Epic Werkes Studio

Some New Sketches

2011-06-06T19:11:00.000-07:00

Here are some new sketches from this past week.

'2o12 Enchantia Calendar' Cover Progress

2011-04-07T15:32:00.000-07:00

Here is the cover for the upcoming '2o12 Enchantia Calendar' (due out in October).

"Sister of the Sword"

2010-12-24T19:59:00.000-08:00

This is a Christmas present for my step-sister. She's a strong and independent woman, so I decided on a composition stressing these qualities.

Pastel on toned Canson paper
4.6"x6.5"

"The White Hart"

2010-12-22T00:49:00.000-08:00

8"x10"
Pastel on toned Canson paper
Unpublished
This piece is dedicated to Gary at the Celtic Myth Podshow. Please check them out at: http://celticmythpodshow.com/

9 months in the making!

N.C. Wyeth Study

2010-12-20T15:50:00.003-08:00

Here's a study/re-envisioning of one of my favourite N.C. Wyeth pieces. The original is posted here, too. This is my brother's Christmas present this year :) When I was thinking of what to get my brother, I was reading a book by Andre Norton, called "Quag Keep." I had only to read the first 20 or so pages before I was struck by the description of one of the characters, Naile fangtooth. He's a wereboar, with a frightening boar crest on his helm and a huge battle axe only he can wield. In human form he has large tusks that jut past his lips. The character reminded me so much of my brother, right down to temperament. I wanted to draw this guy so badly. The image I had was of a Celtic, tribal warrior, especially in regards to the helm and axe. I also thought of this Wyeth piece from "Legends of Charlemagne". For some reason right at that moment the two concepts just merged together. I'd been wanting to do a value study of Wyeth work for a while. And this gave me the perfect opportunity to both feature Naile Fangtooth and copy a master work :)

This piece was very much the struggle you see pictured. It was tough, but extremely fun :) It was awesome spending so much time looking at one piece. I got a chance to spend some quality time with Mr. Wyeth and deconstruct some of what he was doing in terms of Value. He uses the light and ark method Mr. Gurney described in "Imaginative Realism" (the same technique used by Rembrandt-another favourite of mine). That has been something I've been wanting to explore lately. Planning out every piece, making them work in terms of classical ideals of symmetry and balance. I'm fascinated by the Golden Mean and the way the Renaissance Masters labouriously (and thoughtfully) planned out their work.

I also included some of the additional reference I used for this piece.

"Lythande"

2010-12-06T00:27:00.001-08:00

Here is the process for the "Lythande" piece I am currently working on. Hope you enjoy it :) I'm employing the same reductive graphite technique I used for the "Bramble Jack's Repose" piece.

Holiday Card, 2010, "Bramble Jack's Repose" Finish

2010-12-04T10:37:00.000-08:00

This is my Holiday Card for 2010. Happy Holidays, everyone!

"Bramble Jack's Repose"

2010-11-30T12:12:00.000-08:00

Here is a piece I am working on for my holiday card, this year. I'm nearly done. I just need to clean it up a bit and add the text at the bottom. Working and finished size is 4.25"x6".

Greyfox the Wizard

2010-09-14T07:42:00.001-07:00

A new drawing of my Pathfinder character, Greyfox the Wizard. He's an elven diviner with a bonded staff.

"Map of the Wilde" and "Map of the Southern Kingdoms"

2010-09-09T22:08:00.000-07:00

A recent map done for an AD&D 2nd Edition campaign I am going to run. Another map done for a campaign my brother is running.

"Here there be monsters!"

2010-07-28T12:15:00.000-07:00

The most recent project for Triple Ace Games has seen me doing some more drawings in the style used for the HELLFROST: Bestiary. Here are the Questing Beast and Great Sea Serpent.

On Naming

2010-05-18T09:25:00.000-07:00

I hope Mr. Howe isn't mad that I posted this here. I stumbled upon this excellent post from his facebook. I am a self-proclaimed student of etymology and history, myth and folklore. As such, this was very interesting to me. It sums up my own feelings on the matter of naming. There is a power in a name that no man should take lightly. In ancient cultures a name could undo a man or an object, or venerate it. That said, I leave the floor to Mr. Howe:

I’m no man of the sea, rather (to steal a line from famous French maritime photographer Philippe Plisson) a man of the edge of the sea.

“Wave” is an old word, certainly as old as man’s standing on the shore watching them crash on the beach. I enjoy those words that are old in many languages, as if their venerability somehow augmented and enriched the substance of their meaning, as if a lengthy etymology comprised some sort of pedigree. (Of course, it’s puerile to measure the age of man against the age of the Earth, given the relative brevity of human existence, but the naming of things is such an important mythological act that it’s not to be taken lightly, as if there was somehow the possibility of taking the measure, as it were, of the things long contemplated but whose very nature cannot be touched by man. Moreover, it all harks back to the myth of a proto-tongue common to all humans, as if the first naming of things was shared by humanity as a whole, an ancestral language that has more to do with an unavowed yearning for Eden lost than mitochondria and behavioral modernity.)

Aeryon aboard the Firefox

2010-05-11T07:23:00.000-07:00

This is a character I am playing in a Star Wars: Saga Edition game. He's flying his YT-1300 freighter, the Firefox. His companion, Lirren Velur, a Jedi, as well, stands behind him. Another Jedi stowaway is frantically gesturing to the threat before them. This was a short-lived game, but one I enjoyed immensely. Enjoy!

For the process I followed to make this image, please go to my DeviantArt page and scroll down till you see the Aeyron series:

http://justinraven.deviantart.com/

Update

2010-04-19T10:01:00.000-07:00

I just realized I fell out of my rhythm here. I need to post more regularly to this blog, again :)

Here is a finished image in brush and ink for a character I am playing in the Pathfinder setting. His name is Medyrserenel, an elf Sorcerer/Ranger.

Medyrserenel At His Father's Monument

2010-04-08T00:34:00.000-07:00

This is a sketch of my Pathfinder character, Medyr. He is standing at his father's monument.

