shripscapi

Latest Posts by shripscapi

What's up? i wanted to ask you if you’d want to draw bridgerton characters in the future?

I haven’t seen bridgerton and I probably won’t lol. I don’t really care for the regency era.

lol why are drawing men so feminine? your jon snow is literally indistinguishable from a girl, is there some kind of agenda here, or is it just your "style"?

you caught me it’s all part of my woke agenda

is there a place where you can go read lucia Lore and Info or is it just her tag?

I have a post here with a broad strokes overview with everyone (she’s towards the bottom). some parts of it need to be revisited bc i’ve been adjusting structural details but the general roles played are still accurate I think

otherwise I haven’t talked abt her that much publicly besides the occasional talking in the tags on my sketches. mostly bc I’m not a very good writer lol.

If there are two lucia fans I'm one of them, if there is one lucia fan that's me, if there are no lucia fans I died

AMEN!

I really like the detail of the thorny vine wrapping around Lucia’s ankle in your new piece!! I know u said she’s shoeless bc u didn’t want to draw shoes but!!! One could argue her stockinged feet being exposed could represent her leaving herself vulnerable to hurts she thought she was safe from 🤔💭

ah! the shoes I was referencing are actually not lucia’s. they are a specific type that I don’t like and didn’t want to draw andrea in so I just put him in a pair that is technically plausible I think but about stylistically 10 years too modern for the period he’s in. lucia’s feet being bare were intentional for the reasons you suspected :)

Is your stuff digital or (irl?) oil, I can’t tell, love it though 🩵🩵🩵🩵🩵

it’s digital lol. I don’t have the space or budget required to do oil painting. I loved using them in school though

Princess Shireen Baratheon

small half-study with lucia to get away from line art a bit

hii sorry if i didn't see this but are commissions back up again? ty!!

no they’re not, I’m sorry :(

I deleted the post because I’m not sure when/if I’m going to open them again and if I do I definitely need to adjust prices.

follow up question regarding fashion inspo-- do you happen to have a pinterest board or know of other places to look for non tudor fashion that you could link? my own search has been pretty fruitless. also rly love how you draw and render fabric!! ty for ur insight and thoughts :]

thank you! this is a pretty broad question so I'm not sure that I can give the most helpful answer but I find this timeline by the FIT to be a nice, quick visual guide for period trends. Unfortunately it primarily focuses on the regions of current day England, France, and Italy, so no Rus fashions to be found there, but you can poke around pre (and post, if you like) Tudor period/outside of england to see what late medieval and early modern people were wearing as depicted in art of the time.

Rus fashions are harder to dig up and I don't have great advice there... Resources in english kind of suck but you kind of just have to scour... I try not to get too hung up on accuracy for asoiaf stuff, since at the end of the day I'm combining a bunch of different styles that I like into a fantasy setting, so I'll take pieces from bilibin illustrations, or period shows, or whatever other crumbs I can find.

unfortunately I don't have the most organized process but hopefully that is somewhat helpful!

im curious, what fashion did you pull inspo from if not tudor? im trying to do some drawings too but im getting stumped on references

I try and pull from pre-16th century fashions but I'm not super consistent and the answer changes with time. in the first drawing i did of cersei's mourning gown i broke that rule and it definitely feels too modern to me in retrospect

I like the houppelande as the base garment for women, and for menswear i typically use clothing from late medieval Rus (i'm sorry I don't actually know the name of specific garments). I like the layered fabrics and i think it gives costumes a similar weight to the womenswear while also mimicking some of the silhouettes with the high neckline and long sleeves. i also think the use of trousers instead of western european hose creates a more recognizable visual gender divide for a modern audience. if that makes sense.

hair is just made up because grrm likes to write women with their hair down and there aren't a ton of examples of that, so i just try to mesh some fancy updo with loose hair in a way I think looks pretty.

just noticed radfems in my notes so I should say I hate terfs and you are not welcome here.

glad i'm not the only asoiaf tudor fashion hater

I think there is some beautiful art of it but it feels out of place for how far back technologically westeros is… they don’t even have guns. but if they did all the women should get one

