Tor.com LoTR vs The Hobbit Post

Gorbag of Mordor

I recently contributed to an article on Tor.com written by Irene Gallo on which of Tolkien's stories illustrators found most interesting for subjects to illustrate.

This is of course, a little like asking if one prefers chocolate chip cookie dough, or baked chocolate chip cookies. But there is an interesting difference in the two that begins to rise to the surface when you begin to discuss it.

The Hobbit is told from the viewpoint of a charming and not altogether reliable narrator in Bilbo, and the Lord of the Rings feels like it is told from the viewpoint of several different poet-historians who are not as given to the same vagaries of imagination as Bilbo. Because of this I find that the Hobbit allows a little more creative expression, especially in regards to the monsters. (And I love monsters who are just a little human.)

But The Lord of the Rings changes that, and the monsters there, are indeed monsters with only rare instances of humanity. But the humans there are deeper, and there we find the issue flipped, where now we find humans, who are just a little bit monster. Especially as they deal with matters of sons dying, or addiction. This too makes for an interesting vantage point to work from. Donato in particular writes that he finds that there are more opportunities that reveal the compassion and humanity of the characters in the Lord of the Rings, and so it presents a greater source of inspiration for his work.

Its an interesting article with contributions from Howe, Nasmith, Donato, Bosma, Adolfsson, Hickman, Kaluta and Miller.

Doomhammer 2010: Drawing

Man vs. Machine.

I initially drew this image to be about the guy. Specifically about his left foot. The entire composition and action of the image was actually meant to revolve around that foot. But it was fundamentally about this guy leaping down at this assault mech. It was a cry against the tools that have turned into systems too vast to affect any longer and that slowly dehumanize us and demand that we become more and more dependent upon them.

But as I continued to sketch I got drawn in by the machine.

I began by thinking:

Idiot-machine computers... Absurd, plastic-jurassics built by sea monkeys out of bailing wire and kitty litter to be soma for the masses and flimsy replacement-brains... We must rise up, we must smash our television sets, hurl our phones into the sea and scream, "I'm a human being! Not some plastic toy, not just some number. MY LIFE HAS MEANING!"

But soon it changed to:

Hmm... If I was piloting a 15-foot mech, I would want a 30mm chaingun. And all kinds of communications equipment. Lights, computers, fiber-optics. And it would need to have smoke screen launchers, otherwise it would get chewed up by the air support. Yeah, ... and it would need to have a missle launcher. Laser guided... Something manageable though, maybe a javelein launcher to counter armor... And then it would need....Wow, I love the modern era...

And so on. Soon I forgot about the guy, who was the whole reason I started this piece. The audacity of some guy with nothing more than a pair of handguns, leaping out at a giant machine, at THE machine. I really liked that.

But now I began to see the image from the Machine's perspective:

Who is this anarchist leaping down at me?

I defend society.

I hold the line here.

I keep the torch of civilization lit.

I keep the forces of nature at bay,

and this bomb-throwing anarchist is attacking me.

I will crush him.

So now I identify with both of my characters, and it has seemingly become a matter of perspective on who exactly the protagonist is and who exactly the antagonist is.

In the end I found that anarchy was easier to draw. The guy was finished quickly with no problems. I felt like it just worked. Getting the forces of civilization together on the other hand, took a bit more.

I wanted to really make sure that this machine was convincing. That it looked usable, that it had been battle-tested. That it could survive full-scale war in densely urban environments.

Reference of modern technological wonders: Sikorsky Pave Lows, AH-64 Apache Attack helicopters, M1 Abrams Battle Tanks, 30mm Chain Guns.

Doomhammer 2010: Conceptual

Sometimes a person paints to communicate to other people a specific feeling or emotion they have experienced in their lives.

And other times, a person may paint for themselves, to make sense of all the fire in their head. To turn the static upstairs into something they can better understand.

Last week the Mac Pro, the Xbox and the cell phone all died on the same day. I found myself terribly frustrated at my circumstances. Why can't things just work? What idiot monkeys even made these things? Oh! Miserable life- it is better for me to die than to live.

...

Then I remember that people all over the world have lived happy and full lives without the benefit of this exotic technology for a long time and I should do some yoga, calm down and find inner peace.

But I drew this instead:

Fine Literature

November Conventions

Unless you are an evil villain, you will be pleased to learn that I am no longer making zombies. And now that PS3's hunger for carnage is momentarily satisfied, I have some time to work on a few new oil paintings and make my plans to survive the rest of this year's conventions.

The first is Illuxcon in Altoona, PA on November 12-15. Illuxcon is a show dedicated to fantastic illustration and will have the largest display of original fantastic art to be found on this planet. I am really looking forward to being there. If you are in that neck of the woods stop by for a visit.

Then our tour of America continues as we hit CTN in LA on November 20-22. If you are there, stop by booth #37 where we will be rocking California's socks off. I will be giving demos and taking part in a few panels. I will also be stalking the floor looking for a copy of Peter De Seve's new book.

So with these conventions looming ahead I have been in the lab working on some new gems. Over the next few weeks I will be posting some process shots of the ones that I will be taking to these conventions.

Hope to see you there.

Portrait of a Monster #22 sketch

#22

Portraits of Monsters.

