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Wayne Reynolds

Wayne Reynolds's page

Contributor. Pathfinder Adventure Path, Roleplaying Game Subscriber. 95 posts. No reviews. No lists. No wishlists.


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Nargemn wrote:

I heard that Crowe is based on a character that you ran in the Curse of the Crimson Throne Adventure Path.

How much fun did you have nailing his iconic look down? Is his style much different than the character you ran in that AP, or does he look mostly like you always imagined him?

Is his presented backstory similar or based on whatever you came up with for him? Or did the powers-at-be spin up an entirely new sort of tale for him?

Obviously Bloodragers weren't around back in the time you ran the path, so what class was he? A pure barbarian with some magical-ish rage powers? (Maybe the elemental ones?). A barbarian/air bloodline sorcerer? Would love to hear!

You're correct that Crowe was based upon my barbarian character when I played Curse of the Crimson Throne AP (Which is a great campaign. I'd highly recommend it to anyone who hasn't played it yet!)

There is an unreleased illustration of "Crow Henge" wielding a 2 - handed axe which I painted for my own enjoyment. I sent the image as an aside to Sarah Robinson along with some commissioned Pathfinder artwork. It was just a "Hey, here's my character. Let me know if you ever need an illo of a Shoanti barbarian?". I never realised that the design team were working on the Bloodrager concept.

The Bloodrager description specified;
"Male, Human (shoanti), scale mail armor, armed with an earthbreaker. This class is a blend of sorcerer and barbarian. This character has an affinity with elemental air, and can conjure lightning about his weapon when he is in a rage."

The description seemed to almost fit my depiction of Crow the Barbarian. Sarah was happy for me to adapt the barbarian illustration to the Bloodrager Illustration. I had to replace the 2 handed axe with an earth breaker. I also added more robes and changed equipment to better reflect the Sorcerous aspect of the character class.

Wes contacted me and asked about the background for my barbarian character. My writing skills aren't as developed as my art aptitude. I was more than happy for Wes to use his much superior writing abilities to create a back story for Crowe based upon the background of my barbarian character. I was really happy with the detailed back story that Wes created. Especially considering that I didn't really give Wes much to go on;
"My GM and I never really explored the reason why Crow was exiled from his tribe. But it had something to do with dead horses - They were already like that when I got here - was an often used excuse by that character".

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Xelnagahunter wrote:
Wayne Reynolds wrote:
Xelnagahunter wrote:

Hi. I want to state that I've admired your work, like many of the others here, since I first saw it in the 3.5 manuals. I'm very glad to see the works, exaggerated or not, in Pathfinder. The fantastical nature of the art helps bring to mind the fantasy world those characters inhabit. Your details are amazing and I love them.

My friend point out to me, just today, that it seems like the feet of many of the characters are positioned similarly. Very few have much detail in the shaping other than angles unless they are barefoot. His thought was that each artist has an Achilles's Heel and that yours might be feet. I was curious to hear what you have to say about it.

Thanks for the kind words Xelangahunter.

Tell your friend that I've CHOSEN to depict feet in those positions because I think it looks good. This is an informed choice that is a result of years of practice, observation and study. I'm very conversant with foot anatomy and how a medieval shoe looks on a foot. I feel that I put subtleties in the shapes that your friend might be missing?
This style is a very personalised form of rendition which may not conform to traditional ways of depiction, nor appeal to everyone.
Your friend is free to decide whether they like this style of rendition or not.

Thanks for the response. I'm staggeringly interested in this thread and will continue to pop in and read up on this.

Ezren is very easily one of my favorite iconics and I'm not prone to seeing many little details (Low perception on my player's part I think). I was curious if he had any hidden treasures or secrets in his art that I might not have seen. I'm sure there are a great many things I've missed.

I hope to be able to write about the design concepts behind each of the Iconic characters over time. Some have more going on than others.

There's probably some details in Ezren's equipment that have been missed - Like the wooden toggles on his gaiters that I mentioned earlier on in this thread. But I think there is one detail that most people don't seem to have picked up upon. This may be because it's small and partially obscured. But it's an interesting detail that I may keep under wraps for now. I might decide to use in a future piece and illustrate it in full, then refer back to Ezren.