Queen Cersei Lannister

absolutely never would have anticipated how many times i’d end up drawing cersei when I first started asoiaf but over time she has cemented herself as one of my favorite characters…

i’m forever revisiting my own designs, so here’s a second attempt at Cersei’s ruby mourning dress and a first attempt at her in her hunting greens when she goes to meet with Ned. I think hunting greens implies menswear, but I’m not certain and I could be misinterpreting…? either way I think it is more reasonable for trying to be stealthy so that’s the route I took…

princess saera targaryen, from a fresco in the sept of a motherhouse in king’s landing, commemorating an endowment by queen alysanne and daughters, c. 83 AC

my gorgeous commission by @shripscapi! take a peek under the cut for the historical references she reworked so beautifully.

i have always maintained targaryen fashion should be byzantine inspired, and that was my request to liesl. she works so brilliantly with historical costuming, and in her portraits of renaissance fashions captures the sense of a contemporary portrait - and that’s what i wanted here, the spirit of a real historical work of art. i sent her two images of mosaics of byzantine empresses, theodora from the basilica of san vitale in ravenna (left) and irene of hugary from the hagia sophia in constantinople (right). both commemorate donations to churches, and the foundation of a religious institution at the height of the realm’s prosperity under jaehaerys and alysanne’s rule and a demonstration of good will between crown and faith after the adoption of the doctrine of exceptionalism is something alysanne as queen consort absolutely might do.

as byzantine empresses reshaped the face of imperial constantinople as patrons of its religious and civic architecture, it is fun to imagine the continuing interactions of the targaryens shaping their capital city. the women are included in wider family groupings - imagine alysanne and alyssa and maegelle etc offscreen - communicating the female face of imperial/royal power. here is saera at 16, on the verge of being brutally discarded as incommensurate with that correct feminine image, as indeed not a few byzantine princesses were. exactly the vibe of a lovely and haunting historical document of a woman’s life in the snare of power i’ve encountered in many a museum or palace that i was going for, which makes the story of saera’s disgrace resonate so strongly.

Hello! I'm a big fan, would I have permission to use a piece of your art as a profile picture (with credit of course)? Thanks!

hello! i’ve answered this before but I should probably update it since i’ve started taking commissions:

in general, that’s fine! however, with commissioned pieces i’d ask that you refrain for the sake of the commissioners.

Early holiday present for myself and my readers :3

(Also, I’m planning to update Compromise this weekend, assuming I don’t get struck by a sudden catastrophe.)

I loved my Velargirls artwork by @shripscapi so much that I went and got the Targbros done too!

Details I want to gush over:

Aemond

His sapphire! I imagine in-universe people asked him if he would prefer to wear his eyepatch for the portrait, but by this time in his character growth he went “fuck it, I have a sapphire eye, just show it in the painting.”

Embroidery details on his collar! They’re based on traditional Greek motifs which remind me of waves.

Dragon scale pattern on his shirt! The jade green color is an homage to Vhagar, who is supposedly jade green (according to official sources) even though she looks brown on screen. 🧐

Breastplate and stance are supposed to convey that he’s a military man. He has that sapphire blue sash for a bit of pizzazz. Overall we didn’t want him being too fancy and ostentatious, because that isn’t his style, but we still wanted him to look princely.

His sword is Siren Song, as described in Compromise. So he does get his hands on it again eventually. 🤧

Aegon

Jace 100% picked his outfit for the portrait (to coordinate with her own).

Red is a prominent color to emphasize his Targaryen-ness. I also wanted gold for Sunfyre and themes. But I was afraid of red and gold being too Lannister, so we added some white into the mix.

Big chain! Aegon is contractually required to wear chains in fanart. 😂

Aegon’s outfit is the fanciest of the brothers, because as the consort of the future queen he has standards to uphold. #trophyhusband

The flower crown was shripscapi’s idea! Originally I wanted him holding a wrapped gift intended for Jace but wasn’t sure how to convey that. So shripscapi suggested a flower crown that matches the rose Jace is holding, to imply that Jace plucked her flower from the crown. 🥰 Aegon isn’t one to participate in tourneys, but he might be tempted for the chance to crown Jace as Queen of Love and Beauty. 🌹

Daeron

Face reference is Jack Cunningham-Nuttall, who was one of the actors theorized to be Daeron before S2 crushed our hopes and dreams.

