Still, it took me quite some time to choose the right pose for the raven. I even made two sketches with different poses to choose which one is better, which is something I rarely do. But I came across a great photo of a raven ( twitter.com/.../status/1114991… ) that seemed really perfect, so I started anew and based my drawing on it.

What I like about this photo is that this front-view of a raven standing on the ground, which is rarely seen in raven photos, makes the bird look less elegant and more stocky. Also, the feathers under the beak (called hackles) are prominently shown, looking almost like a full beard. All of this is perfect for this old raven patriarch. I made him look even more aged, with the bald head as described in the book and more dishevelled feathers and notched beak, but hopefully still venerable.

And of course I added the runes. I really enjoyed writing the runic inscription and I think it adds a lot to the overall impression. Can you read the inscription?

The Dragon-helm of Dor-lomin by MatejCadil on DeviantArt

Spoiler

The Dragon-helm of Dor-lómin, for Inktober prompt "Helmet". This was one of the prompts that I really wanted to do (it is very Tolkienian) and several of you suggested this exact thing to draw.
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The Helm of Hador was given into Thingol's hands. That helm was made of grey steel adorned with gold, and on it were graven runes of victory. A power was in it that guarded any who wore it from wound or death, for the sword that hewed it was broken, and the dart that smote it sprang aside. It was wrought by Telchar, the smith of Nogrod, whose works were renowned. It had a visor (after the manner of those that the Dwarves used in their forges for the shielding of their eyes), and the face of one that wore it struck fear into the hearts of all beholders, but was itself guarded from dart and fire. Upon its crest was set in defiance a gilded image of Glaurung the dragon; for it had been made soon after he first issued from the gates of Morgoth. Often Hador, and Galdor after him, had borne it in war; and the hearts of the host of Hithlum were uplifted when they saw it towering high amid the battle, and they cried: 'Of more worth is the Dragon of Dor-lómin than the gold-worm of Angband!'
J.R.R. Tolkien: The Children of Húrin, The Departure of Túrin

My chief source of inspiration was dwarven armour drawn by two great artists on devianArt: Turner Mohan and Artigas. I didn't have much time for it, so I did this quite quickly, I could spend much more time on it, but it was very enjoyable to try my hand on this kind of armour design. ⁠

Numenorean Compass Rose by MatejCadil on DeviantArt

Spoiler

Made originally for Inktober Day 16 prompt "Compass". The design was inspired by several heraldic designs by Tolkien himself as well as some our-world old compass roses. I played with the elements of Tolkien's designs and tried to recombine them in such a way that could serve as a compass rose.⁠
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The main sources were Eärendil's Heraldic Device (apparently my favourite recently) used for the central part, Idril's Heraldic Device and most importantly the "Númenórean tile" design (look it up on Tolkien Gateway if you are interested). I basically took the central circle and turned some of its elements from pointing inwards to pointing outwards, in order to get nice points in all the directions.⁠

More info about it here: The compass rose finished
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What do you think about my design of the compass rose?⁠

Isil - the Moon vessel by MatejCadil on DeviantArt

Spoiler

Isil the Sheen, the Moon as described in the Silmarillion. ⁠ What do you think about my depiction of it?⁠
⁠
Telperion bore at last⁠ upon a leafless bough one great flower of silver, and Laurelin a single trait of gold. These Yavanna took; and then the Trees died, and their lifeless stems stand yet in Valinor, a memorial of vanished joy. But the flower and the fruit Yavanna gave to Aulë, and Manwë hallowed them, and Aulë and his people⁠ made vessels to hold them and preserve their radiance: as is said in the Narsilion, the Song of the Sun and Moon. (...) ⁠
Isil the Sheen the Vanyar of old named the Moon, flower of Telperion in Valinor; (...)⁠
The maiden whom the Valar chose from among the Maiar to guide the vessel of the Sun was named Arien, and he that steered the island of the Moon was Tilion. In the days of the Trees Arien had tended the golden flowers in the gardens of Vána, and watered them with the bright dews of Laurelin; but Tilion was a hunter of the company of Oromë, and he had a silver bow. He was a lover of silver, and when he would rest he forsook the woods of Oromë, and going into Lórien he lay hi dream by the pools of Estë, in Telperion's flickering beams; and he begged to be given the task of tending for ever the last Flower of Silver.⁠
J. R. R. Tolkien: The Silmarillion. Chapter 11, Of the Sun and Moon and the Hiding of Valinor⁠
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I drew this for the Inktober Day 18 prompt "Moon". And obviously as a companion piece to the drawing of the Sun that I made recently. I am still not quite satisfied with it and I think just like the Sun drawing it would benefit from larger scale. So I might redraw both of them if I have the time.⁠
More about this picture: www.patreon.com/posts/57587878