Gianato at Arthur's

2010-03-17T11:28:00.000-07:00

As always, he is inspiring. Mr. Gia- dammit, DONATO GIANCOLA's (I always mix his first and last name together :P) work featured in the newest issue of Imagine FX prompted a response from me. I loved his image of the merpeople on the beach with the man holding the woman in the surf. I'm fascinated with mermaids, not the dumb fluffy mermaids for little girls, but the faerie tale version, which is decidedly dark and contains complex human themes. This image features a concept that has the mermaid looking more like a mix between fish and human, more so than usual. Gills on the neck, a frill on the back and head, with hair behind the head membrane, a more fish-like, flat nose, no nostrils, and the tail common in most images concerning these creatures. On this page, too, are compositional studies of Giancola's work, including the image that spawned this drawing.

Dena

2010-03-15T07:13:00.000-07:00

A portrait study.

"Ighild's Lament" Sketch

2010-02-28T16:10:00.000-08:00

"Faire, raven haired Ighild fled to the still waters of the Misty Sea in naught but her shift, a lantern held tightly in her thin, bone-white hand. The light fell softly to the sand as she staggered to the edge of the surf. Her mind distressed, she called to the waves and from those calm waters and the curling fog came the Black Swan. He beheld her pale countenance and grieved deep into his silent soul. Without a sound he gave her his body that she might flee that land on obsidian wings, flee to the edges of the world. With a staggering sigh of grief she beat her wings and left the ground, her shame, and her torment."

A sketch for a painting idea. I saw a piece of reference earlier and was reminded of a story I had been working on. Charcoal on Canson paper.

2 Hr Apple Study

2010-02-24T16:16:00.000-08:00

This is a study I intended to take a few days, but I sat down for my bi-daily hour long drawing/painting and it just came and went. I painted for an hour, then realized I was losing light. I also realized I hit a groove after only an hour, so I just kept painting. It's a pretty analytical drawing, but it wasserving a purpose. I don't want to abandon my roots or the basics, so a still-life was the answer today. It was a study in form and colour and light. Wow, I feel like a "real" artist now :D I guess it would be the chalk-pastel equivalent of a speed painting.

"That is Just the Beginning..."

2010-02-18T20:05:00.000-08:00

Says Balin to Bilbo when he asks if the first peak of the Misty mountains is THE Mountain the Dwarves are looking for. I'm going to ink this over the next week, so it should be done by Sunday, ready for the mandatory blog post.

This was fun. I'm rereading "The Hobbit" and this passage of the book really stuck out to me. I laughed at Balin's gruff response to Bilbo's naivete' and considered just how much of a beginning this really is for all of them. Balin, if you recall, returns to Moria and rules there until his death at the hands of the darkness within the mines. Bilbo, of course, is the Ring Bearer, the first one. Little does anyone know the extent of both the trials and the repercussions of the journey they are all just embarking upon.

The Giant Lord

2010-02-18T05:56:00.000-08:00

Here is a concept image for a character I'm working on, the Giant Lord, a creature with a faceted ruby for his one central eye. I don't know why this is such a fascinating idea for me, but it is. I love hhe eyedea :P of cyclopses/cyclopi(?). Something about that imagery is appealing. Then, taking that imagery and playing with it a little, like combining uncommon elements to make an interesting scenario: why does he have a ruby for an eye? Where does he live? What is his name? Is he evil/good/neither? How did he come to be? Who are his enemies? His friends? Questions like this circulate in my mind.

This image also gave me an opportunity to stretch some muscles I've been unsure of until recently. The funny thing is, I was not sure how to start this. But it all just came together, in the end. I wasn't exactly comfortable with this image at first, mostly because I was trying some new ideas and didn't want to mess up the image. There were several times I worried I would or had done so. It's in those times of uncertainty, when you're trying new things that Picasso's words are never more clear: "The last thing you figure out when you finish a piece is what to put first." But that's why you must do it anyway, because you won't know how to be more comfortable with a medium until you make the mistakes necessary to learn what to put first. And, after so long, you realize if you apply the rules and foundational strategies of art, you will be able to explore with more informed decision making skills. You'll have at least part of a map to where you are going.

Rivereaver Revisited

2010-02-17T07:30:00.000-08:00

Lately I've been looking at about four or five paintings just in the beginning stages. I need to buckle down and just start tackling them one at a time. I began this process last night with a painting I did about four years ago, "Rivereaver," or, "Sword on the Sea of Forever," a cover concept for a story that has since been physically lost. However, I retain all my story ideas in my head, and I have the original map, so all is not lost :) This piece was one of the first that cemented my choice fot pastels as my selected medium. I owe so much to this painting, not to mention it is an inspiration to me. I see Rillcrest standing aboard his ship, his beloeved otter warriors and friends hanging upon the rigging, gazing upon the Sea of Forever, the sword pointing to the future and the unknown with a daring and firm courage that laughs in the face of danger and dearh.

Here is the original and the beginning stages of the revision. As you can see I am intensifying colours and applying knowledge I did not have four years ago. Specifically, I would like to revisit the shadows. The shadows within the shadows are too cool and they get neutralized or are too contrasty in terms of temperature change. The need to be warmer than the mother shadow. The sail also needs reference. It needs folds, shadows, more detail and more consistent lighting. The shadow on the sail needs raising. and the shadows on the characters and ship need to be darker and more contrasted against the light of the twilit background. I'll also be adding stars to the sky just above Rillcrest's head and fading out into the dawn/evening sky where the sun is either rising or falling. All in all the image needs more consistency and professional "finish."

My friend said it is clear and thus successful as an illustration. Yes, this is true, but it lacks that "finesse" that singles it out from other artists. My goal as an illustratour/artist, is not simply to supply an image, but to evoke wonder and feeling in the viewer. I want the viewer to stop at my piece and consider it and reflect upon themselves. If that makes me less popular in the high-speed, high-tech world of today, then so be it. This is my heart, this is my truth. Maybe people do just need to slow down and allow themselves to be moved.

Eye of the Giant

2010-02-15T10:50:00.000-08:00

Well, here is a sketch for an idea I have for a drawing. After some critiques from a few fellow illustratours, I've developed this a little further into a 2nd. Ed. AD&D game, I know, I started making another world for the same purpose, but that world has entered into a new realm of confidentiality. So, as a spin-off and possibly cool role-playing experience, this will be interesting to pursue. Any comments are welcome. And, as per usual, please enjoy!

