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ee tune 4 Cl anans ee IG: -SKETCHBOOK In The Lond of the Rings Sketchbook Alan Lee reveals in pictures and in words how he created the beautiful watercolor paintings forthe special centenary edition of The Lond ofthe Rings.These images would prove so powerfl and evocative that they would eventually define the look of Peter Jackson's movie trilogy and earn hima coveted Academy Award, The book is filled with more than 150 of his sketches and early conceptual pieces showing how the project progressed from idea to finished att. It also contains a selection of full-page paintings reproduced in fll color, together wich numerous examples of previously unseen conceptual art produced for the films and many new works drawn specially for this book. The Lond of the Rings Sketchbook provides fascinating insight into the imagination ofthe man who painted Tolkien’s vision, first on the page and then in three dimensions on the movie screen. Twill also be of interest to many ofthe thousands of people who have bought the illustrated Lord of the Rings 26 well as to budding artists who want to urlock the secrets of book illustration, ALAN LE isthe illustrator ofthe highly successful centenary editions of The Lond of the Ringsand The Hobbit. He studied graphic design and the depiction of Celtic and Norse myths and hasillustrated a wide range of books, including Faeries, Merlin Dreams Castles, and The Muubinogion, and was the conceptual designer for Terry Jones’ film Erik the Viking. He wasawarded the Kate Greenaway Medal for his illustrated edition of Black Ships Before Tioy, Rosemary Sutcliffe’ retelling of The liad, He worked as the ind set decorator for Peter Jackson's Lord ofthe Rings movie trilogy and in 2004 received an Academy ‘Award for best at direction for his work on The Retur of the Kin. HOUGHTON MIFFLIN COMPANY epkeley, Steet, Boson, Massachusetts 02116 we hoghtonnalinoks om The LORD of the RINGS SKETCHBOOK ALAN LEE ALSO ILLUSTRATED BY ALAN LEE Castles Faeries ‘The Mabinogion Black Ships before Troy ‘The Wanderings of Odysseus The Lond of the Rings ‘The Hobbit The Art of The Lord of the Rings Copyright © Alan Lee 2005 ustetions © Alun Lee 1991, 3008 Published by HayperColins Publishers 2005 pf an Tl ate regen trem of The JIL Tolkien Estate Limited All eights reserved. For information about permission to reproce selections from this book, ‘write to Permissions, Houghton Mili Company, 215 Park Avenue South, New York, New York 10003, Visit our Web ste: www houghtonifinbooks om, Library of Congres Catalaing-in- Publication Data is avaible. av o-6i8-64014-2 Printed and bound in aly by LE.G.O. SpA HC 10987654321 CONTENTS FOREWORD, INTRODUCTION CONCERNING HOBBITS BARROWS AND BREELANDERS RIVENDELL MORIA LOTHLORIEN, BORDERLANDS ROHAN FANGORN EDORAS HELM'S DEEP THE ROAD TO MORDOR ITHILIEN MINAS TIRITH THE ARMIES GATHER THE BLOW FALLS THE STEWARD'S TOMB GROND CIRITH UNGOL MORDOR THE GREY HAVENS ACKNOWLEDGMENTS 33 101 FOREWORD ‘When I met Peter Jackson and Fran Walsh in London, six months before they started shooting The Low ofthe Ringsin New Zealand, they enticed me by showing me some staring pictures of Middle-earth. On two scores this was clincher tothe suggestion that | might play Gandalf Marveling at the spectacular sesigns was my introduction to a saga I hadn't read before,and [realized tha, although che enterprise ofthe rwo modest kiwis was hugely ambitious ifthe _graphics were anything to go by.it was ko achievable. relished those designs even more when later I walked onto the set that ‘reproduced them inthe Stone Street Stidios in Wellington, as wells in the ‘open-airlocationsall ver the two main islands of New Zealand, Ie ws ike steppinginco the pages of storybook — almost literllysbecause of course the files’ principal scenic inspiration came from Alan Lee and John Howe, whose ‘work has ilustrated Tolkien's words alongside the author’ own designs. ‘Scammed y Bran ‘When readers recognize Tolkien’ characters and their surroundings in the films “exactly how Fdalways imagined,” they are missing the point. In teut ‘what they recognize from the writing has been filtered through the lensof the pictures that accompany the words, Not tht there is anything photographic bout Alan Lee's work, He ia master othe ancient ar ofsketchingand ‘watercoloringand his notations in this book describe well how the artist’ imagination reached the pageso conidenth. What a unique curiosity isin your hands! The Lee sketchbook feels and looks like other artists records ofgteat journeys to foreign lands. But in Alan Lee's case, is sketches of Middle-carth and it inhabitants preceded the travel, and the country he helped uncover in New Zealand was partly ofhis own maki ‘The Fellowship actors have often been asked whether the green (orsometimes blue) screen technique of acting in front of blank wall,on which the scenery will be projected ater.s ficult For those of us who have worked onstage in front oF castle battlements that are made of canvas. and stone that is merely painted wood, reality isthe ls ching that is expected in theater settings and in films. Yetin New Zealand Middle-earth seemed! complete, ready and waiting for erew and actors ‘time and time again, One of my happiest days ever was spent ina helicopter over thealps ofthe South Iland, high above the snowline, where the Fellowship climbed toward Moria ‘Below usin the mighty are of mountains was the plain where, until che arrival of the filmmakers, only shepherds had ever visited, On top of alone outerop,pethaps remnant of prehistoric ice movements along the valle, Edoras hal beet bus, 3s suggested by Alan Lec: We world not film where a service road ran tothe Golden Hall so there the cables snaked and the builders did not bother to decorate. On a fim set, nothings as it sccm. Today all evidence of Rohan has been removed, 38 was the bargain and the shepherds’ plan is empty ence more idoras survives in the trilogy of films along with wo much cle of