 

Sam's Mallorn Tree by MatejCadil on DeviantArt

Spoiler

Sam's mallorn tree sapling for Inktober Day 20 prompt "Sprout" finished in time for once. ⁠
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The little silver nut he planted in the Party Field where the tree had once been; and he wondered what would come of it. All through the winter he remained as patient as he could, and tried to restrain himself from going round constantly to see if anything was happening.⁠
Spring surpassed his wildest hopes. His trees began to sprout and grow, as if time was in a hurry and wished to make one year do for twenty. In the Party Field a beautiful young sapling leaped up: it had silver bark and long leaves and burst into golden flowers in April. It was indeed a mallorn, and it was the wonder of the neighbourhood. In after years, as it grew in grace and beauty, it was known far and wide and people would come long journeys to see it: the only mallorn west of the Mountains and east of the Sea, and one of the finest in the world.⁠
J.R.R. Tolkien: The Lord of the Rings. Chapter 9, The Grey Havens⁠
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"Sprout" was among the prompts where I did have some ideas, but unlike, say, "Raven" or "Helmet" I wasn't sure I would draw it. My original idea was in fact different, the first association with the word sprout was the Spring of Arda, with the first trees and plants starting to sprout and grow in the light of the Lamps. But when someone came up with this idea, I really loved it, so I decided to draw this.⁠
It was clear to me from the start that the mallorn tree needs to be coloured to make the right impression. But I didn't want to colour it all, partly to save time, partly because I really like the effect of black and white pictures where only a small part is coloured. I have also seen some other people do such pictures for Inktober and it looked really great. What do you think about this technique?⁠
More about this picture: www.patreon.com/posts/57649924

Doors of Durin Opening by MatejCadil on DeviantArt

Spoiler

The Doors of Durin opening – for Inktober Day 22 prompt "Open". ⁠
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With a suddenness that startled them all the wizard sprang to his feet. He was laughing!
“I have it!” he cried, “Of course, of course! Absurdly simple, like most riddles when you see the answer.” Picking up his staff he stood before the rock and said in a clear voice, “Mellon!”
The star shone out briefly and faded again. Then silently a great doorway was outlined, though not a crack or joint had been visible before. Slowly it divided in the middle and swung outwards inch by inch, until both doors lay back against the wall. Through the opening a shadowy stair could be seen climbing steeply up; but beyond the lower steps the darkness was deeper than the night. The Company stared in wonder.
J. R. R. Tolkien: The Lord of the Rings. Book II, Chapter 4: Journey in the Dark
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The Fellowship at the West-gate of Moria is obviously an iconic scene, perhaps one of the most iconic and visually recognizable in the whole Lord of the Rings. Maybe because Tolkien's drawing of the door is one of the few illustrations printed in most editions of the Book, so most readers are familiar with the design. And with the appealing way it is described as glowing in the dark, it is no wonder that the scene is depicted so many times by so many artists.⁠
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Or is it?⁠
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It is interesting that I found great number of illustrations of the closed door, either by itself or with Gandalf and the Fellowship in front of them, but very few illustrations with the door opened (and then mostly focusing on the fight with the Watcher in the Water) and none of the moment when the door is just opening. Or have you seen one? I would love to know.⁠
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So it seems that after all I might make a little original contribution to the illustrations of this scene. What do you think?
Read more about this picture here: Inktober Day 22 – Doors of Durin Opening

The Fell Beast of Mordor by MatejCadil on DeviantArt

Spoiler

The Fell Beast of Mordor, drawn for Inktober Day 24 "Extinct".