A Return to the Past

2010-02-10T19:27:00.000-08:00

I have just recently reunited with some old friends from my distant past. We used to collect comics together and swore to noe another we would all own a house together somedat, an apartment, if I remember right, with comic books everywhere, turtles roaming the floors, along with lizards and such. We all thought it was going to awesome. Now, fifteen years later, meeting again after so long, I am reminded of my roots. Spider-Man is still my favourate super hero. His comics gave me the moral nourishment I never eceived from my father. He was always working, and distant when he came home. I don't begrudge him much. There are things I remember from him, positive things that helped shape who I am.

So, to honour the past, I have decided to do some artowrk inspired by Spider-Man. Here is a quick sketch I did, mostly just to figure out the suit. I always wondered what my Spider-Man would look like. My favourate artists growing up were Sal Buscema, Tome Lyle and John Romita Jr. I would one day like a crack at doing some finished Spidey pieces for professional assignments.

Aldirion - Lands of Light and Shadow: In the Works!

2010-02-03T10:31:00.000-08:00

Hey, the ol' life is taking some big steps forward. About to go back to school for an MFA, just started doing some Pathfinder gaming, and I'm doing more work for Aldirion, my Savage Worlds setting. Here is a sample Character Sheet.

Learning Curve

2010-01-08T15:52:00.000-08:00

One of the most amazing things for me as a growing artist/illustratour is the process of growth. Over the last couple of months I have watched as my skills have grown exponentially. Piece by piece the information falls into place and I understand more and more how to build the imagery I desire. More specifically, I am meaning colour usage. Drawing is difficult, but colour is a pain if one is unsure of oneself or colour theory. One can study and understand colour theory all he wants, but until he experiences it, there is no comparison. Only when one has worked and can juxtapose the knowledge gained with the process of application can one fully understand the application of colour and how it expresses itself through his particular voice. Any amount of intellectual activity cannot come close to application. It is akin to a philosopher who never practices his own theories or ideas, but, instead, only delights in the formation of those ideas for the sake of themselves. He will find he is frequently frustrated and "blocked" until he can move outside of himself and gain real-world knowledge to better understand and apply his theories. Sometimes the best way to understand is just to do, and learn by trial and error. After all, Picasso said, "The last thing you learn when you make a piece of artwork is what to put first." The same is true of life, in general. So, I have found, like living life, experience is the best teacher.

Ancient d20

2010-01-08T03:39:00.001-08:00

A d20 of the ancient world. I guess even the Romans played D&D :P

Erebor

2010-01-06T15:21:00.001-08:00

Erebor, the Lonely Mountain, featuring Smaug, recently emerged from his lair, blazing in fiery wrath.

The Lonely Mountain

2010-01-05T04:58:00.000-08:00

Here is the beginning of a piece I have had in my head for a bit. It won't take long, which is why I'm addressing it now, but hopesfully it will prove to be a good one :) The Lonely Mountain, Smaug breathing his death, the ruins of Dale below. yet another in my "Explorations of Middle Earth" series.

Elivagar and Harladain

2010-01-04T19:18:00.000-08:00

I visited this image many months ago, but had never a photo I was pleased with. Thankfully I received a new camera for Xmas. Here is the image, finished. Now I am waiting to finish the second installment of this series.

Eomer, 3rd marshal of the Riddermark

2009-12-26T20:03:00.000-08:00

Here is Eomer, the 3rd Marshal of the Riddermark. I wanted to have an excuse to design some armour for future Tolkien illustrations. Since Eomer is a noble, I wanted him to have elaborately plaited braids in his hair and beard, plus a more intricate set of armour.

The shields of the Rohirrim are painted green with a sun device. Since I didn't show the shield, i wanted to give the armour design elements that hinted at the shield design. So I set the belt and corselet straps with silver suns. Plus, the corselet is incised with the head of a horse, with sun-like rays coming from it.

I would have made the mail chain, as is usually my wont, but I love scale armour and any chance to illustrate it is a good one :) I always loved the Hildebrandt brothers' scale mail, it was always very reminiscent of N.C. Wyeth paintings, which are just as lovely. Besides, one of the best things about Tolkien is his ability to be very descriptive while at the same time being very vague, leaving a great deal to the imagination. He just mentions mail, not specifiying chain or scale, so I chose scale :) (It also reminds me of the scythians, a horse people. Though the Rohirrim are more Anglo-Saxon I decided to sample the Scythians, as well)

Since the Rohirrim are an Anglo-Saxon-like people, I chose the circular shield with the boss where the hand hold is, and the Anglo-Saxon/Norse helm. The addition of the horse ornament and tail crest signify Eomer as a noble, setting him apart from his men. The Maeras are also supposed to have plaited hair, so I braided the horse's mane. To further signify the class difference and set Eomer apart from the other Rohirrim, I also added green jewels (probably emeralds) to the hem of his under-tunic.

Gandalf and Focal Points

2009-12-20T20:53:00.000-08:00

Well, here is my painting for the week of December 20, "Gandalf Admiring His Work." It's not the painting of the Sea Maiden, obviously :P That one is a bit bigger and will be next week's image. I ran out of time this week to finish that painting, but still needed to do an image. I have been interested in doing Tolkien-inspired images lately and had a card from Darrell K. Sweet, one of my favourate Illustratours/Painters, lying out as reference for an Ent painting I'm working on in a few weeks. I liked the sky a lot and decided to use it as reference for a quick Gandalf image. It's also a study for the next painting of the Ents. The Sweet Painting is supplied here with the Gandalf image.

When I was at a local book store, I picked up the most recent issue of "Pastel Journal," and read a great article about Focal Points and and Centers of Interest. The Focal point was described as the area the eye is drawn to, and the Center of Interest the point the mind, or intellect, is drawn to. They are often considered the same thing because they usually exist in the same spot, or in a location close to one another. If they are separated, then a competition begins that will divide your attention.

Focal Points draw the eye, usually by contrast of value or colour, contrast of scale, hard edges. Contrast is a key here. "The viewer’s eye is naturally drawn to areas where light and dark are in stark contrast to one another. Bright colors, fine detail, sharp edges, anomalies, patterns and any arrow-like “pointers” also attract the eye." (not excerpted from the article I read, but another one, which can be viewed here: http://www.artistsnetwork.com/article/Focal-Point-Center-Interest/ in its entirety)

Centers of Interest are areas we recognize intellectually, like faces, objects fashioned by the human hand, strong directional elements, any familiar symbol.

