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Dear Curious in Charlotte,
I'm very pleased that you like my artwork of Imrijika.
I was assured by a good friend of mine that best way impress a lady was by dressing as a hedgehog and hanging around leafy borders and shrubbery.
Let me know how it turns out.
Thanks for your interest in my artwork.
All of my artwork is created using traditional methods - Acrylic on 3mm artboard. I don't use any digital technology to touch -up or enhance the image. I'm just more comfortable using paint & brush.
I'm contractually unable to make prints of my artwork over a certain size. However, I think Paizo occasionally release promotional poster sized versions of the core book covers.
Form and clothing are ways an artist can denote gender on non-mammalian zoomorphic creatures.
I love creating creature and culture building art. I'd relish the opportunity to work on some of the Golorion - specific races.
Ezren's stave is a kinda dragon - headed handled walking stick. (Rather like a question mark "?") It's shape is coincidental to Seoni's natural - shaped staff, which has a top shaped a bit like the letter "G".
I can say that I've done a piece of artwork for the Wrath of the Righteous PACG. But I can't really divulge any other information regarding future Pathfinder artwork until they've been officially previewed by Paizo.
Ms. Pleiades wrote:
Thanks very much.
So many good races to choose from!
Thanks very much for the kind words Romaq. I sincerely appreciate it.
PaizoCon is a great event and I'm sure you'll have a fantastic time at this year's show. The PaizoCon 2015 artist GoH is the talented Jason Engle. Please do chat with him, he's a really nice guy.
Maybe I'll see you at PaizoCon 2016? :)
It's been stated that there will never be any non core race iconics, but if they were to change there mind is there any one particular non core race you have an itch to draw?
Good question!And a difficult one to answer because there are so many interesting races within Golarion.
I guess I'd have to go with one of the races I haven't illustrated before.... And probably one of the less humanoid races such as the Oreads.... or Gripplis.
Krail Stromquism wrote:
Thanks for your interest in my artwork.
I'll occasionally check Google Images or Pinterest for visuals if I'm stuck on a particular subject, But I don't use it enough to keep a permanent account open.
I haven't done a livestream or posted video clips of my work process. I find that feeling of someone looking over my shoulder a bit too intrusive.
I haven't done any comic work in a long time. I enjoyed doing sequential artwork but my career seemed to lead me more towards fantasy illustration. I'd happily do more comic work, although my work schedule is busy enough that I don't have any plans to do anything like that in the foreseeable future.
Thanks very much.
Seoni was designed a long time ago. At the very early creation of the Pathfinder setting. I didn't know anything about the Thassilonian Empire at the time I illustrated her. So maybe the look of the Thassilionian Empire was decided after Seoni was designed?
the Queen's Raven wrote:
From the time you receive the written description to the time you hand in the final version that Paizo excepts, how much time do you put into each iconic? (Just the stand alone picture used for the class)
An Iconic character can take anywhere between 2 - 5 days to sketch. (12 hour/day )I have to take into account costume detail design, composition and pose at this stage.They usually take no more than 2-3 days to paint.
the Queen's Raven wrote:
This one has bugged me and my friend since the cavalier art was first released, Alain has a "T" shaped "stick" on his back. What is that? I mean now that I know you put so much effort and historical accuracy, when possible, into each item on the iconic characters it must be something important to a knight or armored horseman.
I think it's more accurate to say that I base my illustrations on real life historical artefacts and modify them to reflect a high fantasy setting.Although, Alain's "T" shaped stick is an actual tournament shield/lance/banner rest.
My reference library is a result of over 20 years of collecting and compiling. There isn't really any one place / book that has all the reference you need. It's a case of searching for material yourself based upon what inspires you. Amazon is a good place to start. 2nd hand bookshops is another. Museum shops are good too.
Kaladin the Radiant wrote:
You have good understanding of armour. Your points about articulation are valid. (And I've said all I'm going to say on the boob plate)
The simple answer is, Seelah's armour is that way because it looks good. There are many occasions when I'll sacrifice real life mechanics in favour of visual aesthetics. My art style is a strange combination of pseudo - realistic combined with stylised exaggeration. Amiri's sword is another good example. It seems to work within a high fantasy setting. Although I base nearly all of my character designs on historical reference material, I'll change it to reflect a high fantasy setting and indulge my creativity and pathological need for small detail/decoration. In these cases it only needs to look like it might function. But in a high fantasy setting I'm hopefully trying to create something unique that no-one has seen before because my creativity is leading me in that direction. I like to throw in a degree of realism but depending upon what I'm illustrating, I'll blur the lines between fantasy and realism. If you're interested in seeing my historical illustrations, check out my old work on Osprey Publishing's series of books.
