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(Please do not take, save, use for AI training or repost- Thank you! Reblogs are fine ♥ )
Joined in on another Sunday draw-along with @thehangedmancreatives and this picture started out very different. Then while I was looking through my screenshots for references I had an epiphany and this was born. Sort of an examination of "what if Solas won-- at what cost?" and "what if he became what he hated/fought against?" (and 'what if bringing down the veil only broke things more')
Stayed up late to finish it and upon waking up realized I forgot to tint the final layers around the throne (meant to have it match the wolves a bit better) but eh, still very happy with how it came out. I hope I never paint another mosaic again though. That throne was miserable to do lol. (also bonus eyebrow waggles to whoever can guess what I referenced from the game for the initial design of the throne arms. Actually I'm quite proud of the design in general.)
this was mostly an excuse to play with some watercolor brushes i got ages ago and then never did anything with. but it was also a warmup that went too far.
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I commissioned this piece from the unbelievably talented Hotwe, who is one of the most intelligent, thoughtful, deliberate artists I've ever had the pleasure of working with. I cannot express how grateful I am for the kindness shown towards my imaginary dolls at every step of this process. Thank you! <3
This is a paired piece to this one, also by Hotwe, which I commissioned immediately after finishing Inquisition for the first time. Once I finished Veilguard and filled out how the story ends for these two, I knew I desperately wanted the other half of this diptych.
Close-ups and lengthy notes on the incorporated symbolism are below the cut.
Where the first piece was much more somber and determined, I really wanted this moment to feel triumphant (if not unreservedly happy). These are two people at the end of a long war with each other, and moving forward doesn't mean erasing the road before.
Some notes in no particular order:
Solas's hands are now open, releasing the hard and inflexible grip he had in the original piece
The constellation is Fervenial, the Oak, for its associated concept of Vir Tanadhal: "fly straight and don't waver, bend but never break, and the idea of balance. ...The imagery of the hunter (Adahla) metaphorically striking like a bolt on Solas' plans and forcing a reframing of the lightning/smite-y/fate concept of Fulmenos into a concept of balance and growth/organic/spring" - straight from the artist's massive brain
(I've written about why constellations & stars, especially Fulmenos, are important to them here)
Red embrium leaves for healing
Spring growth for seasonal change
Solas, being pushed forward by the strong wind behind him, is finally able to stop thanks to Adahla's pressure
Adahla's dress is inspired by this statue (San Joaquín, Santa Ana y la Virgen Niña by Juan Alonso Villabrille y Ron), but has been reworked with Dragon Age motifs and emblems
The gold vines are from my post-Veilguard fic for them, The Heart Where I Have Roots
I plan to do one more post with both of these pieces together as soon as I can; their journey's been messy to the max, but it honestly brings me so much joy to know they've landed somewhere like this, and I'm again so thankful to Hotwe for bringing that ended war to life.
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How can he explain that to him? The world is not run from where he thinks. Not from border fortresses, not even from Whitehall. The world is run from Antwerp, from Florence, from places he has never imagined; from Lisbon, from where the ships with sails of silk drift west and are burned up in the sun. Not from the castle walls, but from counting houses, not by the call of the bugle but by the click of the abacus, not by the grate and click of the mechanism of the gun but by the scrape of the pen on the page of the promissory note that pays for the gun and the gunsmith and the powder and shot.
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