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Amiri

Bear in mind that I depicted The Barbarian character before Amiri and her backstory was created by the ingenious James Jacobs

I wanted Amiri the Barbarian to be a total badass warrior. In order to achieve this I had to start thinking about basing her on historical barbarian cultures. Her armour and equipment is based upon the concept of her fighting style. I based this upon the use of a great wielded by Viking and Saxon Huscarls axe (Incorrectly referred to as a “Dane Axe”). They would charge forwards swinging the long hafted in a figure of “8”. In theory, this would create a constantly moving area of protection around the front of the body provided by the constantly moving weapon. An opponent would conceivably have to time their attack just right in order to stab someone fighting in this style.
I’ve practiced using a Great Axe in this way and a considerable degree of speed and power that can be achieved. The historical warriors that trained with this weapon must have been able to move the weapon in this way at a frightening speed and force. An account at the Battle of Hastings – 1066 describe a great axe cutting through a maille leg, saddle and horse in one blow!

Sorry, got distracted there by history.

Applying this concept to Amiri I thought that she’d mainly want heavier armour on her arms and legs. (In hindsight I wonder if I might have been better making her arm and leg armour out of maille of lamellar plates? Such as Crowe’s ) Her arms and legs would be the places where she’d mostly be getting hit if she was swinging that 2 handed sword in a figure “8”. This concept also coincided with some of the battle practices and superstitions of the celts where warriors would go into battle naked, believing that fighting in this way would give the magical protection from death. It also showed the enemy just how utterly fearless these people were in battle. There are also tales of Celtic warriors refusing to wear helmets to show that they weren’t afraid of being hit on the head. It’s also a statement of just how confident they were in their combat abilities. These concepts may be utterly alien to a modern Western way of thinking and combat but these practices beautifully summarise a barbarian culture with their own set of beliefs and reckless nature.
I felt this concept worked really well with Amiri. It looked cool and it fit with the concept. By just wearing armour on her arms and legs she’s making herself lighter and more manoeuvrable. At the same time her appearance is saying that she’s not afraid of getting hit and that she’s such a good warrior, that she won’t get hit.
BARBARIAN LOGIC.
You can see that she’s got a couple of scars on her abdomen where her skills may have let her down in past fight. But despite the wounds, she’s alive – Her opponent is most likely dead.

Her sword got to that size purely by accident. I’d been roughly sketching the position of a much smaller blade and some of the lines were overlapping. It gave the illusion of a much larger weapon. It made me think that this was just another way of making Amiri even more badass if she’s wielding a clumsy weapon that’s bigger and probably weighs more than she does. This kind of exaggerated weapon might not fit in an authentic historical setting, but might work just fine in a fictional high fantasy world. I’m not making any claims that this would work IRL , just giving an insight into my ideas.

On her back she wears a couple of javelins along with an atlatl, which is a furrowed stick used for throwing darts, javelins and spears further.
I decided on a simple hand axe and curved knife at her waist as secondary weapons. Then went about putting claws, horns and animal teeth as decoration and potential weaponry. I went for jagged shape warpaint / tattoos to contrast with those curved shapes created by the armour and decoration.

Those are the ingredients that make Amiri.

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Dragon78 wrote:

I love your art style and even though we may never see non-core race iconics, I would love to see your version of Catfolk(female), Lashunta(male and female), Ghoran, Kitsune, and Grippli. I would also like to see your art style for Pixies, Nixies, Crystal Dragons, Cloud Dragons, Jungle Giants, etc.

Do you have any favorite Pathfinder iconics?

Are there any places, characters, or creatures you would love to draw for Pathfinder?

What is your favorite type of monster(s) you like to draw?

Thanks Dragon 78. There sure are a lot of things in Golorion that would be fun to illustrate.

I don't think I have a single favourite Iconic. But if I HAD to choose then I think it'd be Valeros, because he was the first Pathfinder Iconic I illustrated. I guess there's a degree of sentimentality with that choice.

I don't think I have a particular favourite monster either. Though I do like to illustrate creatures that you wouldn't want to put your finger in their mouths.

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Dustin Ashe wrote:

Hello Wayne. Thanks very much for answering these questions.

I'm wondering about how you started working for Paizo and how the idea of iconic characters came about. Can you talk about how you and Paizo developed a working relationship? When did that begin and what were your first commissioned pieces?

And then could you explain how the idea of iconics was first pitched to you? Did you and Paizo have an inkling of how they would be used and how popular they would become? Can you walk us through that process? And then what was your reaction to the fans' reception of the iconics?

Thank you!

Thanks Dustin & Auke.