We went for a more scholarly appearance for Daeron, who spent a few years studying and training in Oldtown. The robe he wears is apparently a style prevalent among scholars historically.

He isn’t planning to be a septon, but he is fairly devout to the Faith so he wears the seven-pointed star pendant. His book is also supposed to be the book The Seven-Pointed Star.

Cobalt blue is his dominant color, along with some copper accents like the pendant in his hat, because Tessarion. He also wears a bit of red to coordinate with Joff. We wanted the boys to coordinate with the girls because…

Tadaaa! Look at them, they’re all so gorgeous. 😭 Jace and Aegon match the most. Luce and Aemond share a whole spectrum of blues and greens. Joff and Daeron contrast the most without clashing; also, I love their polar opposite books.

And now the whole group. 🙇🏻‍♀️

Jon Snow with the letter from Ramsay. This was the second half of a commission, done to match Dany!

The King Come Over and his bride Ygritte Firekissed

art by : @shripscapi

Look at my King dawg we’re definitely getting through the Wall!!!

For the last month and a half, I have been working closely with Liesl to design concepts for Jon as King Beyond the Wall and Ygritte as his Queen. Personally, I’m not invested at all in Jon becoming King of the Seven Kingdoms despite him being my favorite character. He’s not very connected with the South and I don’t feel that it’s his birth right or anything, even being the son of Rhaegar. I am significantly more interested in him becoming King in the North, but my interest in Freefolk culture has led me to be far more invested in the idea of him rejecting Southron society as a whole and becoming King Beyond the Wall (this isn’t necessarily mutually exclusive to being King in the North later on).

The motivation for Jon becoming King as opposed to Mance stems from a theory that has been around since AGOT has come out: that the Others will only treat with/negotiate with a Stark. In the prologue of AGOT, when the Others are speaking among themselves before killing the Watchmen, what if they were confirming with each other that Waymar Royce was not a Stark and that they could go ahead and kill him? All in all, it doesn’t really matter if this is true, but rather that this is a plausible rumor that could easily have been passed down among the Freefolk which could lead Mance to conclude that Jon as a leader would give the Freefolk the best chance of survival. It’s not very hard, at least in my opinion, to imagine an AU like this, since survival is the most important thing to the Freefolk during the events of ASOIAF. But is it plausible that under these circumstances that Jon would abandon his Night’s Watch vows? I think so if he can be led to believe that only Stark blood could defeat the Others, but that is not the only factor. Jon Snow is insecure about his bastard status, plain and simple. He’s always lived in the shadow of his Robb, though he loved him. He’s wanted Winterfell, though he didn’t want to nor had any intention to take it from Robb. But he’s known since he was a small boy that he could never Winterfell and that would never inherit anything because he was a bastard. Jon also has thoughts, at least in passing, that Ned loved Robb more than him. He perceives Ned as having been more proud of Robb, of looking at him differently than himself. He’s seemingly always believed this, but there is a sort of confirmation of Jon’s feelings when Ned allows him to join the Night’s Watch without much preparation on what the Watch is actually like. Fully me making assumptions here, not something Jon has explicitly thought, but it’s unlikely that Ned would have sent Bran off at 14 to the Watch without much warning of what it was like, had Bran not become paralyzed. While we never get this exact thought process from Jon, in my opinion it fits into his psychology and insecurity. All this to say, if Jon is offered to be a figurehead, King, a title equal to his brother, but without taking anything away from the Starks or from Robb, that would almost certainly scratch that itch in him. It would be of his own merit, and there would be people behind him that don’t care that he’s a bastard, don’t see him as less than, and are willing to accept him for who he is. Not to mention that it also lets him feel like a hero and as if he is saving something far more precious than himself. And it probably doesn’t hurt that he would be able to remain with Ygritte as well.

