Lea eel$35.00 PN eee ee mecca) Lord of the Rings trilogy began with one PAM es ene ict Se ee CR aL moviemaking magic. The art that created this magic contributed to many of the De Ee oem eae The Art of the Lord of the Rings cele- Cee enon designers’ published work. It presents Ree Ene rec a Reece area ec ecg the artists themselves from the many thou- sands of pieces produced, accompanied by Pee ae ees ee eed ee ey Ree eg Pee ena Lasaine, detailed pencil sketches by Alan ee ACR ate ee eager ae ard Dee ACCP eee Ce Le Ce eas BO a Re ae er illustrates the complete creative process in glorious detail and reveals why the trilogy eee ocean ed eee eS (Ce ea) OT ee eg Rate ene tant, magazine editor, reviewer, novelist, and Er eam mr) Ps ee Rec oRe ‘Simpsons, and Doctor Who, as well as the acclaimed The Art of the Fellowship of the Ring, The Art of the Two Towers, and The Art Oe ee aes SPU ee ees oc? SECON ry teen PECL ea TEM Ta SE NR olea tO 222 Berkeley Street, Boston, Massachusetts 02116 Seo eee eeThe Art of JORD RIN IGSThe Art of Gary RusseLt a HOUGHTON MIFFLIN COMPANY BOSTON + NEW YORK + 20aco ge ed 9 909 HA _memy adnan a eg yan soapy Rta a rp oe et See aged i Sas tans yap Se enbresissivo x ceeemaengearnan a ae ge mg a ty sent sn oes pon st a Sry ie fo Soa a ae ey ener nator if pert Pena meer eee ere eT ener et ne ref pus 2 ops ee samy et oreo ng i a iin yy cra Contents Foreword 7 ‘Visual Effects Design 8 Paul Lassie ad fren Bett Conceptual Art: Alan Lee 62 Conceptual Art John Howe 2 ‘Weta Workshop 0 Christan Rivers, Daniel Falconer, Bon Wootten, Warren Maly, and Shan Bolto Weta Workshop: Maquettes 192 Ben Wootten, Janie Beserick, Shor Bolton, Sachs Lees, Daniel Faleonon Waren Mab, Ber Hawker, Jolony Brough, Grog Tose, Mike Ant, and Gino Acevedo Digital Paintings 208 Gus Hunt, Steve Lynch, Max Demnison, Roger Kuplian, Yarck Dassealt, Karen del. ala Cole ad Rove Brow ‘lon Lee and J.P. LeonardFOREWORDVISUAL EFFECTS DESIGN “Paul and Jeremy are masters at using light and color. They have often shown me the mood of a particular moment through their use of part. I get from: them a potential flavor and tone of the lighting.” PETER JACKSONsib Hi) sll \eee ae Sect al nn a ng tn a eid amCONCEPTUAL ART: “Alan Lee's artwork bas @ beauty and lyricism about it. His art captured what I hoped to capture with the films, which is a sort of graceful and ALAN LEE gentle feeling — a poetry, I guess.” PETER JACKSONenc2 4 8 5 .eSas5 Ss‘Scanned by BrawnCONCEPTUAL ART: JOHN HOWE “Jobn Howe is a master of capturing exciting moments. His artwork is almost like looking at a freeze frame from the movie. His style is what you'd expect to actually film with the camera.” PETER JACKSONashe i id mone de—— SEA‘Scanned by Brn 188 4 THE ae oF Londo TH ONCITUALAREIOUN HOME #5ae‘Scanned by BeamsCONEEMUAL AION HOWE OFWETA WORKSHOP Seaman os Brame “It was a healthy thing to have a multitude of artists, all creating their tision of the Balrog or a troll or a Nazgil, or whatever. The Weta team represented diversity ~ a diversity I encouraged.” PETER JACKSONCHRISTIAN RIVERSezDANIEL FALCONER> = < = Zz a a < =GantsMAQUETTESDIGITAL PAINTINGS PETER JACKSON‘Scanned by Brame CLOSING CREDITS Peter and Fran had the idea that they would like to mark the end- ing of the final film inthe wilogy by doing something diferent with the credits. ARer we did samples and rests on film, the approach chosen was to represent the actors by their porvait, and the rest of the erew by images selected from the huge numbers of drawings and designs by myself and John Howe. Fran, assisted by VFX are department coordinator Hansah Bianchin, chose fares fom the films that represented moments in which each of the characters look the way we would wish to remember them, and I used these as the basis for pencil renditions. ‘Then Jean-Paul Leonard, of Company Wide Shut, who was responsible for the design work on the DVD menus forall three films, and had taken on the task of designing the end credit sequence, carefully composed the images and text and created the clegiac and beautiful look of our final departure from Middle arth ‘Alan Lee ‘May 2004 ryFEATURING 500 OF THE BEST WORKS OF ART FROM PETER JACKSON’S THE LORD OF THE RINGS URE AL el Rie Ce ee ia CR eM eme end paintings, Gary Russell presents the very finest works of art that inspired Peter Jackson, SDE he cee ee Ieee a Sen) Ce cr SS ee Re UR ep om re Co Peer en CeCe Rec I mC eS