I began working with Paizo when they took over publication of Dragon and Dungeon magazines. I’d already been doing artwork for both editions previously.
I seem to recall I did the cover artwork for Paizo’s first Dungeon Magazine? #94. “Underdark Prison Riot” (It was an illustration of an ultra – Illithid. )

I can’t remember which issue the original Dungeon Magazine Iconic characters first appeared in but I know the first cover to show them was #114.. It showed the Paladin, Ranger, Rogue & Wizard.

They were designed to be stand – ins to represent a particular character class that could be used and identified with the adventures published in Dungeon magazine.
At that stage in my career most of my commissions were cover images, which made it increasingly difficult for me to undertake interior art commissions. However, I really liked designing characters, I had a really good working relationship with the art director and really liked working with Paizo. So I accepted the commission. Due to time restraints caused by my cover commissions I created the first Iconics over an extended period of time. I also had to illustrate them as coloured sketches rather than painted versions. The later versions were inked.
As mentioned in a previous post “Those Dungeon characters were kind of a precursor to the Pathfinder Iconics. I felt that some worked better than others. Many were probably more "Throwaway" ideas but there were others that I'd started to put a little bit more thought into their equipment and background.”

The creation of Pathfinder provided me with an opportunity to design all new characters as part of cover commissions. On recollection, I think my artistic evolution had been moving me in this direction as I’d began to really start putting a lot of thought into the creation of new characters. Getting an opportunity to work with a company that I’d had a good creative relationship with meant that I was very excited to work on the Pathfinder project.

I never really realised or thought about whether the characters I’d illustrated were going to become popular. I had no idea what people’s reactions to them were. For me, it’s a really fulfilling way of playing around and visualising concepts and idea. I’m just very pleased that some people like the aspect of my artwork and process of creativity that I really enjoy doing. I hope my future work will meet with your approvals too.

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Kevin Mack wrote:
Wayne Reynolds wrote:
Kevin Mack wrote:
Was wondering if it would be okay to ask about some of your other artworks on this thread or would you rather it kept specificly to the pathfinder Iconics?

I'd prefer to keep this thread about Pathfinder art. I don't feel quite right talking about my work on other IPs on a Paizo messageboard.

Pathfinder art can include Adventure Path, Rulebook & card game cover images as well as Iconic character artwork. :)

Was thinking of a character art cover you did for a Paizo published issue of dungeon?

Maybe?

Those Dungeon characters were kind of a precursor to the Pathfinder Iconics.
I felt that some worked better than others. Many were probably more "Throwaway" ideas but there were others that I'd started to put a little bit more thought into their equipment and background. I'd carried that method forwards when I began designing the Pathfinder Iconics. I suppose you could call the Dungeon Iconics my practise run ;) But that's all part of the process of artistic progression and evolution.

You can always PM me via the message boards or write to me via my website or Facebook page if you have an off-thread question.

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Stacey Buxton wrote:

Wayne,

Sheila Heidmarch, what is in the viles that she wares, and are they suspended from her pouch? Also is her belt woven fabric or leather same as the green chest pieces are they padded leather armor or are they just rigid cloth? I have a lot of questions about her but I will stay with these for now. Are there and full around pictures of Sheila Heidmarch out there in high def? My wife is looking at doing this as cos-play. She is a historical costumer and she wants to make sure that it is as accurate as possible.

If needed I will ask outside the forum.

Thank you for bringing the Iconics form and life. I love your work and look forward to more in the future.

Thanks Stacey.

The vials are potion bottles.

Her belt is made from dark brown leather with a 4 - square pattern etched into it along it's length. It's long enough to wrap 2 times around her waist and has a silver buckle and strap end.

Her chest panel is made from thick material which holds the shape such as felt.

The only rendition of Sheila Heidmarch I've created is the cover to PF AP #61 - Shards of Sin.
http://static4.paizo.com/image/product/catalog/PZO/PZO9061_500.jpeg

There may be other illustrations by different artists that show her from different angles?

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Dustin Ashe wrote:
What did you draw on in designing Alahazra's headdress? Is Shardra's headdress the dwarven version of it?

Alhazra the Oracle’s costume was based on the Ancient Greek and Persian cultures to evoke visual connotations with the famous Oracle at Delphi. I based her gold jewelry and equipment on early Mycean and Mesopotamian culture to infer another ancient tradition. The headdress came about through just playing with shapes and seeing what worked within that cultural context.(A lot of people criticize my depiction of her headdress – saying it’d be too heavy. Although there is a degree of artistic exaggeration here, I based the headdress on actual artefacts made with a light wooden core with incredibly thin sheet of gold over the top. The item isn’t solid metal – It’s mostly soft wood.)

