and not a single f*** was given

(Source: titansdaughter)

posted 1 week ago with 7,158 notes
via:fuckyeahannibal source:titansdaughter


Request by Anonymous
- A bit of love for Bofur, part I

Part I - Part II - Part III

+ bonus


posted 1 week ago with 162 notes
via:thelittle-hobbit source:circusgifs


Request by Anonymous
- A bit of love for Bofur

Part I - Part II - Part III

posted 1 week ago with 145 notes
via:thelittle-hobbit source:circusgifs

I don’t know what I am anymore.

(Source: daishannigans)

posted 1 week ago with 638 notes
via:mirkwood-elves source:daishannigans



posted 1 week ago with 18,862 notes
via:fringeofmadness source:thorbjornolsen


Jameson Empire Awards 2014 : Richard Armitage

Source (x)(x)

posted 3 weeks ago with 159 notes
via:thorinshielding source:sweetsweetrain


"I was there are you beginning, I was there at your worst.

I was there are your proudest. And I was honored and sad to be at your end.”

I’m sorry guys this idea wouldn’t leave me alone and you guys have no idea how much it was killing me while drawing it.

posted 3 weeks ago with 5,069 notes
via:preciouskili source:injureddreams


And even as Turin steadied himself in a fork of its boughs, the midmost parts of the Dragon came above him, and swayed down with their weight almost upon his head, ere Glaurung could heave them up. Pale and wrinkled was their underside, and all dank with a grey slime, to which clung all manner of dropping filth; and it stank of death. Then Turambar drew the Black Sword of Beleg and stabbed upwards with all the might of his arm, and of his hate, and the deadly blade, long and greedy, went into the belly even to its hilts.” - The Children of Hurin

Painting by Alan Lee

posted 3 weeks ago with 183 notes
via:thelittle-hobbit source:jrrtolkiennerd


I heard rumors that AC5 is set in Victorian London, I’m so excited, aahhhh …

posted 3 weeks ago with 9,466 notes
via:thelittle-hobbit source:lanimalu


I’ve been getting a lot of asks lately about the brushes and textures I use in my work, so here’s a BIG FAT REFERENCE POST for those of you who were curious! Bear in mind that I’m really lazy and don’t know what half the settings do, so don’t be afraid to experiment to figure out what works best for you :>



I use the pencil tool with SAI’s native paper texture both for sketching and for applying opaque color with no blending. Lower opacities give it the feel of different pencil hardnesses, while full opacity makes it more like a palette knife, laying down hard-edged, heavy color for detail work or eventual blending with other brushes.

Ink Pen

Mostly made this because I’m lazy and I didn’t want to have to keep turning my textures off/opacity up when I wanted to ink something (even though I don’t do it very often), or lay down flat colors. I find the line quality to be much more crisp than Photoshop, and you can manually adjust in-program stabilization to help smooth out hand wobbles.

Round Brush

The plain ol’ brush tool acts as sort of an in-between for me in terms of brush flow. It’s heavier than my usual workhorse brush, for faster color application and rough blending, but not as heavy as the pencil tool, which has no blending at all. I like to use the canvas texture on this brush to help break up the unnatural smoothness that usually accompanies digital brushes, but it works just fine without.

Flat Brush

A brush tool set to flat bristle is by far my favorite to paint with. I don’t use any textures with it because I think the shape of the brush provides enough of that by itself. I use it for everything from rough washes to more refined shaping and polish. It’s just GREAT.


Best used for smooth blending, washes, gradients, and smoky atmospheric effects.


Basically a grittier version of the watercolor tool, because too much smoothness weird me out. Good for clouds and fog, as the name suggests, or just less boring gradient fills.


To further stave off the artificially smooth look of digital painting, I almost always overlay some sort of paper texture, and it’s almost always this one, which I scanned and edited myself. You’re all welcome to use it, no permission required!

Using overlays in SAI is just as easy as using them in Photoshop. Just paste the texture into its own layer above everything you want it to apply to, and change the layer mode to Overlay. That’s it!

Want a more prominent texture? Up the contrast. Something more subtle? Lower the contrast or reduce the layer opacity. You can also use a tinted overlay to adjust the overall palette and bring a little more color unity to an otherwise disparate piece! Just be aware that too much texture can hurt the readability of the work beneath it, so I’d err on the side of subtlety.

Hope that helps!


posted 3 weeks ago with 49,045 notes
via:rangiku00 source:lexxercise