We know from the descriptions of Mance and Dalla, as well as from being told directly by the former, that the King and his wife dress like all the other Freefolk, in thick furs. While the Jon and Ygritte arts from above are not particularly ostentatious by Southron standards, they are in obvious contrast to how Mance and Dalla are dressed. My idea was that Jon, having lived South of the Wall in a Lord’s keep all of his life, brought his own ideas to the Freefolk and added a distinction between a King and all other men. Nothing like in King’s Landing, all changes are inspired by his experience at Winterfell. I tried to think of what was achievable by the Freefolk, that would be difficult enough that it can’t be easily replicated for everyone else, but also keeping in mind of what could be done relatively quickly seeing as the Freefolk are focused on migrating South and saving themselves from the Others. The cultures I took inspiration for the clothing from are the Byzantines, Russians, Incans, Aztecs, and Mongolians. I wanted more “open” and flowy clothing, as opposed to more closed off and excessively modest clothing of 1300-1500s Europe that most of Westeros is based off of. Ygritte is still wearing furs, but they are dyed and there is weirwood embroidery in symbolism of the Old Gods and flame embroidery to symbolize her being kissed by fire. Her jewelry are simply clay beads that have been powdered blue. I didn’t want to give her any jewels as I felt it would be too difficult for the Freefolk to cut them directly and just overall would be against the spirit of the Freefolk. However, getting the blue on the clay like that still would be expensive and take a lot of time. I tried to keep the main color scheme surrounding gray as obviously that’s House Stark’s color. Jon’s clothes are similarly nice, with my main concern being him looking intimidating. I want the furs around his shoulders to be black because I wanted to call back to his time in the Night’s Watch without him keeping his psychical cloak, because I’m sure the Freefolk would not want him to do that. The furs are massive and make his shoulders look far larger, in an effort to make him look more intimidating, especially on a battlefield or in negotiations. He also has weirwood embroidery and his sigil is on the front of his outfit (my original idea was for him to have a flag with his heraldry on it, in which case the sigil would have looked far different, with a full length direwolf). There’s a white wolf on one side and either a crow or eagle on the other side (up for interpretation, both are relevant to Jon and one is one of the animals that can be used a symbol of the Freefolk) and the flame in the middle to represent Ygritte. The sigil is more than about Jon, after all, as it’s for the entirety of House Whitewolf, the House he founds. I thought the name fit far more in to Freefolk culture than something like Whitestark or something along those lines. Ygritte was supposed to have sewn on the sigil herself, and was very adamant about it, and that is meant to be why the thread is uneven and more visible than it ought to be. She’s not very good at the craft!

As I indicated before, crowns are not something common to Freefolk. That would be something else Jon would implement. Ygritte’s crown is very much like a hat, very casual. The beads are nice but obtaining them wouldn’t be unheard of, and holly most likely would not be particularly hard to come by. The reason I gave her a crown with holly is that during Christmas in the Tudor period and even before during pagan celebrations, people would go out into the woods and find holly and ivy to decorate their houses with. Holly was a symbol of masculine energy and ivy feminine energy. If you found more holly, it was meant to indicate that the man would rule the household for the year, and if you found more ivy then the woman would rule the household in the coming year (this was a way to “tell the future” not a rule lol). I liked the holly better for Ygritte so I’m just saying the Freefolk had the opposite belief. Jon’s crown is made of weirwood, which was important to me as I feel like his connection the Old Gods is also important as it is something that him and Freefolk both use to guide them. It ties them together. That being said, a weirwood crown is often used for Bran so I did not want to use a design that was too similar to the one used for him. Bran’s weirwood crown usually is made of weirwood branches, however, and not weirwood bark or logs, so I feel like it’s different enough. The frozen weirwood sap, as far as I know, is also unique to this design. There’s also some ivy to parallel with Ygritte’s holly.

