io9has already featured ‘ making of ’ postsfor myEddard StarkandBran Starkartworks for the 2012 George R. R. Martin / A Song of Ice and Fire Calendar . This calendar week , I ’m partake how I create my artwork for Sansa Stark and the Hound .
My Vision of Game of Thrones ‘ Bran Stark , Atop Winterfell
How I Brought Game of Thrones ‘ Ned Stark to Life
One of the many great things about this business was George and Bantam let me make the first call on what icon and characters I wanted to illustrate . So I made a ‘ wish leaning ’ , and pare it down to a last twelve . When I was done , George signed off on most of them , but he offered three or four range of a function of his own that were n’t on my inclination . He offered these for me to consider and I intend they were all terrific . So I atom-bomb a few of mine and supercede them with his because it made for a more balanced set .
One of George ’s suggestion was Sansa Stark and the Hound ( AKA Sandor Clegane ) .
George thought it would be fun to think the scene where the Hound encounters Sansa in her darkened sleeping room while the Battle of the Blackwater rages outdoors . When I think about Sansa and the Hound , I think about Beauty and the Beast . I do n’t intend any specific incarnation of that plot line , but just a perverse translation of it . However , if there was one rendering that did make out to bear in mind , it was Jean Cocteau ’s 1946 motion picture La Belle et la Bête .
I did a sketch heavily influence by the Leyendeckers , amply knowing that I ’d work out undecomposed versions of the characters if we chose this centering .
I do n’t even think that I fetch up this drawing before a completely different idea pop up in my straits . This one had a more simplified and iconic , close - up musical composition . I scribble the new idea down . The penning almost leaned toward abstraction , which I liked because very few ASoIaF - related graphics straddle the line between naturalism and abstraction . They usually dwell almost only in more literal , scene - driven territory .
Still — I figured , because of the relatively odd composition , it was a longshot that George would go for this . I submit my survey and ideas . He select this one almost immediately .
I had a pretty decent estimate of how to handle Sansa from the beginning , but the Hound ’s scars were gon na require more study . I asked a Quaker to model for me and I tried out some rubber-base paint make-up on his face . I also looked at photography of spaghetti and meatsauce . The rubber-base paint was a nice service , but as you’re able to see in the pencil below , a circumstances of the scarring was discovered in the drawing . There ’s a wave - like , pseudo-“Starry Night ” timber to Sansa ’s tomentum that was n’t project at all when I was drawing . I really liked it when it happened , and tried my full not to overdraw and ruin it .
When it came time to visualise out the overall colour scheme , the solvent was topnotch - simple , and I knew it even when I was doing the greyscale sketch .
What are the color of the wildfyre as described in the passage of the Battle of the Blackwater ? Sickly light-green and orangish . That struggle is raging outside Sansa ’s window when this encounter take place . And what better than the month of Halloween for a face like the Hound ? It was a no - brainer that this artwork would be October ’s . I search ahead to seeing lots of shuddery , scarred Hounds roaming the streets on Halloween this fall .
John Picacio is a 2012 Hugo Award finalist for Best Professional Artist . Check out his work atwww.johnpicacio.comand follow him on Twitter at@JohnPicacio . He ’s seem in mid - June at DeepSouthCon 50 in Huntsville , AL , and will have some nerveless surprisal art goodies for George R. R. Martin / A Song of Ice and Fire fans in attendance .
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