The great shadow descended like a falling cloud. And behold! it was a winged creature: if bird, then greater than all other birds, and it was naked, and neither quill nor feather did it bear, and its vast pinions were as webs of hide between horned fingers; and it stank. A creature of an older world maybe it was, whose kind, fingering in forgotten mountains cold beneath the Moon, outstayed their day, and in hideous eyrie bred this last untimely brood, apt to evil. And the Dark Lord took it, and nursed it with fell meats, until it grew beyond the measure of all other things that fly; and he gave it to his servant to be his steed. Down, down it came, and then, folding its fingered webs, it gave a croaking cry, and settled upon the body of Snowmane, digging in its claws, stooping its long naked neck.
J.R.R. Tolkien: The Lord of the Rings. Book V. Chapter 6, The Battle of the Pelennor Fields

For the "Extinct" prompt I got several great suggestions, including a few vanished races, but in the end I decided to draw what was my first association for the word "Extinct" from Tolkien's books: A creature that is not quite extinct, but it is essentially said that it should be extinct: "outstayed their day, and in hideous eyrie bred this last untimely brood".

As for the appearance of the creature: Based on the description above, I always imagined it to be more bird-like than it is depicted in the films. Some artists painted them almost like a small dragon, but I don't like it that way, because they are never likened to dragons. So I imagine them mostly like featherless birds, maybe similar to pterosaurs (which nicely ties back to the "Extinct" prompt). Do you like my depiction of this creature?
Here you can read more about this picture and my sources of inspiration: Inktober Day 24 – The Fell Beast of Mordor

The Dragon is Coming by MatejCadil on DeviantArt

Spoiler

The Dragon is Coming for Inktober Day 27 "Spark"⁠
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Then warning trumpets were suddenly sounded, and echoed along the rocky shores. The cheering stopped and the joy was turned to dread. So it was that the dragon did not find them quite unprepared. Before long, so great was his speed, they could see him as a spark of fire rushing towards them and growing ever huger and more bright, and not the most foolish doubted that the prophecies had gone rather wrong. Still they had a little time. Every vessel in the town was filled with water, every warrior was armed, every arrow and dart was ready, and the bridge to the land was thrown down and destroyed, before the roar of Smaug's terrible approach grew loud, and the lake rippled red as fire beneath the awful beating of his wings.⁠
J.R.R. Tolkien The Hobbit. Chapter 14. Fire and Water⁠
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Made for Inktober Day 27 prompt "Spark". I originally didn't plan to draw a picture for this prompt. I got some suggestions, I did a text search through e-books and I found many instances of sparks being mentioned, but most of the time it is exactly that: "sparks" in plural, which is quite understandable, but I didn't find it fitting for the prompt. But eventually I realized this scene could make for a nice picture.⁠
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But I tell you, this was difficult. I like drawing light on dark and as you know, I have drawn several pictures recently and I have learned it is quite difficult in itself, but here it was even more so, for several reasons, such as my coloured gel pens refusing to draw over sketch pencil lines. In the end, I had to tweak the colours in Photoshop a little bit to make them more faithful.⁠
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Still, I hope the result is not that bad, even though it is not one of my favourites. What do you think? ⁠
Read more about this picture: Inktober Day 27 – The Dragon is Coming

Lembas by MatejCadil on DeviantArt

Spoiler

Lembas for Inktober Day 28 prompt "Crispy".
In the morning, as they were beginning to pack their slender goods, Elves that could speak their tongue came to them and brought them many gifts of food and clothing for the journey. The food was mostly in the form of very thin cakes, made of a meal that was baked a light brown on the outside, and inside was the colour of cream. Gimli took up one of the cakes and looked at it with a doubtful eye.
`Cram,' he said under his breath, as he broke off a crisp corner and nibbled at it. His expression quickly changed, and he ate all the rest of the cake with relish.
`No more, no more!' cried the Elves laughing. `You have eaten enough already for a long day's march.'
`I thought it was only a kind of _cram_, such as the Dale-men make for journeys in the wild,' said the Dwarf.
`So it is,' they answered. `But we call it _lembas_ or waybread, and it is more strengthening than any food made by Men, and it is more pleasant than _cram_, by all accounts.'
`Indeed it is,' said Gimli. 'Why it is better than the honey-cakes of the Beornings, and that is great praise, for the Beornings are the best bakers that I know of; but they are none too willing to deal out their cakes to travellers in these days. You are kindly hosts! '
'All the same, we bid you spare the food,' they said. 'Eat little at a time, and only at need. For these things are given to serve you when all else fails. The cakes will keep sweet for many many days, if they are unbroken and left in their leaf-wrappings, as we have brought them. One will keep a traveller on his feet for a day of long labour, even if he be one of the tall Men of Minas Tirith.'
J. R. R. Tolkien: The Lord of the Rings. Book II, Chapter 8, Farewell to Lórien
Just a quick note: The popular depiction of mallorn leaves based on the film's is similar to ivy, but they are in fact described by Tolkien differently in the Unfinished Tales: "Its leaves, like those of the beech but greater, were pale green above and beneath were silver, glistering in the sun." so I based my illustration on beech leaves.
Also, the lembas itself is described a little bit differently than it is shown in the film: as very thin cakes, baked to brown on the outside and cream-coloured inside. As J.R.R. Tolkien was a devout Catholic it is not surprising that both the description and function of lembas in the story echoes the Eucharist, so I tried to make it somewhat like the Christian sacramental bread.
The ornamental lines on the surface are based on the heraldic device of Melian the queen of Doriath - the first one who gave lembas to a mortal Man (Túrin Turambar).