In the example of Gandalf, I realized his eyes would be the Center of Interest, so I didn't want the other elements to compete with his gaze. I have an area of strong contrast in the lower right corner. To keep this from becoming too big a focal point, I decided to make his eyes very sharp and the rest of the picture less so. This allows the Focal Point and Center of Interest to work together. The eyes are the Center of Interest, which brings the viewer into the painting. The contrast of the sharply defined area versus the other, less defined areas, ensures the eyes remain a Focal Point. I wanted the viewer to look at gandalf's eyes, so I defined them and also made him looking into a direction, which then draws the viewer to the secondary Center of Interest, the Smoke Ring. The direction of the mark making and the arragnement of all compositional elements helps to then move the eyes around the space.

Tivar, Maiden of the Seafoam - Part I

2009-12-18T04:34:00.001-08:00

Well, here is this week's illustration, in-progress. This is Part I of seven parts.

The Women of the Sea foam arose from the waters of the surf, their hair trailing sea foam, their eyes pearls in their faire faces, droplets of water, like diamonds, shone as seven stars about their silver heads. Chaste as untried Dawn, they walked the realms of Aldirion ere the birth of Men.

Water Fae Sketch

2009-12-15T20:58:00.000-08:00

Well, here is the sketch for my newest illustration, the Water Fae, or Water Sister. I saw her in my coffee one morning, where the milk had separated from the darker liquid and formed a positive shape looking like a woman's head, half-submerged and moving eerily forward, toward the viewer. I was in the shower (yes, I take my coffee into the shower :P What better way to wake up in the morning than a shower AND coffee? :P) and grabbed my sketch booke with wet hands and jotted down the idea for this piece. It's this week's painting.

Encounter With Shadow - Final

2009-12-15T14:03:00.000-08:00

Here is the final image. Any critiques are appreciated.

Encounter with the Grimshadow, Part VI

2009-12-14T05:58:00.000-08:00

I'm very pleased with the outcome thus far. I fear to state that emotion, I don't want to jinx myself :P I have always struggled with contrast issues and I think the key is soemthing a professour of mine once said, "Just paint," "Take your time, let the painting finish itself." I think the other element is putting aside all laziness and deciding to give it your 110%. No one else is going to do it if you don't. Hope you all enjoy :)

This story is still in the process of being written. I chose an image i could use as a frontis piece or inside plate for a book, without complicating things too much with story. There are enough elements here to satisfy my urge to paint this particular group of characters. I don't beven know if painting is a good word for this. It is chalk pastel, after all. So a Drainting? Prawing? Drawnting (sounds too much like daunting :P)? I suppose painting is the most suitable term :)

Encounter with the Grimshadow, Part V

2009-12-13T17:20:00.000-08:00

You know, it is always fascinating to me the process of painting. I have always styled myself a draftsman, but I love painting, the science and process of it. The fact colour always changes things, the balance of the painting. I love how everything looks differently as you add more elements, having to anticipate before hand, based on experience, how much and how little to give to a particular region.

Encounter with the Grimshadow, Part IV

2009-12-13T03:19:00.000-08:00

Several differences, here. I have added some vines and ivy to the walls behind the Sightless King and the warrior. I also added more high key values into the white maiden. I am still not finished, so as I work into the foreground, my background changes, as you can see, but the general atmosphere and layout are unchanged. working from the back to foreground helps to set these elements in a structured, easily amendable way. It's one of those things that doesn't really make sense until you see it or experience it. I hope this helps many of you.

For your benefit, I'll add the pic I used for the reference for the maiden so you can see the comparison. I changed many things, but used her general body language and dress, minus the cloak.

You will be able to see all the reference I used for this piece, once it is finished.

Encounter with the Grimshadow, Part III

2009-12-12T14:59:00.000-08:00

Now, this was a happy occurrence. I had initially planned to include the maiden, but I could not visualize her... at all. I knew what I wanted, but for the life of me, I could not figure out WHERE in the hells she would go. I first drew her in the arms of the Sightless King, warded whilst the Shadow was being confronted by the other companion. But you saw so little of her, i decided to nix that. Besides, that addition had been an afterthought, simply a way to include her. I decided i wanted her to be more present, so, if she decided not to appear in this piece, so be it. I'd rather make it a strong image than include something I am not sure of or not inspired by.

Lol, so I started the project, kinda bummed. I REALLY wanted her in the image. She was central in my initial conception of it. This was to be a concept image for my game. the maiden was essential. Luckily, my depression over not being able to include her was tempered by my happiness with the overall image. I contented myself with imagining she was hiding somewhere close, maybe up the stairs. So, even though she was not physically there, she was to ME I was imagining the scene playing out and she was there. But, still, I was not happy. i wanted her there.

Then, as I was starting the crumbling archway, she was there. I knew exactly what i wanted, saw her as plain as day. The funny thing was, I was flipping through some of my art books looking for someone's stonework, and happened on a Dennis Beauvais image (I may be misspelling his last name). I was looking at the stones, but got carried away in the details of the painting. He's good for that. His paintings are almost purely illustration. But I love them. All these noodly little things to get lost in. I noticed a wizard being crushed down by a dragon's claw, his wolf familiar barking furiously nearby. How had I missed THAT? I was taken away by that little scene, imagining the character in that predicament, wondering what I would do differently or what I would feel like in that scene, when, well, then. There she was. There was a nun inching her way down a wall away from the battlements, perched in just such a way. I knew that SHE was the one. And, as is fitting, she is a holy woman, as my character is. That was what I had been looking for. i was somewhat dismayed I had taken up the place where she would normally have gone with chalk, but she NEEDED to be there. I had no other recourse. She just had to go in. I didn't draw her in, as is usually my wont, but instead I used some colour, a high key blue, and some red orange, to block in where I wanted her face and body. I had to make her work compositionally with everyone else, so I was nervous about this technique. However, I knew what she needed to be and how she needed to look, and she went right in there, easy as pie. I felt like a Renaissance master adding something later that wasn't part of the initial sketch. I hate tooting my own horn, but I felt so cool after adding in the maiden

It was almost like, as I had imagined her, she had been hiding, maybe behind the Sightless King. Then, growing more anxious at the presence of the Shadow, she started to inch her way out and up the low stair, ready to flee should her champions fall.

