Ysaeril (prime)/Artistic works

an oval-framed painting

A pair of bulbous-eyed goldfish are depicted in a lazy, circumnaviational aquatic waddle in this oval painting. The fish's pectoral and caudal fins are shaped like broad, wavy fans while occasional umber and ivory mottling graces their rich, golden-orange scales. The contrasting cerulean background is speckled with waves of turquoise and faint, slightly darker hexagonal tracery. Upon closer inspection, the painting is composed entirely of tiny dots arranged in a broad range of colors.

Title: Fish in Fountain

Date: undated

a watercolor painting

Heavy rag paper depicting a watercolor of a beetle in motion is nested carefully within the frame, its hand-torn edges still evident. Shaped like an early carrot, the beetle's carapace is dark sienna in color and banded horizontally by a wide, jonquil yellow stripe. Long black antennae droop to its sides, nearly overwhelmed by its many swiftly-fleeting legs. The flurry of appendages are almost playfully represented within a faint, roiling wash of heavily watered black ink.

Title: Beetle of the Southron Wastes

Date: (undated)

a watercolor painting

Heavy rag paper depicting a landscape is nested carefully within the frame, its hand-torn edges still evident. Variegated with russet and ochre, a contiguous mountain range runs diagonally through the landscape in a curvilinear fashion. A trail bifurcates the scene while shadowed pits treated with a black wash and hash-marked scrub dot the surrounding area. High above the mountain range, the sky fades into muted cerulean wave.

Title: Southron Wastes I

Date: 5108

a watercolor painting

The painting appears to be a watercolor on heavy rag paper, matted invisibly within the frame. Risen in an asymmetrical collision, two cliffs meet to create a single, chevron-patterned peak. The mountains are boldly dry-brushed in carmine and orpiment and neatly outlined with thinned black ink. Before them, a vast sand dune, little more than a fanned wash of transparent ochre, consumes the lower half of the image. A narrow trail treated umber snakes its way through the bleak basin.

Title: Southron Wastes II

Date: 5108

a narrow vertical painting

The painting is narrow, vertical, and composed almost entirely of a massive cloud formation. Ivory, orange, blue-grey, and raw umber paint, applied in a scumbling technique, gives a puffy appearance to the clouds. Near the bottom, a plethora of pale yellow hashes, suggestive of wheat in a field, are painted at severe angles. The slim strip of sky beyond is pale near the horizon and darkens toward the top, in contrast to the richness of the image's primary subject matter.

Title: Autumn Comes to Sylvarraend

Date: 8/5117

+ Awarded second place in the Ta'Illistim Art Gala of 5117

an ivory-matted vellum map

The full-color map is beautifully rendered on fine vellum, matted with ivory linen, and mounted in a slim frame. East to west, the illustration is thick with lush forests. Most notable in its depiction are two sets of ruins. One is closer to the city of Ta'Illistim, while the other is densely packed between groves of highly animated, gnarly oaks. A small estate and nearby settlement are located in the southeast quadrant of the map, which comes to a close at the shoreline of the Lake of Fear.

Title: Map of Sylvarraend and its Environs

Date: 09/5117

a large glass-mounted map

Contained within the glass is a map of whole of Ta'Illistim. Each street is carefully inked, along with every business, residence, and region. Illustrated in exaggerated size are the Sapphire Gates, the Hanging Gardens, Library Aies, Ta'Illistim Keep in the center of the city, and Sylvar Pointe far to the northeast. The space beyond the city walls is marked by mountains to the northwest and forests elsewhere, save for the observatory of Seethe Naedal, whose dome peeks out of the clouds dotting the incline.

Title: Map of Ta'Illistim

Date: 09/02/5117

a wide maple-framed painting

A pale ivory bighorn sheep is shown lying in a bed of moist grass and mossy rock, with eyes shuttered and head bowed. The animal's massive horns make three full revolutions before disappearing beyond either edge of the painting. In the foggy distance, boughs of leafless trees compliment the form of the animal's regal horns and a blue-grey sky sets a serene, albeit somber tone to the painting. Upon closer inspection, the painting is rendered entirely of tiny dots in a broad range of colors.

Title: Bighorn Sheep

Date: 09/06/5117

a willow-framed painting

A small, blonde-haired elven girl in an ivory frock is shown standing in front of a youth-sized easel. Before her stands a massive willow with a staircase encircling its trunk, though oddly, the steps begin far out of reach. At the top, a platform is just barely visible among the branches. The peak of Seethe Naedal is scarcely visible beyond the willow's massive crown. Upon closer inspection, the painting is composed entirely of tiny dots in a broad range of colors.