What do you think about my depiction?

I will now risk a little real light by MatejCadil on DeviantArt

Spoiler

"Gandalf seemed pleased. `I chose the right way,' he said. `At last we are coming to the habitable parts, and I guess that we are not far now from the eastern side. But we are high up, a good deal higher than the Dimrill Gate, unless I am mistaken. From the feeling of the air we must be in a wide hall. I will now risk a little real light.'⁠
He raised his staff, and for a brief instant there was blaze like a flash of lightning. Great shadows sprang up and fled, and for a second they saw a vast roof far above their heads upheld by many mighty pillars hewn of stone. Before them and on either side stretched a huge empty hall; its black walls, polished and smooth as glass, flashed and glittered. Three other entrances they saw, dark black arches: one straight before them eastwards, and one on either side. Then the light went out.⁠
J. R. R. Tolkien: The Lord of the Rings. Book II. Chapter 4, A Journey in the Dark⁠
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As I mentioned before, this picture was inspired by the last prompt of Inktober 2021 – "Risk". I got several interesting suggestions for this prompt, but when someone mentioned this scene, I immediately loved it. I think with Inktober prompts it is always great when the word itself appears in the text like here. And this is a great moment, when the Fellowship suddenly becomes aware of the vastness and forgotten beauty of Khazad-dûm. No wonder that the Song of Durin that follows soon afterward is one of my favourites in the Lord of the Rings.⁠
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As for the figure of Gandalf, I tried to stay as true as possible to Tolkien's idea, including some extremely interesting details that I learned very recently thanks to the new book The Nature of Middle-earth.⁠
I explain it in more detail and share my thoughts about the making of this picture – see here: I will now risk a little real light – finished!
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Do you like my illustration of this brief glimpse of Dwarrowdelf?

 

Blood Upon Sand by SirBronson on DeviantArt

Spoiler

The Blood Spirit at the center of my Shadowrun mini-campaign. History may have forgotten his small amerindian tribe, but the same can't be said for everyone involved in the sordid affair that led to his manifestation - otherwise known as the case of the Dead Radio of Alpenrose County.

 

Zhou by SirBronson on DeviantArt

"Gift art of a friend's character for roleplaying purposes, tabletop and otherwise."

 

Commission: RPG party by StefanoMarinetti on DeviantArt


Dungeon Escape by ProdigyDuck on DeviantArt


Cappu and Friends vs. the Whispering Tyrant by ProdigyDuck on DeviantArt


October sketch commissions by Inkary on DeviantArt


Dolkfang by Sarinth on DeviantArt


DnD Character Commission Colored by Mikezzzzz on DeviantArt

 

Från

 

Water Tribe 5 0346 by rufftoon on DeviantArt

 

Water Tribe 5 0359 by rufftoon on DeviantArt


Water Tribe 5 0360 by rufftoon on DeviantArt


Water Tribe 5 0361 by rufftoon on DeviantArt

 

Nessira: Lady Penelope

https://www.deviantart.com/nessirea/art/Lady-Penelope-833164080

 

Queen of the GOATS. by RobertHack on DeviantArt

"My friend Sara Benincasa got a wonderfully horrific goat mask for Halloween and I had to draw Sara's Goat Queen."