I based Seelah's armour on extrapolation of ancient Middle Eastern cultures/Ancient Egypt/ Ancient Assyria. The concept behind it was what a full harness would look like if it had evolved in these cultures. Throw a bit of divine magic in there and .........
Kevin Mack wrote:
Whilst Lini's clothes may look like random shapes of leather stitched and tied together. They are actually a carefully considered design. I wanted to create an aesthetic that went beyond conventional human constraints but reflected non-symmetrical shapes found in nature. I avoided straight lines wherever I could. Swirl patterns and spirals from the Bronze – Age European Celtic culture seemed to lend themselves to this character concept. It seemed appropriate as these patterns are evocative of the druidic tradition and it’s connection to nature. Here jewellery and items are all made from objects occurring in nature such as stones, twine and flower petals. (With the exception of her sickle)Constructed items such as her corn dollies and bone hair slide are made fro naturally occurring objects also.
No problem :) Thanks for your interest in my artwork.
The "V" would be stiff cloth such as felt or reinforced with a few layers to keep it's shape.
My favorite Iconic is Seoni, and my favorite character is Darsadi Callinova, loosely based on Seoni. What resources did you draw upon for Seoni's look?
Glad you like Seoni. :) I drew on slightly East Asian / Mongolian influences for her dress. Then created tattoos that looked maybe ancient Egyptian or Mesopotatamium in appearance but were obviously arcane.
baron arem heshvaun wrote:
Any of the new Iconics from Advanced Class Guide because I've not had chance to illustrate them much doing their thing.
OK here is a question, what is your least favorite Iconic? I mean the one you had to really push to connect to visually?
I've been happy illustrating all of the Iconics. Though there have been some that I've struggled with to get the design I was looking for. I seem to recall Oloch the Warpriest was a tricky one to design. It was hard to strike that fine balance between priest and warrior. Each iteration was going too far one way or the other.
Canada Guy wrote:
Thanks for your interest in my artwork. I sincerely appreciate your kind words.Upon reading a character description I usually formulate a concept in my head of how they're generally going to look. I then make dozens of small thumbnail sketches which roughly work out the character's form and silhouette. Essentially, the characters come pre-dressed. Once I've decided on a shape I then start to tighten things up with detail. (Which probably consist of a dozen different thumbnail sketches of pouch, weapon and jewellery designs)
Lucus Palosaari wrote:
Thanks Lucas.This thread will be either really cathartic for me to be able to explain some of my ideas and concepts behind my art and dispel some myths.... Or it'll make me really angry. Only time will tell. ;)
Val Kilmer as Mad Martigan was mentioned in the original character description for Valeros. However, it's the only iconic character that has ever had reference to an existing character in it's description.I prefer to stay away from established characters in other fictional settings. Any resemblance to Ygritte or anyone living or dead is purely coincidental. Though as I've mentioned before, sometimes I subconsciously paint characters as people I've met before.
Auke Teeninga wrote:
Thanks for digging out the image Auke.It only occurred to me after I'd painted the Summoner that I could've easily made it into an Owl-Bear type of creature.
Thanks for your continued interest in my artwork.
The self-critic that lives inside my head ensures that I'd redesign a many of the Pathfinder Iconics to some degree or another. In most cases it'd be small costume tweaks here and there but it's just one of those things that comes with hindsight.
At what point in their adventuring career do you consider the iconics you create being when you imagine them? 1st level? 5th? Is it something you consider at all?
The character level is never mentioned in the descriptions that I receive for the Iconics. I figure that it's not something that the designers want to specify so I don't take level into consideration when designing a character.
Ryan Pfefferle wrote:
There's one aspect of your artwork that I've always found odd - and that is that you always draw boot "coverings" for your characters. Sometimes it looks good, but on other characters it looks very out of place. I'm guessing that is some personal style preference of yours?
Lucus Palosaari wrote:
I doubt I could ever match the mighty James Jacobs. :)
Good question Lucas.
I have very little to do with the character's background story.
Her weapon is a Shashqa with an antler horn handle. In game terms it'd be classed as a scimitar.
Where'd you get the idea for Balthazar's eidolon?
My original sketch showed Balazar's Eidolon as a bear (I'm not sure if I have a copy of that?) However, the Eidolon needed to be an unearthly creature. I was considering some sort of snake creature because I liked the curved shape it created around the main figure. After putting on some feathers and playing around with different animal shapes, I eventually changed it to a deranged cockerel - like a Cockatrice.
Thanks Aoann. I'm very pleased you like the thread.
Most of the descriptions that I receive regarding the Iconic characters are fairly brief. Occasionally, they'll specify an element or item that they'd like to see in the illustration. Otherwise I consider myself fortunate that they allow me a degree of artistic freedom in the depiction.