I also changed the Shadow's hand. that had been bothering me tons. Now, lol, I am faced with another decision, do i shift the Shadow's face so he is staring at the maiden? or do I leave him engaged with the warriors? I think I'm going to have it engaged with the woman, for she is his quarry. It would make that much more tension, i think, and add yet another story element.

Still, there are miles to go before i sleep, miles to go before i sleep...

Encounter with the Grimshadow, Part II

2009-12-12T14:48:00.000-08:00

Here's the second part. I have rendered most of the background, beginning some work in the middle ground area. I will render out the shadow of the ruined archway. It wouldn't be cast that far back by the moonlight. I've rendered everything so far using: Ultramarine, Cobalt, Sienna, Light Blue, and Red Orange.

And, yes, the dude in the very back has no eyes. He is a concept I have been toying with for a little while. I think I woke up to him one morning, the Sightless King. A giant of a man, no eyes, regal in every other way, and left handed. I think his name is Egil Odd Hand, I don't know, but he possesses the heart of a warrior, brave and wild, but his sightlessness has damaged his pride. he and the man in the foreground are the protectours of a virginal woman whose destiny lies in the salvation of the world... if they can escape the Shadow.

Encounter with the Grimshadow, Part I

2009-12-12T10:50:00.000-08:00

Alright, you guys haven't had a WIP from me in awhile, so here it is: Encounter With Shadow. This is the first part. I used greenish paper because, 1. I'm using a red/green mother colour, and 2. I want to use some reds in the figure of the Shadow. My usual technique of undertoning with red-orange (I will break away from it in my next piece. I just like using it when I'm working with blues, it reacts well when the cooler tones are glazed over top.). It's chalk pastel (Nupastel) on toned Canson paper, 8.5x11 actual size.

Dago and the Wizard

2009-11-22T10:54:00.000-08:00

Here is an image I worked on for a buddy of mine. It's the same guy I did the Goblin Project for. The story is in its infancy, but the elements are there, the main characters, and it is fun letting the images tell the story before the writing gets finished. I love working with Brian. I love how his writing will inform me about how to approach an image, giving me leeway to do new things, but at the same time, my images inform him about what to write. This symbiotic relationship is very suitable for me. Please enjoy this image of Dago and his Wizard tutour.

Aldirion - Lands of Light and Shadow

2009-11-21T09:48:00.000-08:00

As a gamer I am fascinated with Dungeons and Dragons. I mean AD&D 2nd ed. and earlier versions. I feel that AD&D was the height of the roleplaying experience. After 3rd edition was released I found I was not as satisfied by the art direction and the gameplay. The game felt too 'heavy' and self-regurgitating.

TSR's (R) game felt more grounded in myth and legend and in many ways spurred people on to read classic folk and myth literature. With the advent of MMO rpgs and the corporate buyout of Dungeons and Dragons, the game has become a mass-produced mockery of its former incarnation. Though there were power gamers and any game could be tailoured to run any way, I feel TSR focused earlier editions of Dungeons and Dragons (D&D) more on roleplay and literary allusion rather than power and violence and self-aggrandisement.

Due to my own feelings and opinions on the gaming experience I find it difficult to find games to join as a player. Though this does bother me - I wish to play in a well run and well-considered environment - I enjoy running games. I enjoy watching others take pleasure in what I have created. I enjoy crafting believable fantasy that leaves players with a memorable and valuable experience.

Aldirion is my answer to the problem of gaming. I used Advanced Dungeons and Dragons 2nd Edition rules as a base to run the game. Adding my own rules where I felt it was necessary, I have hopefully created something I can be proud of.

Posted here is the player map and logo for the game setting.

Picasso and the Illusion

2009-10-11T23:03:00.000-07:00

"Art is the lie that tells the truth."

Last week I found this while looking up another quote from Picasso. I was struck by it. As an illustratour, as an artist in general, I am fascinated by the conscious act of creation and the way the finished image is interpreted by the viewer. Artists are illusionists, liars, in a way, that speak a truth through manipulation. A paradox, really, which is the heart of what it means to be a functioning human. Logic cannot exist without illogic, reality cannot exist without fantasy. There must be a balance and the two meet somewhere in the middle.

The artist who knows the rules of art, the elements, must be able to manipulate them, take them out of their context and then put them back again into a cohesive unit. In many ways it is like a stage magician. The artist must know all the little secrets, the nuances, that the audience never sees are are too subtle to perceive. The audience knows the magic trick works, but they are either blind or knowingly disbelieve the fact that what they are seeing is a lie. The artist must know the secrets to tell a lie that will bring the viewer to a deeper understanding of themselves and the world around them. The successful artist creates an image that makes the finished piece seem "easy." If a viewer walks away thinking "I could do that," then he has crafted well. But this is not enough. The second act is more difficult than simply putting media to substrate. It is a connection to something transcendent, sitting below the surface of conscious thought, hidden until tapped, like a still pool or well. The logical is a skeleton for the emotional, the frame for the house. The final product must evoke a response from the viewer, connect to a place that cannot lie, the heart.

I had a professour tell me once, "you cannot go against your innermost beliefs and values without serious consequences." Often we allow the logical side to steer more than is fitting. It covers truth with comfort and complacency. The world around us, with its pressures and products and proud voices sending barrages of information to assail the senses, covers the still, small voice of the heart that speaks when the world is quiet. Art should amplify this voice. The heart is like a dusty harp waiting to be played. A perfect instrument that, when plucked, produces tones of power and passion, silence and solitude. Logic is the steel rod, the solid ice; the Heart, emotion, is the raging fire, at times sitting idle in its embers, but still capable of infernoes of unparalled power.

Art, yes, is a lie. But it is the lie that tells us of our hearts. It lies only so much as it is mud and trees made to seem like marble pillars and chambers, jeweled halls, fit for kings and nobles. But the truth that is hidden in those halls is deeper than the deepest well, touching us to our very core with fire and ice, reason and madness.

Knight over the Silver City

2009-09-28T02:30:00.000-07:00

This is an image inspired by a recent homebrew world. Just a sketch, but it helped me flesh out the ancient Silver City.

Sketches

2009-09-21T08:27:00.000-07:00

These sketches are from the week. One is a dragon. The other is a warrior surprised by a skeletal king emerging from a sarcophagus.

