I never get tired of looking at Kathryn, Heather and Josh's art in the gallery -- including preliminary sketches and comps, which I enjoy almost as much as the finished works.
So I was very happy to see that Heather added a preliminary study of Healing - Full Circle, her first work for the Embers universe. The close up of Ari'vén's face reveals both his strength and his vulnerability.
Additions to the Gallery albums
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Windwalker
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Additions to the Gallery albums
Last edited by Windwalker on Fri Feb 16, 2007 10:50 pm, edited 1 time in total.
For I come from an ardent race
That has subsisted on defiance and visions.
That has subsisted on defiance and visions.
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Windwalker
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A note on avatars
Eloise, Heather, Kathryn -- your avatars are stunning, and all so different! It a pleasure to just look at them!
For I come from an ardent race
That has subsisted on defiance and visions.
That has subsisted on defiance and visions.
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intrigued_scribe
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Athena, Eloise, Kathryn, Marie, the same goes for your avatars!
Also, there are five new additions to the galleries; the first two were sparked by a line in Chapter Two of Shoals in Time that begins with the words: "If Adh'isa were a woman...." and the latter three depict scenes in a few of the most recent parts of the story.
-Heather
Also, there are five new additions to the galleries; the first two were sparked by a line in Chapter Two of Shoals in Time that begins with the words: "If Adh'isa were a woman...." and the latter three depict scenes in a few of the most recent parts of the story.
-Heather
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Windwalker
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My dear Heather, I will comment at more length later. For now, I will say that the new works are heart-wrenching, each in a different way. Your portrayals of Tanegír Sóran-Kerís are an uncanny cross between Adh'ísa and his mother, the fiery Sefanír who was lost too soon. Your depiction of Vón'is is haunting, as is Ari'vén's agony... and the youngsters embracing is a breath of poignant hope.intrigued_scribe wrote:Also, there are five new additions to the galleries; the first two were sparked by a line in Chapter Two of Shoals in Time that begins with the words: "If Adh'isa were a woman...." and the latter three depict scenes in a few of the most recent parts of the story.
Athena the Lucky
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intrigued_scribe
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Additions to the gallery
Dear Heather!!!
Five incredible additions to your gallery and just as accurate a depiction of the characters. I was completely overwhelmed by the 2 positioning Adh'isa as Tanegir Soran-Keris, agonized with Anassa and the Starry Sky, wept with joy in the beauty of the three joined. However, when I enlarged the one of Von'is, the chills were instantaneous. This one is an act of horrific torture that captured my imagination with such vivid intent.
Like Athena, I will comment more in depth after I have caught my breath!
Absolutely stunning, dear friend.
Marie
Five incredible additions to your gallery and just as accurate a depiction of the characters. I was completely overwhelmed by the 2 positioning Adh'isa as Tanegir Soran-Keris, agonized with Anassa and the Starry Sky, wept with joy in the beauty of the three joined. However, when I enlarged the one of Von'is, the chills were instantaneous. This one is an act of horrific torture that captured my imagination with such vivid intent.
Like Athena, I will comment more in depth after I have caught my breath!
Absolutely stunning, dear friend.
Marie
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intrigued_scribe
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Windwalker
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Almost certainly my last post before leaving for London -- but I didn't want to go before giving Heather's drawings the in-depth comments they deserve!
The two drawings of Tanegír Sóran-Kerís embody a composite ideal -- part Adh'ísa, part Sefanír. What I particularly like is that, despite the voluptuous body, the figure remains androgynous (the strong, angular face, the determined expression, the archaic half-smile). The peripheral touches are just as marvelous: the catamaran, the earring, the flower... the adoring adh'irén (who looks a bit like Seh'míra's sire, Edánir Ha'issé).
Love and Agony is the mirror image of Rest at Journey's End, the one as anxious as the other was peaceful. But just as in Rest, the expressions and body language here convey the title emotions eloquently (Ánassa in particular, showing the same empathy and sheltering that she exudes in Comfort for a Kindred Soul). Additionally, there is the haunting touch of the Syradán's silhouette outlined on the wall.