Shardra the Shaman was based more on shapes and designs that could be identified with a fictional Dwarven culture. Although these motifs are slightly reminiscent of Northern European Viking cultures. I wanted to contrast the angular shapes with curved ones to create a visual intertwining of ethnic themes.
Both Shandra and Alhazra's headdresses are ceremonial. I deliberately created a visual similarity between the two concepts. Although I think they may have different functions.
Shandra's headdress is made from shaped and carved horn. The idea behind it was that it would help Shandra focus on ancestor spirits - Hence the face designs in it.

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Yetaxa wrote:
Really enjoying this thread especially the design notes. Any plans to collect the original iconics descriptions, design sketches and final artwork into a hardcover art book ?

Thanks.

You can find original sketches and final artwork in my collected artbook here; http://paizo.com/products/btpy8qac?Visions-of-WAR-The-Art-of-Wayne-Reynolds -Hardcover

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Set wrote:

1) Happy Easter!

2) What is that item in Sajan's *other* hand. 'Cause it *looks* like a big fat joint, and I'm pretty sure it's not. :)

(Although that would certainly be one way to get all zen...)

Handle to brass knucks? Potion of bull's strength in smokable form? Inquiring minds want to know!

They are knuckle dusters made from horn known as "Hora". Commonly used by the Indian Jettis.

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Nick Pruitt 769 wrote:
Was the inquisitor's red hat a reference to Monty Python's Spanish Inquisition skit? Either wayit is aamazing. Love your work.

Thanks Nick.

The wide - brimmed hat was part of the art description. Not sure if it was a reference to the Monty Python sketch or not?
I based the rendition on a cross between a cowboy hat and a cardinal's hat.

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baron arem heshvaun wrote:

Gentleman Reynolds,

Which of the Iconics harbors a secret(s) that you may have placed hints using your art.

Bonus Question.

Have you ever created any Star Wars artwork.

Errmm. Seltyiel wears his trousers inside out so the studs point inwards.

;)

Artwork I've created for other products is little off-thread. I'd kinda like to keep this thread about Pathfinder art and characters. Apologies for not answering the question on this thread but I'm happy to send you a list of other works if you PM me.

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Garrett Guillotte wrote:

Ha... was worth a shot!

One last question: my favorite covers of yours are Ultimate Campaign, the NPC Codex, and the Monster Codex. I really like how much personality and detail everyone gets, not just the iconics, and I always crack up at the duergar's stick figures on the Monster Codex cover. Were there specific inspirations for those covers?

Thanks Garrett.

There weren't any one particular source of inspiration for these covers. Compositions like these are usually a result of visualising elements from a written description. If the descriptions have a lot of elements to fit in then it's a case of creating compositions that best show all of the elements.

The NPC Codex in particular was a lot of fun to illustrate and has been to date, the longest I've ever spent on a single piece of artwork. (About 16 (12 hour) days)
I wanted to create lots of small stories within the image to illustrate the interaction between the people in the tavern. These cameos aren't actually part of the product itself. They're just the sort of thing that goes through my mind when I'm depicting something. Whenever I'm creating a character I always think about what their story is and what motivates them.
Thinking of small scenarios helped me to focus the composition for this piece.
There's something simple like the City watchmen pointing at a potential felon.

Or a drow sat in the shadows.

Then there's an assassin disguised as a prostitute talking to a dwarvern sea captain. His half-orc barabarian body guard is looking suspicious with good reason because she's got a dagger hidden behind her back. Is she about to strike?

The dwarven waitress has a hammer - shaped birthmark on her right shoulder. Is she the last heir of drawrvern royaly? Maybe that's why the smoke from Ezren's pipe is forming into the shape of a crown!

Ezren and Merisiel are looking at the floorplans of a building with a Halfling Ranger. The Owl belongs to the Halfling Ranger. It's just spotted the Weasel who's just stolen the key for the chest under the table. (Ezren's protection circle doesn't work against weasels)

The blacksmith is appraising to see if he can repair the broken crest on Kyra's helmet.

Valeros is buying poison antidote from the Gnomish Apothecary.

One of my aims with this illo was to get players and GMs thinking about the events happening in the tavern and use the ideas in their own games. So your version of events works just as well as mine.