I based a lot of the Hunter's items on Mid - European stone age artefacts. The hook is made from bone. I designed it as something like a good luck talisman for hunting. The jade ring has a carving of a ram on it. It's a belt loop of some sort for hanging items from. The symbol on the wolf's head is also echoed on Adowyn's Vambraces and Pauldrons. It's my attempt at a runic version of the infinity loop symbol considering Adowyn and Leyrn are bonded together.
Ms Blanchett is a fine actress. she's got quite a slim figure with a relatively small bust so I can see why she could wear completely flat chested armour.With regards to the "Boob plate" query, please refer to my earlier comments. Especially those regarding my female friends with a larger chest size, who wear modern sports breastplates for martial arts training that feature boob plates to accommodate their body shape.
They don't see the boob plate as a liability. Nor does it compromise their skill in combat. Being a flat - chested male, I trust their judgement, skill and opinions in this matter.
Fashion Goblin wrote:
Glad you like the thread. :)
1) Seoni's belt, Are you referring to the black angular piece covering her stomach? It's not made of metal. It's probably made from stiffened felt, padded silk or possibly tooled leather. Her belt attachments are made from leather with metal decorations.
2) Just a ring. Possibly magical?
3) No reference to Diogenes. Though it is a magical light.
1) I was asked to design a temple sword for Sajan. Though his Hora (knuckle - dusters) weren't part of the character description.
I believe the design team had to come up with a new rule for Crow Henge's mace too??
2) Seoni's tattoos don't spell out anything in any real-life language.
I'm glad that you find the thread interesting Mikaze, thanks. :)
Sajan's sleeves are commonly known as Kote. Traditionally, kote are usually armoured with maille or metal plates. I took those components away to make a lighter piece of equipment that fit with the Monk concept better.
I haven't been asked to illustrate Sajan's sister Sajni yet.
El Ronza wrote:
Speaking of Seelah, what's the significance of the key that hangs around her right thigh? It's such a captivating little detail, and I've always wanted to know - is there a story behind your choice to include it, or is it just a little visual touch?
I always intended it to be the key to her chastity belt.
Decimus Drake wrote:
Why does Seelah's breastplate have breasts? Wouldn't that just make someone easier to kill?
I also wondered if breasts on breastplates of female characters was an aesthetic visual or if it was a necessity due to body shape?I asked some of my armour-wearing female friends about it.
It seems the a lot of women can wear a normal shaped breastplate. However,I was told that as the bust size increases the more uncomfortable it gets. Many of them whilst training, wear protective sports breastplates designed for women that have extended areas to accommodate their busts. One friend said she needed those extra bits on a breastplate otherwise things got very painful indeed.
My conclusion is;
It depends upon the body shape of the wearer.
As for being easier to kill? No, I don't think so.
Here's a post of mine from a previous thread regarding the ideas behind Kess the Iconic Brawler;
"There seems to be a number of questions and theories about Kess’s costume and fighting style. And in response to Dark Psions’s request I thought I’d post some of the concepts I had when designing Kess.
She wears medals won in various bouts on her costume. This says “Hey, look how many fights I’ve won – I'm gonna win this one too!” The one on her pelvis depicts a stylised image of a griffon with peacock wings.
Thanks for the kind words. I'm very pleased you like the artwork.1) My inspiration and ideas are the result of years of study and research. I'm particularly interested in historical costume, armour and equipment. As you might guess, I've amassed a fairly comprehensive and expanding reference library on the subject. My reference library consists of books, photographs and magazine cuttings that I felt may have visual potential.
2) The avatar is a sketch I did of a hedgehog warrior. I like hedgehogs too. It was done as a goof-around. The sketch was made into a miniature by Reaper Miniatures and is part of their limited edition "League of Justice & Caeke". The proceeds of which are donated to the Child's Play charity.
the Haunted Jester wrote:
There is a garter belt on Jirelle ' s (the Iconic Swashbuckler) right leg, is there a story behind that?
the garter belt was one of those details I added to an iconic illustration as an item of interest. (rather like the skull in the sketch of the Occultist)It's down to James, as the Iconic character's designer to decide if it has further meaning. However, garter belts are traditionally associated with weddings...........?
I don't have a question about a specific Iconic yet but are any of them modeled after real life people? Friends, family members, co-workers etc.
Thanks for your question. None of them are consciously based on real - life people. However, quite by accident there are a few of them that kinda look like people I've met before.
Are the coins and the metal square thingy Lem has hanging from around his neck meant to signify something to him, or does he just like the look of it?
The metal square thingy is just a decorative pendant. The discs are indeed coins from different cultures that he's strung around his neck as decoration and potential use.