Amur Tiger as a part of the series of illustrations for SUN InBev Russia and their brand called “Siberian Character”. Check out full project on Behance or visit my portfolio website
I got a bit behind on commissions this week, being sort of distracted by starting college and such, but I should be back on track? Apologies to everyone who has been waiting!
Here we have Tyelpe working on some… Ring Theory, is the idea? Whimsical spectral theory? Fun metaphysical elf math? commissioned by @thearrogantemu, who happens to be responsible for creating some of my very favorite Celebrimbor content. Thank you so much!
I like this a lot. It’s so nice to see Celebrimbor getting on with some work and enjoying himself, not in armour, in battle or having awful things happen to him!
There they came near to death, for winter came cold from the North; but not so light was Túrin’s doom. Even as they lay in despair they heard a horn sounded. Beleg the Strong-bow was hunting in that region, for he dwelt ever on the marches of Doriath, and he was the greatest woodsman of those days. He heard their cries and came to them, and when he had given them food and drink he learned their names and whence they came, and he was filled with wonder and pity. And he looked with liking upon Túrin, for he had the beauty of his mother and the eyes of his father, and he was sturdy and strong.
I’ve been making a few of these style maps recently, I did New England and Scotland previously for fun. Europe was a bigger challenge due to the scale of the place and the fairly complicated coastlines and water features. Particularly around Finland and Sweden (why you have so many lakes?). The whole thing took around 6 hours total.
If you want more like this, let me know! You can download the high resolution version below for free, and likewise If you want to know how these are made click the other link below for a general outline:
Instead of trying to label everything accurately, this time I’ve stuck to some islands, most capital cities, and the main mountain ranges as it is supposed to be mostly a geographical map – the density of European borders don’t lend themselves nicely to maps at this resolution.
Fair to say there are some issues with text legibility in this – if I started again I’d vary text colour to stand out against mountain ranges – things are only really readable at around 100% zoom. I might come back to this later on and clean things up a bit.
The Martells of old used a spear as their emblem, while Nymeria and her Rhoynar used the sun as theirs. When Nymeria wed Lord Mors Martell, the symbols were combined into a gold spear piercing a red sun on an orange field. Their words are Unbowed, Unbent, Unbroken.
So much of TV is way too concerned with being Clever™ right now. There’s this pervasive myth that audiences won’t enjoy a narrative climax unless it’s a total surprise. “Predictable” is always used as a pejorative term when it comes to storytelling, but I think that’s absolute crap, because here’s the thing:
Unpredictability is not, inherently, a virtue. Unpredictability can mean: a) you don’t have a clear grasp on who your characters are or what direction they’re growing. b) you don’t have a clear vision for the story you’re trying to tell. c) you don’t know how to tell the story (for example, you have a Point A and a Point B but the middle is a bunch of disjointed time-wasting filler.
“But,” the showrunners cry, “you never saw that twist coming! We kept you on your toes!” That does not make it good. Cleverness is often just smoke and mirrors designed to distract the audience from a lack of substance; it doesn’t guarantee a worthwhile story. I don’t want to be shocked for the sake of surprise – I want to feel like the experience was worth my time.
I want to be introduced to a character, and then I want to be taken on a journey with that character. I want every step of that journey to teach me who they are; what they believe, what they want, what they hate, what they fear, and what they love, so that when they are faced with a conflict or a critical moment of decision, I understand exactly why they do what they do. I’m hoping their choices in that moment will reveal something truthful and powerful and worth knowing about another person’s experience.
That’s what I want in a story. I genuinely don’t care whether it’s clever or predictable or whatever; I just want a worthwhile journey in which every moment of every episode means something – to the character(s), and to me. That’s what makes serial television satisfying. It has nothing to do with shock or intellect or reinventing the wheel, it’s just about telling the damn story in a way that makes you feel it.
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