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Garrett Guillotte wrote:

Awesome thread, Wayne, thanks for it!

I noticed Zadim has what looks like a claw pendant on his chest in his portrait. Any clues about where it came from?

Thanks Garret.

It's a claw from some sort of large (And dangerous)animal.

I believe Erik Mona wrote the background for Zadim? Maybe he knows the exact origin of The Claw?

I don't have any input into the background stories for the characters. I just provide the visuals and leave the background writing to the experts. :)

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Zhangar wrote:
Wayne Reynolds wrote:
Triphoppenskip wrote:
Have you ever illustrated Reiko without her mask? Or does one not see her without her mask and live to tell the tale?
When I designed Reiko for Ultimate Combat I was asked to provide a portrait sketch of her without her mask and hood on. I guess it's never been released?

*goes looking* - her portrait sketch is on p. 191 of Visions of War.

Here's a question - do you recall any details from the art order for the cover of the Pathfinder Chronicles Campaign Setting?

I believe that's the first rendition of the Whispering Tyrant. I'm curious if the helmet (which one of his signature artifacts) was part of the art order or something you came up with.

Thanks for the pointer towards the sketch portrait of Reiko.

The art description for the Pathfinder Chronicles Campaign setting contained visual reference of the Whispering Tyrant. He was an already established character from a Game Mastery minis set; http://paizo.com/products/btpy7ux8?GameMastery-Encounter-The-Vault-of-the-W hispering-Tyrant

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Triphoppenskip wrote:
Have you ever illustrated Reiko without her mask? Or does one not see her without her mask and live to tell the tale?

When I designed Reiko for Ultimate Combat I was asked to provide a portrait sketch of her without her mask and hood on. I guess it's never been released?

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Vhayjen wrote:

I have to say Imrijka has always looked the best to me as far as all Iconics are concerned. Now, Quinn is especially cool; but in the end, Imrijka still wins as my favorite piece of art.

Great job on her, Wayne!

So my question is . . . how do I go about asking her out on a date? You know, dinner and a movie. Maybe bring her to meet the parents and such like family and friends.

I suppose you would have to give your blessing on such a matter, correct?

Just refer to me as Curious in Charlotte . . . :)

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.
I must admit that this hasn't worked for me yet and I may have chosen the wrong animal to emulate when it comes to initiating any kind of social interaction when someone approaches due to a tendency to curl up into a tight ball until they lose interest and go away.
Now I think of it, my good friend is actually a hedgehog.
However, I am confident that should this strategy ever meet with success, then she's a keeper.

Let me know how it turns out.

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Askren wrote:

Don't really have much in the way of questions. I've always wanted to find Wayne at a convention and bother him in person about just how much his art has been a really big influence on my own illustration for years now, but this'll do I guess.

So, thanks Wayne.

My question would probably be whether you still paint traditionally or have moved completely digital. If the former, I have no idea how you work so fast.

Also where can I get poster-sized versions of your covers?

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.

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Set wrote:
tuypo1 wrote:

that is an odd request indeed

im guessing they wanted to make them seem androgynous or something

I'll admit that I can't really tell boy crows from girl crows, so unless you go the 'let's give girl dragonborn huge jumblies!' route, it's kind of a toss up.

The clothing choices on the Tengu-in-question led me to think male.

'Beaky' as a wizard or sorcerer is an interesting tweak. I probably based my cleric assumption at least partially on tengu statistics (bonus to Wisdom), 'cause I'm a dirty powergamer. :)

New question!

Seoni and Ezren have sorta-similar staves, and when you draw them, they are distinctive (his looks more cobra-head-ish, hers more like a dreamcatcher), but other artists seem to draw them so similarly I sometimes have to go look at the originals to see if they 'got them wrong.' Was the staff-similarity something in the original art order, or did they just sort of both randomly end up with staves that curved at the end like that?

:)

Form and clothing are ways an artist can denote gender on non-mammalian zoomorphic creatures.
Your observation that "Beaky" the Tengu (Yep, that's his name now)is male due to his clothing is an accurate conclusion.
I'd have probably given a female Tengu more jewellery and a kimono rather than a hakama. I'd make her form more slender than the male counterpart too.
I like the idea that Tengu use paint to make distinguishing marks a fascinating concept also. It would be a fun visual to play around with.

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".

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RhinoKneel wrote:

Is there more "action" artwork containing some of the iconics in the upcoming Wrath of the Righteous PACG adventure path? My friend makes custom character sheets for my group and he likes putting art on the deck spot.