I have always loved painting portraits of monsters. I find that monsters are largely misunderstood.

Monsters are people too.

Or rather, maybe a monster in a suit reflects the sentiment that every human has a bit of a monster inside them. And that I think that people nowadays prefer that it is on the outside, rather than on the inside.

Many of you have inquired wether or not these portraits will ever be made into prints. I am pleased to announce that The Grenadier and Grimsby Foulbottom prints are now available at www.justingerard.etsy.com.

Portrait of a Monster #12 sketch

IMC 2009: The Lady of the Lake

Conceptual Sketch

At this point in the week, I decided to begin a second piece in an effort to take advantage of the fantastic oil demonstrations that were being given. For this one I chose one of the other options that had been given, which was the Lady of the Lake from Arthurian legend.  

Tight Sketch

IMC 2009: Steam Punk Wizard of Oz

Drawing on Bristol

Underpainting

Note the difference in the two pieces. The composition works much better in the one on the left, and the image begins to make more visual sense. (click on image to see larger version)

This was after the advisement of the faculty who pointed out the dead spot there in the lower left and how knocking back the corner would improve the overall composition.

Final Underpainting

ImagineFX

For those of you who have been wondering about the specifics about my method of working, (and I know there are at least 2 of you) this month my work has been featured in an ImagineFX workshop. 

IMC 2009: Steam Punk Wizard of Oz

For the Illustration Master Class we had some homework to do before we arrived. 

Our assignment was to choose one of several stories that the faculty had provided and bring a tight sketch to show the faculty on our first day. This image would be critiqued and then we would spend the rest of the time during the week executing the piece.  One of the choices was to do a steam punk version of the Wizard of Oz, which is the coolest homework assignment ever. 

Thumbnail

Sketches

The Cowardly Lion

Rough

Final Sketch for monday.  Off to IMC...

Terrible Yellow Eyes: Drawing

The Battle of Five Armies: Sketches

Layout sketch.  

I have had this image pretty clear in my head for some time now, so there isn't much need for a variety of thumbnails on the overall layout of the image. Usually I will do a dozen or so from different angles to get the feel of the scene and find which fits the best. This is a rare exception where the layout is already perfectly clear in my head. What is not clear yet and what will need a lot of development sketch work is the individual figures, and the general havoc and stupefying mayhem.  

The Reluctant Dragon: Thumbnail

This week I take yet another brief step away from the Hobbit illustrations to do some experimenting. This time it will be in oil.

This thumbnail is one I did for the Reluctant Dragon.  This is a fairy tale that I have wanted illustrate for a long time, and this first adventure in oils seems like the perfect opportunity for it. 

And so I am pulling out both the oil paints as well as every scrap of literature I can find on Rembrandt. Of the great Masters, he is the one I am always drawn to the most. There is a gem-like quality to his paintings that destroy me. His work is terrifically inspiring.  

Smaug: Thumbnails

These thumbnails are for a scene pre-dating the events of The Hobbit, when Smaug first came to the mountain.  I believe I will stick with the classic scene, but I like evaluating the other possibilities.  One of my teachers once told me that often, your first thumbnail will be your best, but you should still do the other 29 just to make sure.  

Smaug: Sketches

Merry Christmas! 

Riddles in the Dark: Sketch

Riddles in the Dark: Thumbnails

Once again I return to my love of caves for the scene of the Bilbo and Gollum's riddle game from The Hobbit.  

Of all the characters that I lost in my mind after having seen Peter Jackson's rendition, Gollum was probably the one best kept intact. I thoroughly enjoyed the stunning work that Jackson, Weta and Andy Serkis did to bring this potentially difficult character to life on the big screen. They managed to make him convincing, threatening, miserable and human in a way that I had not seen as possible outside of classic animation techniques. 

However, in spite of the solid designs I never did quite forget how I had seen Gollum and I have tried to recreate here what I remember.  You will probably think it all looks the same, that one rose blossom looks like another, but there were a few odd points in my mind that I always saw a bit differently. So we shall have to see how they turn out.  

The Great Goblin: Sketches

"We were on a journey to visit our relatives, our nephews and nieces, and first, second, third cousins and other descendants of our grandfathers, who live on the East side of these truly hospitable mountains," said Thorin, not quite knowing what to say all at once in a moment, when obviously the exact truth would not do at all.
"He is a liar, O truly tremendous one!" said one of the guards. "Several of our people were struck by lightning in the cave, when we invited these creatures to come below; and they are dead as stones. Also he has not explained this!" He held out the sword which Thorin had worn, Goblin-cleaver.
"Murderers and elf-friends!" The Great Goblin shouted. "Slash them! Bite them! Gnash them! Take them away to dark holes full of snakes, and never let them see the light again!"

Bilbo and the Trolls: Sketches

"What did i say?" said Bilbo, "and please dont cook me kind sirs! I'm a good cook, and i'll cook a perfectly beautiful breakfast for you if only you wont have me for supper!"
"Poor little blighter," said william. "Poor little blighter! Let him go!"

"Not till he says what he means by 'lots and none at all.' I don't want to have me throat cut in me sleep. Hold his toes in the fire, 'til he talks."