I don't know about anyone else, but I love dragons that are bird-like and more like animals than sentient beings. I am very attracted to the idea of them being more like giant chickens than lizards. Somewhat curious, twitchy, like a bird,, but graceful, like a cat, with bat wings, and the scales of a reptile. The eyes are on the side of the head mostly, so their vision is limited to one side of the head, which means the dragon would cock its head a lot to see, maybe chirping a bit, or screeching. Lizards are very similar to birds in manner, anyway. they cock their heads the same way, at least some do, are fidgety and quick, nimble. I don't know why this is so attractive to me. But I just love imagining dragons this way :P

The other image was an idea I had for a skeleton that turned into a composition study. I was attracted to the idea of a tomb guardian, maybe a dead king's guard or even the king, himself. I imagine glowing eyes, mist emanating from the sarcophagus and his orifices.

Back From Dragon Con and Pumped!

2009-09-15T21:41:00.000-07:00

Well, I have returned from a week-long sojourn to Atlanta, Georgia, for Dragon Con. It was Awesome! I met tara McPherson, Peter S. Beagle, William Stout, Don Maitz and his wife, Janny Wurtz. I saw William Shatner and Leonard Nimoy, along with many other celebrities and artists. Larry Elmore is alwats a favourate. I enjoy seeing him everywhere he appears. He's a great guy and one of the most influential artists in my life. I hope he comes to more cons and shares his wisdom with aspiring artists.

I didn't have anything in the art show this year, But my illustratour friend, Chris Kuhlmann, did have work there. You can visit his site by following this link: www.chriskuhlmann.com or by clicking the link to the right of this page. He's worth checking out. I know many of you will admire his skill and imagination. We put on a panel discussion/lecture the last day of the con and had a great turnout. A little partying and a lot of work (or is it the other way around? :P) went into this venture. Overall I have to say I am pleased with how things turned out.

I battled the Black Airplane Plague upon my return to familiar soil, but I am getting over it. I am now going full throttle on my map project from Triple Ace Games: www.tripleacegames.com, starting dragon illustrations for a buddy of mine, and getting ready to begin a new AD&D campaign world. My hands are full, but I am never bored :P

Elivagar and Haraldain Final

2009-09-15T21:29:00.000-07:00

Here is the final image of Elivagar and Haraldain.

Elivagar and Haraldain In-Progress

2009-09-15T20:46:00.000-07:00

Well, here is a painting I started and finished in about a week. It was a huge learning experience for me and illustrates a story I am very fond of. The painting is, "The Search for Ighild" or "Haraldain and Elivagar." Here are some in-prog shots from my cpu camera. The image is 18"x24" and rendered in pastels using my usual pastel working method. The substrate is Canson paper. I'll post the finished piece in my next blog update.

Now Accepting Commissions!!

2009-05-16T13:00:00.000-07:00

SHIPPING TIMES:
Please allow for 2-3 weeks for shipping, if you are a US resident; 4-6 if you live outside the country. If you have questions regarding your order, please email me at epicwerkesstudio@gmail.com.
For holidays, please consider the seasonal rushes. Last minute orders cannot be expected to arrive on time for holiday gift-giving. Ample time must be had to organize the commission specs and complete the work, then have it mailed.
When you place your orders, please provide a current phone number and mailing address in case there are problems with shipping.

FOREIGN BUYERS:
Those ordering from outside the US, please use the PayPal International account. It may take a few days to verify, for which I apologize in advance, but it will allow you to pay for your merchandise.

COPYRIGHT INFO.:
All images I create are copyrighted to me unless stated otherwise. Images presented on my site that are copyrighted to other parties, companies, etc., can only be used with permission from that party. I will not furnish their contact information. Look on my site in the image descriptions for any information I may post there regarding those parties. You will have to contact them yourself.
If you use my images, they must be used at PROPORTIONAL sizes to the original. Each piece was specifically designed with those parameters in mind. Keep them that way.
If you link to images from my site, please do not use a direct link. Download the image and upload it from your own computer. This cuts down on bandwidth problems and helps to make sure the site loads properly for me and for others visiting it.
All images MUST have a © JUSTIN DAVID RUSSELL on the image somewhere or in your credits.

LINKING AND CREDITING:
If you wish to link back to my site or credit my work, please feel free to use this link: [link]. You may use any banners you see there for this purpose.

Commission Prices:
MEDIUM
Type of Work Size* Print**; Original

GRAPHITE (Pencil)
Line Art S/M/L $10/$15/$20; $15/$30/$50
Tonal S/M/L $15/$20/$30; $30/$50/$65

PEN AND INK
Line Art S/M/L $15/$20/$30; $30/$50/$65
Tonal S/M/L $20/$30/$40; $50/$75/$100

CHALK PASTEL S/M/L $25/$35/$45; $300/$500/$1000

WATERCOLOUR S/M/L $25/$35/$45; $500/$700/$1500

OIL PAINT S/M/L $25/$35/$45; $300/$500/$1000

*Sizes – Small – up to 8.5x11; Medium – larger than 8.5x11 to 16x20; Large – larger than 16x20 to 18x24. You will have to ask me for prices regarding prints and original images larger than 18x24. All sizes are measured in inches. If you wish to have these measurements in another format please let me know at: epicwerkesstudio@gmail.com.

**Prints – Prints are ordered through Deviant Art. If they do not have the size you wish, please contact Justin at epicwerkesstudio@gmail.com. Arrangements can be made to have prints made via Kinkos and then shipped to you.

NOTE: Unless otherwise stated, all prices are in US currency, the US dollar ($). Please feel free to contact me at: epicwerkesstudio@gmail.com, if you would like quote in another form of currency.

STANDARD CONTRACT:
A standard contract is available for commissions. It must be signed by both parties and can be emailed to you via email or regular mail. For specific jobs, individual contracts may be drawn up to suit the needs of the patron commissioning the work.