Transparent .pngs of characters seems to be a fairly hit-or-miss find as well.

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.

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Ms. Pleiades wrote:

Hello Mr. Reynolds, your work always helps give a little spur in visualizing Golarion.

What's your favorite non-core race to illustrate? Including bestiary monsters.

Thanks very much.

So many good races to choose from!
I enjoy illustrating anything in the Pathfinder setting.
I had a lot of fun painting the cover to the Monster Codex with all the different creatures on it.
I think I can narrow it down to Ogres or Mites. :)

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Romaq wrote:
James Jacobs wrote:
Seoni's attire is, in my mind, more typical of a Varisian outfit than Thassilonian. That said, Varisian history is intermingled with Thassilon, so I'm also sure there's echoes of that in her outfit as well.

When Darsadi (Half-elf Varisian Sorc) wants to dress fancy, it is more like Seoni's attire and having reference to things like Mongolia/ East Asian attire is VERY useful for me as references. Darsadi has no problem being "cheese-cakey". If you've got it, flaunt it. I love the tagline for a sorcerer, "Work is for ugly people."

When Darsadi goes to the field, she wears something much more like the Iconic hunter Adowyn: dress for function, and she has her hair up to not get caught on anything or used against her in a grapple. And Darsadi loves hats!

I must say if Seoni were dressed to look more like Adowyn, I couldn't tell she's a Sorceress. Regardless of how practical or "realistic" I would personally consider Seoni's attire, I KNOW for a fact you can lay out each Iconic: Wizard, Sorcerer, Summoner, Monk, Fighter... each and every one WAR has done to date. Ask someone who never heard of Pathfinder what "this" image is, and I'm pretty sure they'll guess it. And if they are interested at all in playing Fantasy Tabletop RPG, they'll know what they want to play off a WAR pregen image before they even know what the class & stats are.

One look at Seoni... just one... and I knew, "Ok, that's mine. Let's roll!"

Thank you, WAR! The only regret I have in buying my 2015 PaizoCon tickets is that I know you won't be there as the Guest of Honor. But I look forward to the day when you'll be available to make it. :) And if I had the funds, I'd pay the tickets and pay you to go. You are expensive, but you are very worth it. :)

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? :)

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I'm Hiding In Your Closet wrote:
Apologies if this has been answered: Oracles can wear armor - so why doesn't the Iconic Oracle?

I seem to recall that armour wasn't mentioned in the art description for the Oracle.

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Triphoppenskip wrote:
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.

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Shawn Oliver wrote:
Hello, Wayne. I've often wondered about the large bracelet-things that Sajan wears. They appear to be made of rope or wicker, maybe. Possibly for extra padding/weight for wrist strikes/deflections?

Correct. :)

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Krail Stromquism wrote:

Thanks for taking time out to answer questions and an even bigger thanks for sharing your talent with all of us. Your evocative work has given a sense of style to Pathfinder and breathed a real sense of life into the people and creatures you illustrate.

I haven't scoured the thread but do you do any of the online media for your reference/morgue files? Like pinterest? Do you livestream any of your work? if so what are those channels?

I know you are a busy guy, but is there any chance of you doing a run on the Pathfinder Comic? You mentioned wanting to work more with the ACG iconics and it'd be cool to feature them in their own six issue series, kind of like the Origins series now maybe?

thanks again!

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 have a Facebook page; Wayne Reynolds Artworks. And there's a Facebook fan page in my name as well.

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.
But who knows what the future might bring?

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Zhangar wrote:
Wayne Reynolds wrote:
Romaq wrote:
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.

Huh. Would it be fair to interpret Seoni's outfit as a Thassilonian dress?

(Thassilonian outfits and architecture often have an East Asian look, which Mr. Jacobs has advised is completely intentional.)

Also, thank you for starting this thread. Your work is fantastic.

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?
I can see what you mean as there does seem to be a similarity but I guess you'd have to ask one of the designers for a definitive answer?

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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.

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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.

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Halflens wrote:

Hey Wayne, I was super glad to meet you at Lucca last year and I'm still following your works and studying your artbook.

I read you get LOTS of reference from ancient weaponry/armory/stuff. Is there any good site or book we can approach to for such material?

Keep up with the awesomeness :)

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.