Alan Lee’ wgination. But here there sill more —an insight nto an artist’ mind and a close-up of his pen, pencil. and brushes at work: Wonderful, lan Metetten, lan McKellen Lonpow 2005 INTRODUCTION rst read The Lond ofthe Rings when I wasseventecn and workings gardener ee ae Fou eae were bool of fry lave and Colic ina cemetery. Every day [would lose myselfamong the ivy-covered crypts and |Arthurian stories,and eventually [found myself talk shadowy groves and inthe evenings immerse myself che strange and beautifal - Unwin and Jane Johnson about the idea ofan illustrated edit ‘world chat J. LR Tolkien’ books had opened up For me. Thad loved myths pr ofthe Rings to:commemorate the centenary ofits authors birth. ‘nd legens fom the moment frstencountered them, andifstas though everything in thor storie that most appealed to me had been dsl and refined and forged int his toaly compelling naraive.So the outer suburbs ‘of Middlesex became Middle-earth, andy frends became Rangers and decided that woul really ater ilastrate books than tend graves, ich hadsleady demonsrte that worked very wellon son, seg ok a ellsa Ramee tren aoe narions ‘ter had sued graphics and illustration forsee yearsan spent another Bite fs aT rs ldo dati deiviog of orne ofthe sicearning ving doing paperback covers my dream oflstating the ores : was pleased tobe offered the chance to llstate one of my favorite aks, but koa litle daunted by the responsibility involved in placing my ons alongskea text that was so deeply loved by its many amie, CONCERNING HOBBITS Drawing, forme, morea proces of editing ou than atempeing to delineate something tat already exists as an image in my mind, ‘The penelis continually correcting iselfand tying veer ay trom what feels wrong, and Iwill often do many drains befone comingup with something Pashappy with Tryingto design a generic hobbit hat fit the auchors description, while avoiding the traps oflooking roo chide, comical or grotesque, was more cifculedhan tl imagined. Bue che proces of viualiztion ws hnlped by ny friendship with area hobbit, Kean Shah, who at fourfeetewo inches was ater become the sale double for Frodo in she Peter Jackson il trilogy Seana yan ‘Scaned by Brana sofa ins ao eh ak (siete faevolieay even arenie sane da ean den eg taking Soyeanddhmamis oe wehbe roe cailafam {men pre This pn hich tytn cneiertt apron oe aria sketchbook, will consi of iny, roughly clan thumbnails, which change and get :movedaboutas the book develops. Ta make project seem manageable, ithelps to have some ‘visual eepresentation, however half-baked, of the finished result Lists don't work for me.fT have something to organize like packing fora tip, Fidrawean open suitcase with tiny images of cexerything I'l need stacked around it before starting to collet the real objects One of these trips,in 1998, led me to New: Zealand, where | had beer invited, along with iy fellow illustrator John Howto help with the conceptual design of Peter Jackson's Lod of the Ring tilogy.As the originally estimated six ‘months work stretched inta six years, [found myself tually immersed inall aspects of designing for film, and having to think in great ‘detail about parts of Middle-earth I hadnt ever ‘considered before. Tid developed techniques in watercolor for suggesting detail but ‘everything in our Middle-earth had to be built, carved, crafted and painted, and we ‘could never be sure thatthe camera lens ‘wouldn't stay perilously closet the surfaces and props the Art Departmentand Weta ‘Workshop created This didn't necessarily ‘mean that the drawings became more detailed, just that there were more of them. ‘Seamed by Bana start off withthe broadest views of pat of Middle-earth before focusing vidual buildings. Then choices could sbout studio spacesand,in the ease of ceatth-moving equipment to be ed Drawings of the fgades, gardens, smailbox:s,and doorknobs would Is besarte There wasn time to igstoa high degree of they were ata point where cated enough for (stig of construction ‘Then we held meetings where we would compilea lst of propsto be commissioned from local rafspeople or manufactured in ‘our own workshops Furniture, wheelbarrows, tools, saddles. and hand props that would bbe carried orusedby the actors — everything f had to be designed as an artifact tha could have been created by one ofthe cultures | ‘of Middle-earth ‘Because of my lick of sympathy for lis — they just don"tseem to _generate a serious response in me — my own notes took the form ‘of page or wo of smll,quick drawings These would be exsed fiom my grasp atthe end of meeting, to be photocopied and handed out o drafispeople and prop designers, who would work them up as finished, measured plans. would spend more time on the props that were going tobe associated with the actors or that ‘were partof the storytelling. and these would usually be eaefilly enough drawn that they could go straight tothe person who was _going to sculpt or make them, ‘Trees and other organic forms are difficult o represents plans ang elevations, and chese would be sculpted as plastic maquertes, of the sketches would be given to our wonderfull Greens Department, under Brian Massey, who would be able to reereate ther 3s impressive full-scale forests, complete with mosses, wafiing leaves, and spiders, as 4 be OlsFoe pt sfwuniyatte ste sada BE boundary ofthe hobbits knowledge of the world. Beyond! aie itare unknown wonders and dangers,and within it stra ap powers that beguile and entrap the unwary. Love tories ofthe ‘wildwood,and the way our reading oft affects, and iafected by, ‘our own experience of woods, especially those childbood, when tees really were giants. In En survive ifthey are on marginal and, too rocky oF waterlogged for ‘ulkisation This uneven ground, with its hollows snd banks where 00ts become exposed, with fallen trees that continie tosend wp fies growth, adds to the feeling that we are wandering through a living labyrinth, er fiencouner who ofthe ow Cisse iio Oid an Wowace bp iiantaot Ton Ronbatone an der