EXAMPLES OF MY WORK: Examples may be seen throughout my DA gallery, on my blog (www.epicwerkesstudio.blogspot.com) and on my website (www.justinrussellart.com). For your convenience I have included some samples here. Just follow the links:

Graphite:http://justinraven.deviantart.com/art/RPG-Character-Female-Paladin-122700152; http://justinraven.deviantart.com/art/The-Spider-and-the-Pool-106095540
Pen and Ink: http://justinraven.deviantart.com/art/Aelthing-107028804; http://justinraven.deviantart.com/art/Lumbering-Giant-105330040
Pastel: http://justinraven.deviantart.com/art/quot-Of-Gold-and-Morning-Light-quot-105330812; http://justinraven.deviantart.com/art/The-Washer-Woman-105332532
Watercolour: http://justinraven.deviantart.com/art/Gnome-In-Prog-Part-3-Final-120555820; http://justinraven.deviantart.com/art/Undine-120272793; http://justinraven.deviantart.com/art/Goblin-Project-in-Process-Work-120272056
Oil Paint: http://justinraven.deviantart.com/art/Maebh-The-Tain-105327581

THANKS:
I would like to thank Ashleigh Michelle [link] and Ravenari [link] who have been more than helpful in helping me figure this out. I would also like to thank Larry Elmore [link] who is one of my greatest inspirations, and Michael Whelan [link] a true visionary and the reason I am doing this. Thank you to all the DA folk who support me, future supporters, and the DA staff for allowing such an wonderful place for artists to express themselves, better their craft, and find like minded people to interact with. Without this site I would not know any of the fantastic people I do and I wouldn't have met the most wonderful person in my life. In general, thanks to everyone. And please check out Ashleigh Michelle's and Ravenari's galleries. They are amazing artists and your support will help them continue doing amazing art!

Gollum, gollum!

2009-05-07T16:16:00.000-07:00

A painting in the works. Just the sketch, but I plan to make this a fairly decent sized pastel piece. Man, that sounds appealing! the thought of filling in that slimy skin makes me want to drop everything and do it now :P But first I have to finish the meeting of Elivagar and Haraldain. Man, Gollum's "telescope" eyes are going to be soooo fun to paint!

Hello to Brian Hershey's Class!

2009-05-04T19:46:00.000-07:00

If you guys are seeing this, I welcome you to my blog! Here you will find my imagination run amok! Villains and heroes abound and maybe a little whimsy thrown in, too. Welcome and look around!

Please check out my Deviant Art gallery, too. There is a lot more artwork there:

http://justinraven.deviantart.com/gallery/

Here are some of the goblins and faeries you have come to know and love.

Haraldain Confronts Elivagar with the Vestarstjarn, Star of the West

2009-05-04T19:17:00.000-07:00

This is an image a long time in the making. Inspired by several sketches and then finally drawn onto Canson paper, I am ready to "paint." I am posting the sketches and studies in order of creation.

The image ended up inspiring a story about a hero named Haraldain, the Grey Knight of the Brithungs. For his whole story you will just have to keep stopping back :)

Thank you for stopping by and may you keep vsiiting this blog! I hope you learn something.

Turkish Faerie-Tale Book Concepting

2009-04-30T07:45:00.000-07:00

Here are a few images related to the new Turkish Faerie Tale I am transcribing and illustrating. One is a layout page where I am working on the page-by-page configuration of the book. At the bottom of the page is a doodle I did that may turn into a spot illustration for the Title Page. The next page is a reference drawing from a painting of the "Turtle Tutor." I'll be working on the Cover next, in which I will define the characters of the Heroine, Padishah, Dragon Prince, and Step-Mother.

Here I also show the final concept page for the Cover design.

Turkish Faerie-Tale Book in the Werkes!

2009-02-28T08:24:00.000-08:00

I am excited to announce that I have commenced work on a great undertaking. I am illustrating a Turkish faerie-tale and turning it into a 32 page children's book. It will contain about 18 full colour plates, as well as about that many pencil renderings. I will be posting regularly throughout the process of completing this project. I am really excited and I know this marks just one of many such books I will compile.

I am currently in the planning stage, making a layout sketch and dummy book. I will include the Layout sketch in my next post. Thank you for being interested in my work, and, just so not to disappoint, here is an image. Enjoy!

Early Role-playing Game Character Sketches

2009-02-23T20:27:00.000-08:00

These are some early character type images I did for the role-playing game I am developing.

The Bear and the Warrioress

2009-02-23T20:25:00.001-08:00

Here is the drawing for a painting I did a while ago, but I want to revisit this image and do it in chalk in a larger scale.

Drawings from D&D

2009-02-23T20:23:00.000-08:00

Here is a character drawing from a person in an old gaming group. She played a paladin.

A Gift for a Dying Friend

2009-02-19T08:48:00.000-08:00

I recently became aware of a boy in Turkey who is dying of cancer without parents or support. Luckily a wonderful person has taken him under her wing and is supplying him with all his costs etc. In honour of this little boy I made a quick painting one night after learning he was going into emergency surgery. I believe you will all recognize the subject matter :P But this little boy is special. His name is Baran and he needs prayers and good thoughts. Please think of him.

This painting is done in chalk pastels on olive toned paper.

Hour Longs

2009-02-19T07:15:00.000-08:00

I would like to introduce a concept I first learned from renowned fantasy and faerie illustratour, Larry McDougall. I met Larry at a convention in Philadelphia and was very much pleased by his kindness and courtesy. His wife was also very kind. You can see their artwork by clicking on the link to the right. deviantART also has their work posted. Patricia has many works there.

But I digress. My point is that when I returned home after the convention I contacted Larry and asked what his process for creating art was. He told me that he does hour long drawings every morning before he works. He draws from anatomy books. This idea blew me away. I couldn't believe I hadn't thought of it before. So I dusted off my anatomy books and began my rigorous daily routine. I would be lying if I said it was easy, but the amount of satisfaction I get from doing these drawings is unparalleled with anything else. I have learned so much it is ridiculous. Not only about anatomy, but also about myself. I find when I am drawing from my head, where I would normally get stuck, I find I "know" where things go, etc. Very good feeling, let me tell you :)

I am posting several pages from this process here. I date and identify each drawing. I allow myself the freedom to not worry for an hour. I don't care how much I get done, just that I work for an hour and focus myself wholly on what I am doing. Tho' I must admit some mornings I get up not wanting to draw and the process is very rote for awhile. But I take comfort in the fact that I am even doing it at all at that point. Sometimes you get a great amount of satisfaction from this, as well. It was torture and pain for an hour, but then when you look back, it doesn't seem that bad. If it is that bad and you are not pleased, take comfort in this, "It is all grist for the mill." You are better off having drawn than not having drawn at all.