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Kaladin the Radiant wrote:

I'm wondering if you can explain a bunch of stuff that's been bugging me about Seelah's armor. I'd greatly appreciate you spending the time to deal with an annoying nerd. ^_^

Her armor would seem to prevent her from being able to bend her ankle much at all, limiting stances. Is there something I'm overlooking?

Why is the couter concave? Also, I would think the scalemail/lamellar (not sure which it was meant to be, assuming lamellar based on the size of the scales?) would get caught in it.

Vambraces, greaves, and gauntlets all look oversized. Why is this? No way Seelah's limbs are that thick, right?

The spaulder overlaps a lot with the breastplate in the corner, and the attachments for the cape look pretty bulky as well. Seems like it would inhibit movement a lot.

I understand your reasoning for the boob armor, but as a female participant in Society for Creative Anachronism swordfighting, I have to disagree at least somewhat. Something like that would easily get in the way of moving one's arms, as well as channeling impact into the center of the chest. Plus, boobs squish. Bindings would work better. Anyway, if you want to draw the boob armor, I'd think it should be... uh, more pointed forward. Because range of motion for arms. Also, why is the top section of the breastplate separate?

The key is a really neat touch, but I think the location of it is a bit confusing. Armor is there to get hit. Ordinary nonmagical keys, at least, could probably get pretty badly bent if caught between armor and weapon, I think?

Curious why the gap over the knee like that instead of a normal articulated poleyn.

(On the positive and less nitpicky side, I love all the little details in this picture. The different layers of armor and all the stuff on her belt and the trinkets. Plus, it just generally looks pretty kickbutt. Honestly, the other things only bother me because it's so good overall.)

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 .........

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Aelryinth wrote:

Question for Wayne:

Seoni's Hair.

the early books seem to indicate she's blond. Later art seems to turn that to white.
What is it actually supposed to be, according to you, and has Paizo simply shifted it more to white?

Seoni's hair is platinum blond.

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Kevin Mack wrote:

Hi want to say ver big fan of your art have some questions about my favorite Iconic Lini

What insperations did you use for her design?
Does she wear actual boots or is it more bits of green leather tied on with twine?
Are the markings on her face tatooes or some other sort of marking (And do they have any significance?)
We know the significance of her twigs but what about her other items (Belt buckle, little twine dolls, Jewlery etc?)

Anywho thank you for your time

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.

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extinct_fizz wrote:
Wayne Reynolds wrote:
LazarX wrote:
How does the Arcanist keep her cloak on?
Enora's cloak is held on with "Hook and eye". (Extinct_Fizz 's breakdown of the costume in another thread is correct.) The "shoulder flaps" of Enora's cloak has hooks on the inside. The eyelets run down the sides of that white "V". Enora's hair covers any visible signs or stitching of the hooks on the outside of the cloak.

I am so excited that you read, remembered and referenced my thread. This is a huge honor. I appreciate the time you're taking to answer questions!

On the subject of Enora, is that "white 'V'" metal or cloth (or stiffened cloth?)?

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.

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Romaq wrote:
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.

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baron arem heshvaun wrote:

Thanks for doing this Wayne!

Which Iconic would be the best at illustrating their creator the artist Wayne Reynolds?

Which Iconic could portray Wayne Reynolds in the "Paizo Goes to GenCon the Movie"?

Given that there are four Iconics in each Adventure Path, which combination of four would you love to see team up and illustrate that you have not been given the chance to yet?

Ezren

Alain.
Any of the new Iconics from Advanced Class Guide because I've not had chance to illustrate them much doing their thing.

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LMPjr007 wrote:
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.

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Canada Guy wrote:

Hello Wayne, first off I love your character designs, you really get a sense of the character's personality, history, and culture, from your drawings. Just by looking at your designs you get a sense of the life the character leads. Also I really appreciate how all the little items like teapots, bedrolls, lanterns, and trinkets reflect all the different bits of adventuring gear a typical RPG character carries around with them. Your designs are almost like visual character sheets and truly epitomize the hobby.

Anyways I'm a big fan. ;) So, here's my question:

Your costume designs have so many layers and details to them, how do you generally begin your design process? Do you start with a figure drawing and build it up layer by layer "dressing" the character, draw a few rough sketches first, begin by drawing a key element and work out from there, or are you so practiced at this point that you can just go for it free form?

Thanks!

