Comments on: The Art of D&D (Part 1)

By: Ameron Answers 23 Questions — Dungeon's Master

Ameron Answers 23 Questions — Dungeon's Master — Fri, 20 Jan 2012 14:46:56 +0000

[...] Jeff Easley for show pieces or Wayne Reynolds for action [...]

By: How Art Inspires Campaigns — Dungeon's Master

How Art Inspires Campaigns — Dungeon's Master — Mon, 24 Jan 2011 14:01:42 +0000

[...] by it. Two of our most popular articles here at Dungeon’s Master are The Art of D&D (Part 1 | Part 2). My purpose here isn’t to go back as Ameron did and talk about artists who have [...]

By: The Art of D&D (Part 2) — Dungeon's Master

The Art of D&D (Part 2) — Dungeon's Master — Mon, 15 Nov 2010 14:03:23 +0000

[...] over the years, but only the greatest left a lasting impression on the game and its fans. In The Art of D&D (Part 1)we looked at five of the greatest artists ever associated with D&D: Caldwell, Elmore, Easley, [...]

By: The Recursion King

The Recursion King — Tue, 01 Dec 2009 16:53:16 +0000

Wow, great post. Inspired me to order a Larry Elmore poster right away! I just had to have the classic, iconic, D&D image from my old basic set…
.-= The Recursion King´s last blog ..Finding my own style – a years journey =-.

By: Ameron

Ameron — Thu, 12 Nov 2009 13:53:27 +0000

@skywise
I think you’ve summarized the situation perfectly.

@grue
Brom’s good too. He’ll be included in part 2.

@Jeff Carlsen
I’m often curious as to how much of what we see is accurate vs the artist trying to make things look cool.

@Voidman
Wow, you’re really passionate about the art of D&D. Thanks for sharing your personal favourites. You’ve certainly given me a lot to consider before I write part 2 in December.

By: Voidman

Voidman — Thu, 12 Nov 2009 10:34:51 +0000

Truly, one cannot overestimate the role of art in our hobby. In some ways, it was the artwork that raised the profile of rpg during it’s golden decade. For many, myself included, the art in those books was the initial attraction, triggering the imagination even before one had a chance to appreciate the written content. Many a time I looked at the illustration and though: “I want to play this!”. This may be a nostalgia-fuelled impression to a degree, but still I feel that some of those artpieces were equally important and defining to those settings as the writings. Artwork of AD&D in particular, although not surprisingly all things considered, is rich with such pieces. I don’t think anyone can think of Dragonlance without Elmore’s rendering, or DarkSun without Brom’s oft grotesque visions. I agree that Caldwell’s Ravenloft covers are likely the best of his contributions (blimey the man knows how to paint women!) but if I were to choose my favourite piece it would have to be Forgotten Realms Adventures cover which at the time I considered nothing short of perfect. I often find it amusing that the sheer glimpse of his signature symbol in any artwork would be synonymous with AD&D. I, too cherish Elmore for the whole Dragonlance cycle, especially the poignant Death of Sturm, but his original Shadowrun cover is very close. I like quite a few of Easley’s works especially the revised 2nd edition covers, however there are three of his works which I often go back to: the toned down Drizzt picture from Sojourn cover (still not as good as Brom’s brooding portrait), Al Qadim Arabian Adventures (fantastic colours), and the awe-inspiring depiction of Khelben Blackstaff vs the undead on the cover of The Magister sourcebook (looks like Blackstaff anyway ). Finally, late Keith Parkinson, probably my favourite of the great four. There are just too many of his works which are absolutely stunning. His realistic style, attention to detail and composition come together to create artworks which are often simply breathtaking. You’ve praised Easley’s dragon talent well I dare to disagree and Keith’s Great Red Dragon or the Ice Dragon are a fine testament to that. Another great example is the iconic The Big Stash (dwarves emerging from the dungeon); Lone or North Watch is also one of my favourites but there is also one which for me is more significant, perhaps not for its artistic values (although I like it) or epic scale but what it is associated with: the lone rider from the the Grey Box cover. I realise that’s probably my sentiment for that first edition that’s motivating this choice but hey isn’t it always the case?
That art is very much part of the TSR legacy and I find it heartwarming that whilst the hobby industry moved on, those illustrations still mange to inspire gamers, certainly myself, with the good old fashioned sense of fantasy. Good times. Waiting for the part two, someone already mentioned Tony DiTerlizzi and you hinted that he will be featured in the following article (Brom no doubt as well )

On the side note, it’s a very interesting comment regarding the ethnicity of the characters and it’s true that Caucasian seems to have been the dominant model in the graphics. I think that’s due to the focus of a particular basic region of the setting which usually was based on medieval European tradition. On the other hand, I suppose that the difference between human and other demi-human races was more highlighted at that time. I don’t necessarily agree however that the art implied that whole worlds were mono-ethnic. Even though the non-Caucasian ethnic groups were primarily featured in the illustrations for the spin off sub-settings (e.g. Al Qadim) those settings usually originated from regions in the parent setting (e.g. Kara Tur or Zakhara in FR), so for me at least wide ethnic variety was always there. Also, note some of the iconic characters like Theros Ironfeld or even that rider from the Grey Box (he looks to be based on an Asian invader archetype) imply a varied ethnic landscape.

By: Jeff Carlsen

Jeff Carlsen — Mon, 09 Nov 2009 00:47:14 +0000

That artwork is truly stunning. There was definitely something lost in the change to third edition, and it was the sense of atmosphere. Both the art and the writing style was different. Fourth edition has changed the tone all over again, this time being all about the action of the game, much like a classic comic book.

But this old art really creates a world that makes you feel small, where there are great wonders to be explored.

I also like how clothing used to make sense, and armor was allowed to be symmetrical. I’ve never understood why that changed.
.-= Jeff Carlsen´s last blog ..Why We Play: The Social Aspect =-.

By: grue

grue — Sat, 07 Nov 2009 13:20:02 +0000

Cool, I look forward to the 2nd part then!
Also, Brom.

By: skywise

skywise — Sat, 07 Nov 2009 01:06:16 +0000

I really do love that older artwork, especially the way that characters and armor were drawn, but I offer up another complaint alongside of Newbiedm’s comment about anglicized characters: The male gaze is probably no more often found in art than in the art of 70s, 80s, and even 90s fantasy artists. Not all, of course, and many modern day artists definitely still do, but I feel like with 3rd and 4th edition, we’ve come along way towards giving female characters armor that covers more than a bikini would.
Obviously there are exceptions on both cases here, but I think, in the majority, Fantasy artwork has come a ways in terms of blatant sexism.
.-= skywise´s last blog ..Dawwww =-.

By: Ameron

Ameron — Fri, 06 Nov 2009 17:59:18 +0000

@newbiedm
I never thought about the fact that everyone is white. I agree that it was probably due in large part to the times. It’s nice to see that today’s artists are more influenced by the multi-cultural world around them.

@grue
Tony DiTerlizzi is the main focus of my next article on D&D art. He gave the powerful monsters in D&D the “presence” that you can’t get just by reading a description.