Title: Willow Observatory

Date: 09/5117

a glass-mounted architectural drawing

Contained within the glass is an architectural drawing rendered in black and blue charcoal on smooth white paper. On the left side of the drawing, a low, castle is depicted upon a hill surrounded by blue and grey obelisks. Faint accents to the building's exterior are suggestive of ice, rather than stone. On the right are two interior diagrams drawn on a shifted axis, representing multiple levels to the building. The lower level is more shaded and contains no windows, implying an underground location.

Title: Proposal for Icemule Twilight Hall Annex

Date: 9/5117

an oval painting

Surrounded by an oval frame resembling gracefully foliated wood, the drawing prominently features a scarlet-feathered owl perched on a branch in the darkness of night. A crescent moon in the upper left quadrant implies sufficient backlighting to illuminate the bird's silhouette and that of the arching boughs it rests upon. A pale peach swath of daybreak hugs the horizon in the distance, followed by a small curled banner in the foreground bearing the words, "Veiled in darkness and aglow in light."

Title: Tribute to Twilight Hall

Date: 5118

a square haon-framed painting

The painting is two feet by two feet, and depicts a up-close woodland scene in springtime. A fresh colony of unfurled ivory flowers trailing down slender stalks cast bell-like silhouettes across the ashen leaves smattering the forest floor. Motes of orange and muted mint, applied in an irregular sponged technique, suggest lichen covering the rounded stone set beside the delicate flowers. The distant backdrop is rendered in a haze of juniper scumbling, speckled with compact splashes of cream and violet.

Title: Spring Comes to Sylvarraend

Date: 3/5118

a broad haon-framed painting

The painting is broadly horizontal and depicts a snow-covered, barren field in the foreground. Rolls of hay dot the landscape, each rendered in swift, circular hatches of washed-out umber and shadowed in contrasting blue-grey. The bales yield visual sight lines far into the distance, where foothills turn to mountains. Nestled between the ridges of the reach, a pair of arches peek up between the sapphire domes of a large, shining city.

Title: "Winter Comes to Sylvarraend"

Date: 11/9/5118

a wide haon-framed painting

The painting is wider than it is tall, with rich hues bathing the canvas of this festive painting. Several slender elven hands control large, colorful kites flying high above a healthy crop of corn, each plant tipped with a golden tassel. Tiny black Vs suggestive of birds dot the pale cerulean sky between white and grey scumbled clouds. Near the base of the image, a small red fox skirts the edge of the field, clearly intent on escaping notice.

Title: "Summer Comes to Sylvarraend"

Date: 8/15/5118

a rectangular thanot-framed portrait

Posed in subtle profile, the pale whiteness of a young woman's bare shoulder faintly radiates over the cold, foggy grey background. Marten fur trimming a muted cerulean velvet shawl is drawn up to her breast, where she clutches two flowers: a solitary fairy primrose to match a hint of gauntness in her cheeks, and the other a sprig of forget-me-nots. Her downcast eyes match the hue of her powder blue fillet, which draws sandy blonde locks away from her ears to reveal simple, yet elegant sapphire earrings.

Title: "Lady of Glo'antern"

Date: 5121

+ Awarded second place at Cairnfang Manor's 5121 Grand Art Exhibit in Solhaven

an oval bronze-backed painting bordered by haon infinity knots

Warm azure scumbling surrounds the oval portrait of a woman, envisaged in an elegant, mid-compositional pose. The woman's youthful human form is mantled in a scalloped charcoal capelet stitched with rosettes over a gown of warm grey. Narrow brushstrokes define her upswept wavy red hair, accentuated with thin curly wisps above her gold-limned blue eyes. A fluffy swan feather quill extends from her slender right hand, the ring finger encircled in silver set with cabochons of diamond and emerald.

Title: "Cobalt Salon: Lady Kasendra"

Date: 5122

+ Gifted to Lord Salnim Malwind of Vornavis, upon the death of his wife, Kasendra

a compact bronze-mounted painting adorned at each corner with verdigris peacocks

Painted amid a haze of smoky smalt is the portrait of a young elven woman. Her upswept ears and pale green eyes are brilliant compared to the relatively muted background. Gazing out slightly left of center, fresh and rosy cheeks adorn her fair oval-shaped face, while a highlight just above her lapis-wrapped decolette gives the appearance of youthfulness. Crowning the woman's brow are voluminous braids in titian-tinged copper, drawing the focal point away from a splash of coral upon her even lips.

Title: "Cobalt Salon: Lady Sayilla"

Date: 5122

+ Donated to Sayilla's memorial