Imprisoned in a Well of Stars is painful in its absolutely heart-wrenching depiction of Vón'is doubly imprisoned-- addicted to the ynáris and captive to Serkadren. The mechanical components add to the sense of violation, and both her hair and the starry streams envelop her like a shroud. The gaunt face and body, the tormented expression and the constrained stance make her agony palpable.
Completion in the Arms of his Home is wonderful in showing the joy of the youngsters finally united. Here the body language is exuberant, they're practically romping -- Ketivár playing with the strands of Seh'míra's hair and everyone cheerfully disheveled. A breath of hope, indeed.
These drawings are as lovely as ever but also truly poignant, because they showcase how much these people lost, and still stand to lose.
The two drawings of Tanegír Sóran-Kerís embody a composite ideal -- part Adh'ísa, part Sefanír. What I particularly like is that, despite the voluptuous body, the figure remains androgynous (the strong, angular face, the determined expression, the archaic half-smile). The peripheral touches are just as marvelous: the catamaran, the earring, the flower... the adoring adh'irén (who looks a bit like Seh'míra's sire, Edánir Ha'issé).
Love and Agony is the mirror image of Rest at Journey's End, the one as anxious as the other was peaceful. But just as in Rest, the expressions and body language here convey the title emotions eloquently (Ánassa in particular, showing the same empathy and sheltering that she exudes in Comfort for a Kindred Soul). Additionally, there is the haunting touch of the Syradán's silhouette outlined on the wall.
Imprisoned in a Well of Stars is painful in its absolutely heart-wrenching depiction of Vón'is doubly imprisoned-- addicted to the ynáris and captive to Serkadren. The mechanical components add to the sense of violation, and both her hair and the starry streams envelop her like a shroud. The gaunt face and body, the tormented expression and the constrained stance make her agony palpable.
Completion in the Arms of his Home is wonderful in showing the joy of the youngsters finally united. Here the body language is exuberant, they're practically romping -- Ketivár playing with the strands of Seh'míra's hair and everyone cheerfully disheveled. A breath of hope, indeed.
These drawings are as lovely as ever but also truly poignant, because they showcase how much these people lost, and still stand to lose.
For I come from an ardent race
That has subsisted on defiance and visions.
That has subsisted on defiance and visions.
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intrigued_scribe
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My thanks once again for your in-depth response, Athena!
Aside from the emotional content, the other elements you bring up here play a large part in the compositions. Where the two depicting Tanegir Soran-Keris are concerned, the androgyny is also integral to the female figure to me, and I'm glad to know that that comes across, too.
The inclusion of the adh'iren came from the mention of "a half-dozen adh'iran" and aside from that, I had Peniren Taren in mind (though the ta'en aris in the background certainly does resemble Edanir Ha'isse).
I'm pleased to know that the atmposheres of the last three images are effective, particularly in Love and Agony and Imprisoned for the contrast between Von'is' suffering, the pain gripping Ari'ven and the sheltering, protective embraces of Anassa and Adh'isa. Also, the poignant hope in Completion is indeed a glimpse of happiness in the midst of peril and a reminder of loss overcome and loss that these people may yet suffer.
Heather
Aside from the emotional content, the other elements you bring up here play a large part in the compositions. Where the two depicting Tanegir Soran-Keris are concerned, the androgyny is also integral to the female figure to me, and I'm glad to know that that comes across, too.
The inclusion of the adh'iren came from the mention of "a half-dozen adh'iran" and aside from that, I had Peniren Taren in mind (though the ta'en aris in the background certainly does resemble Edanir Ha'isse).I'm pleased to know that the atmposheres of the last three images are effective, particularly in Love and Agony and Imprisoned for the contrast between Von'is' suffering, the pain gripping Ari'ven and the sheltering, protective embraces of Anassa and Adh'isa. Also, the poignant hope in Completion is indeed a glimpse of happiness in the midst of peril and a reminder of loss overcome and loss that these people may yet suffer.