Iduna and the Golden Apples

2009-02-18T09:58:00.001-08:00

Here is a cover concept for a story that I wish to write in the near future. It is based on Snow White, Red Riding Hood and carries the flavor of Scandinavian folklore. The drawing is about 18"x24" and is painted with chalk pastels on dark grey toned charcoal paper.

To Rassilon and Back Again - A Tale of the Hellfrost

2009-02-17T05:34:00.000-08:00

I just recently finished work on the Hellfrost Bestiary.

Hellfrost is a new table-top role playing game setting from Triple Ace Games. You will be able to check it out and purchase it and other great products from the following site: www.tripleacegames.com. I will showcase some of my best pieces here after the book is in publication.

This project ate my soul for many weeks. My girlfriend was not excited about the time I spent on this, but she understood. I was doing an illustration a day for twenty five days, then used the extra time I had at the end to redo those images the team and I felt needed changes.

Hellfrost showcases the work of myself and fellow illustratour and good friend, Chris Kuhlmann www.chriskuhlmann.com. Please visit his site and see more of his work in the soon-to-be released Hellfrost product, The Hellfrost Player's Guide. Our work can also be seen in several of T.A.G.s other exciting products:

Daring Tales of Adventure - "Terror of the Z-Bomb"
Daring Tales of Chivalry - "The Danbury Curse"
Sundered Skies - "Blade of Destiny"

Here is a preview of the epic adventure setting for Hellfrost:

Charles Santore - Of A Strange Coincidence

2009-02-17T04:47:00.000-08:00

About a year ago I was working at a pet store. We would harbour representatives every so often. One of these representatives I remember was a fairly odd, but sweet, olde man. I seldom talked to him, but one day he noticed me drawing and we got to talking. I discovered he was an amateur watercolourist. It was a very serendipitous moment. He mentioned he knew Charles Santore. I was taken aback. He told me C.S. was his wife's cousin. The man also told me he would bring one of Charles' books that had been signed for him several years ago.

About a month or so later, he returned with a book of faery-tales fully illustrated by Charles Santore and signed to him. I was extremely impressed and delighted. Not many people at a petstore are capable of talking about art. You dry up.

Then, one day, he announced something fairly surprising, something I couldn't believe I had not thought of before. He offered me Mr. Santore's address as a means to connect and get feedback. I said, most assuredly, "Yes, I would love his address." The olde man eventually brought the address in and I sent Mr. Santore samples of my work, followed by a nice letter admiring him, and a self addressed, stamped envelope should he care to reply.

Now it should be noted that I sent this letter out with another to the man who inspired me to follow the path I am on for my life, Michael Whelan.

Many months later I received a letter in the mail from Mr. Whelan. When I saw it I was instantly disheartened. It was one of my envelopes with my handwriting on it. I assumed it was a returned letter. Then I noticed that the addresses were reversed. Mr. Whelan's address was in the sender's field and mine in the receiver's field. My heart stopped. I am not one to be starstruck. But this made me want to dance in circles and do flips. I opened the letter and discovered the following piece of paper:

I had mixed the return envelopes and sent Mr. Santore Michael Whelan's and M.W. C.S.'s. I was elated to think that C.S. would return my letter, but I was downhearted because I have a feeling that Mr. Whelan may have been insulted by this mix-up. I hope this was not the case. In any event, I have a wonderful response and little doodle from a great illustratour and inspiration. It must also be noted that it is always a risk to contact your favorite illustratours/artists or inspirations. You may find they are not very nice people. Fortunately, Mr. Santore either has a sense of humour or a decent heart, or both. I had the good fortune of seeing some of Mr. Santore's enlarged prints at the Illustration Museum in Pensylvania earlier this year.

Some Sketches of Dragons

2009-02-17T04:32:00.001-08:00

I have been thinking on dragons a great deal lately. I have been doing many sketches in an attempt to realize a style for myself and an atmosphere and mood that is recognizable as my own. I have been influenced I think by these illustratours/movies: Michael Whelan, Greg and Tim Hildebrandt, Larry Elmore, Rankin and Bass productions, "Dragonslayer," J.R.R. Tolkien. I believe these to be my chiefest influences.

There are several aspects I always include in my dragons: ears (sometimes human but more often an animal-like ear akin to deer or equine mammals), humanistic eyes, human arms juxtaposed with lizard-like claws, komodo dragon/lizard-like body types, bat-like wings, and a generally loose appearance (as in loose skin over sinewy build), heavy brows.

The Spider and the Pool

2009-01-19T21:49:00.000-08:00

This piece I made over this year's holiday season, Thanksgiving. It is 13.5"x21" and is based on a very short work of speculative fantasy fiction I had created a few weeks prior.

Some new sketches

2009-01-03T14:14:00.000-08:00

"The Guardian" and "The Maiden with the Heart on Her Cheek."

Dancers at Dawn

2009-01-03T07:10:00.000-08:00

This is a piece I just finished. I took a photo of it with my computer camera. So here is the image that I have available until I can get my hands on a nice digital camera ;p

Happy Yule!

2008-12-27T21:54:00.000-08:00

Hello, everyone! This first post is seasonal. I would just like to wish everyone a safe and happy Yule time! The Tomte was a character in Scandinavian myth who would climb to the top of the highest mountain in order to retrieve the light of the sun. He would come back with holly and the light of the new year, the hope of a new Spring. So here is my Tomte!

Same Face, Different Blog

2008-12-27T21:48:00.000-08:00

Well met and greetings from Epic Werkes Studio! I have been forced to open my blog again due to problems with my olde google account. You can still visit the former blog at: http://epicwerkes.blogspot.com and http://epicwerkessketchbooke.blogspot.com to see olde werke. Please check back often, as this is the new home of Epic Werkes and posts will be made from here in the future.

Welcome to the new blog and thank you for stopping by!

Justin

Welcome to Epic Werkes Studio!

2008-12-27T21:23:00.000-08:00

Epic Werkes is a freelance fantasy illustration studio. Feel free to contact Justin David Russell from the email below for commissions.

Types of werke:
-Role-playing game character portraits
-Booke cover illustration
-Role-playing game illustration (maps, spot illustrations, covers)
-Mythic/folk/archetype illustration

Media used:
-Pen and ink
-Graphite
-Charcoal
-Watercolour
-Oils
-Pastels