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)

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Lucus Palosaari wrote:
Wayne Reynolds wrote:
Lucus Palosaari wrote:
I doubt I could ever match the mighty James Jacobs. :)

That thread has years on it, I don't doubt that the players have at least 50,000 questions to ask you. If you're still answering will be the bigger question ;-)

Wayne Reynolds wrote:

Good question Lucas.

Occasionally, the designers will specify a particular item or aspect to the character. In these cases I try to make the specified aspect visually fit with the concept that I have in mind also. (That fit within the parameters of any character descriptive specifications)

I have very little to do with the character's background story.
A great deal of the items I put into my character art has some sort of purpose, even if it's just purely decorative. I carefully consider each element and judge if it fits with the visual concept I have of the character. I usually have a pretty good idea of the substance it's made from. I'm very pleased that the designers have the option to pick up on an element that they feel is interesting or pertinent and add it to the background concept.

So its roughly as I had figured. Regardless, the level of detail you put into the Iconic's first image and into all of your images is greatly appreciated by me (and I'm guessing others). It feels rarer to find overly detailed work vs. the alternative in this field, which is sad, as those little things sometimes make all the difference in my mind and "sell" the world to me in a way that even perfect prose or game mechanics couldn't alone.

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. ;)

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Kajehase wrote:

More Lem, and not jokes about him having hat-envy this time. ;-)

What do you see his flute being made of? Depending on who draws him, it looks either like bone or like wood to me.

Lem's flute is actually made out of Silver.

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Haladir wrote:

Wayne, thanks so much for your artwork and also for taking the time to make this thread!

How much of your inspiration comes from existing characters in the zeitgeist?

For example, I've seen some crosstalk on these boards that your inspiration for Valeros was Val Kilmer's portrayal of the character Mad Martigan from the 1988 film Willow. Was that an intentional homage?

I was also wondering if you took inspiration for your design of the iconic hunter Adowyn from Rose Leslie's portrayal of Ygritte in the HBO version of Game of Thrones?

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.

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Sarah Robinson wrote:
James Jacobs wrote:
This thread is awesome.
This helps me too!

Yayyy!

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Adam Daigle wrote:
Great thread, Wayne! Thanks for taking the time to do this.

Thanks Adam. :)

We'll see how the allocation of time goes. ;)

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Auke Teeninga wrote:
Wayne Reynolds wrote:
Kryzbyn wrote:
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.
Balazar's Eidolon as a bear

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.

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ChrisLKimball wrote:

I am a huge fan of your art and you have been a huge influence on my own art since your BW pieces in the 3rd edition Class books!

Not sure this is exactly on topic, but knowing what you know now about golarion and pathfinder, and having grown as an artist over the years is there any iconic in particular you would like to take another stab at? Either an update or complete redesign?

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.

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Kryzbyn wrote:
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.

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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?

Personal preference.

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Lucus Palosaari wrote:

Thank you very much for starting (and in theory maintaining) this thread -- I suspect you will never run out of having people ask questions about your incredible Iconics and their images <and some day it may rival JJ's "Ask JJ ALL Your Questions Here" thread - 53,762 posts as of this posting>

I do have a general catchall about your artwork on Iconics in aggregate:
As original artwork, is there ever anything about the image you don't put in with purpose?

** spoiler omitted **

I doubt I could ever match the mighty James Jacobs. :)

Good question Lucas.
Occasionally, the designers will specify a particular item or aspect to the character. In these cases I try to make the specified aspect visually fit with the concept that I have in mind also. (That fit within the parameters of any character descriptive specifications)

I have very little to do with the character's background story.
A great deal of the items I put into my character art has some sort of purpose, even if it's just purely decorative. I carefully consider each element and judge if it fits with the visual concept I have of the character. I usually have a pretty good idea of the substance it's made from. I'm very pleased that the designers have the option to pick up on an element that they feel is interesting or pertinent and add it to the background concept.

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Aoann wrote:
Wayne Reynolds wrote:
Aoann wrote:

I want to say this is the best thread ever.

Does Pathfinder tell you what to put on the Iconic Characters or do you design them and they add the stuff to them? I would hope they give you lots of creative freedom by now :)

on the hunter, listed here, what are the green and bone looking fish hook thing supposed to be hanging off her armor? what is the symbol on the wolf's head?

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.

:) very nice. I like it, she is my favorite Iconic. I just wish she looked a little bit more surly! it works very well though. What is the weapon behind her back?

Her weapon is a Shashqa with an antler horn handle. In game terms it'd be classed as a scimitar.

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Kryzbyn wrote:
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.

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