Heather
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rocketscientist
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Oh WOW! I missed the editions! Beautiful Heather!
I'm curious about the statement you make with your androgynous style. This isn't a criticism, I find it intriguing. When I was younger I was always drawing androgynous figures, as a way of pointing out the similarities between men and women. Now I find myself leaning in the other direction - fascinated by the differences.
Your work is taking on an Art Nouveau quality at this point. I love the patterns, they can really become an integral part of the composition. Are you familiar with Audrey Beardsley, and Kay Neilson?
I'm curious about the statement you make with your androgynous style. This isn't a criticism, I find it intriguing. When I was younger I was always drawing androgynous figures, as a way of pointing out the similarities between men and women. Now I find myself leaning in the other direction - fascinated by the differences.
Your work is taking on an Art Nouveau quality at this point. I love the patterns, they can really become an integral part of the composition. Are you familiar with Audrey Beardsley, and Kay Neilson?
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Windwalker
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When I saw Heather's latest, I named the same exact two names in the other thread of this subforum (influences on the art of the fantastic) -- Beardsley and Nielsen! Her patterns remind me of the former, her lines of the latter.rocketscientist wrote:Oh WOW! I missed the editions! Beautiful Heather!
I'm curious about the statement you make with your androgynous style. This isn't a criticism, I find it intriguing. When I was younger I was always drawing androgynous figures, as a way of pointing out the similarities between men and women. Now I find myself leaning in the other direction - fascinated by the differences.
Your work is taking on an Art Nouveau quality at this point. I love the patterns, they can really become an integral part of the composition. Are you familiar with Audrey Beardsley, and Kay Neilson?
The Koredháni culture is androgynous in several ways -- the telepathy causes blurring of boundaries, whereas the polyandry, the abbreviated pregnancies and the lack of labor division remove role polarity. At the same time, I imagine that they vary in terms of how they look physically.
For I come from an ardent race
That has subsisted on defiance and visions.
That has subsisted on defiance and visions.
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intrigued_scribe
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Thank you, Kathryn, I'm happy that you like the newest additions!
I include the androgynous style to represent the blurred boundaries between the genders (and admittedly, it sometimes finds its way into the drawings on an almost unconscious level, as androgyny--in more than one form--comes to mind when I think of the Koredhani now.) I'm not as familiar with Beardsley and Neilsen as I am with the work of other artists, but I'll definitely have to give their work a good look.
Heather
I include the androgynous style to represent the blurred boundaries between the genders (and admittedly, it sometimes finds its way into the drawings on an almost unconscious level, as androgyny--in more than one form--comes to mind when I think of the Koredhani now.) I'm not as familiar with Beardsley and Neilsen as I am with the work of other artists, but I'll definitely have to give their work a good look.
Heather
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Windwalker
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My dear Heather,
all three look wonderful -- you really captured Meráni's spark and spirit (and the background architecture looks more and more bewitching). The Boy's anguish is palpable. He looks very much like his mother in that sketch. Both Tomre and the ship look exactly as I imagined them, calm, pragmatic and competent, yet graceful. And, of course, Nesil's mixture of courage, defiance and fear come through vividly.
I moved the last two drawings to the Shoals album, I hope it's all right?
Beautiful work, as always!
all three look wonderful -- you really captured Meráni's spark and spirit (and the background architecture looks more and more bewitching). The Boy's anguish is palpable. He looks very much like his mother in that sketch. Both Tomre and the ship look exactly as I imagined them, calm, pragmatic and competent, yet graceful. And, of course, Nesil's mixture of courage, defiance and fear come through vividly.
I moved the last two drawings to the Shoals album, I hope it's all right?
Beautiful work, as always!
For I come from an ardent race
That has subsisted on defiance and visions.
That has subsisted on defiance and visions.
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intrigued_scribe
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