The remaining bits and bobs I wanted to explain are the blue rose and then the face paint. The blue rose is obviously something associated with Lyanna Stark, who is widely accepted to be the mother of Jon Snow. I originally wanted to give him a rose somewhere, whether he was holding it or it was in his embroidery, but I forgot to ask during sketching, and then it was too late. But Ygritte holding the blue rose isn’t just about Lyanna. It’s also about Bael the Bard, a most likely fictitious person (or at least, the tale is fictitious, though I personally choose to believe it’s real) that went South of the Wall posing as a bard. He impressed the Lord of Winterfell so much that he granted Bael anything he wished; all Bael asked for was the most beautiful flower in Winterfell. This was granted for him, but the next morning he had stolen the Lord of Winterfell’s only child, a girl, and had left the flower in her bed in her place. He hid in the crypt with her for a year and they had a son together. Bael eventually went back North of the Wall and eventually Winterfell, having no other heir, passed to Bael’s child. Under this story, Jon is descended from Ygritte’s idol (maybe idol is stretching it, but she really likes him), Bael the Bard. Not only him, but all the Freefolk including Ygritte, according to her story. Following the story’s premise, Jon also poses as Bael and Ygritte as Winterfell’s daughter, with Jon joining her home under false pretenses and “stealing her”, as she calls it. So the blue rose has significance regarding both the Starks and the Freefolk. The face paint is inspired by tattooing done by cultures indigenous to North America. Indigenous Americans are not the only groups to use facial tattooing, the Vikings were famous for it as well, but Viking facial tattooing had more patterns based on shapes rather than lines and dots. I didn’t like the shapes so much, but the chin tattoo was one was that observed in all sorts of different cultures. Usually the chin tattoos with the line were on women in indigenous America, but I found some on men in other outside cultures. The dots I didn’t see outside of Native American culture and the claw marks on Jon’s cheeks I found mainly among Vikings. Because these all are an amalgamation of different cultures, we did them as face paint instead of tattoos because it seemed disrespectful otherwise. Not enough research went into it to be a proper representation of any one culture so paint was a better bet than a permanent body modification that is sacred to a number of cultures. The only thing that was meant to be a tattoo was the chin tattoo, which like I said, actually is from an amalgamation of cultures. Among the Freefolk (in this AU), dots on the cheeks are widespread, one of cultural mainstays of their people, and are generally a sign of peace, whereas the claws are meant to look intimidating and is applied to look like blood (Ygritte applies it for Jon) and is specifically used for military leaders. I really wanted to drive home the point that the goal with Jon’s whole look is to look fearsome.

I have so much more to say about Jon as King Beyond the Wall, how he negotiates with the Wall, the different rules he sets in place, how he sets up being King as a hereditary title once his daughter Bael is born, etc etc, but then I’d be here all day and approximately one person total read through all this. Oops! Ask in my inbox if you have any questions because I would love love love to answer them. All in all, shripscapi (Liesl) is so talented and she worked incredibly hard for me. She was extremely accommodating and changed as much stuff as I wanted. She never complained about the million times I decided something was not quite right and she sent me so many updates. I would recommend working with her to just about anybody. It was very cool what she was able to achieve and I got it in time for the holidays so I can enjoy my winter themed pfp on twt. So thank you from the bottom of my heart Liesl, and I hope everyone showers her with compliments because she deserves it. I also hope that people that don’t enjoy Ygritte very much can still appreciate the art and the concept of Jon as King Beyond the Wall. Hopefully I’ve gotten across how much I love and care for these characters to a chronically online degree and nobody accuses me of mischaracterizing them because that would make me!!!! very sad!!!

Bonus Jon with weirwood leaves:

Aegon VI and Rhaenys Targaryen, children of Elia and Rhaegar ☀️🐉

My commission by the wonderful and talented @shripscapi thank you so much!

something I drew for myself after wrapping up the last of my commissions

i’m still allergic to making my canvases sizes that work well with posting so details under the cut

I just finished a big revision of Compromise Chapter 10, which means I should only need to do a round or two of proofreading before posting. 🥳

To celebrate (and to thank my readers and followers for their patience), here is a wonderful portrait of the Velargirls by Liesl / @shripscapi 🥰

Liesl was great to work with! She aced all the little details that I asked for:

Velargirls’ eye color, especially Jace’s Tyroshi / Tyrian purple.

Jewelry! All the jewelry! Sunfyre pendant, dragonglass tension ring, rubies like blood drops in Joff’s hair.🩸

Joff’s creepy AF book cover.

Sapphire blue yarn!

Luce’s gloriously curly and perpetually untidy hair. And her silver hair net!

All the pretty ornamentation on Jace’s gown. It’s easier to see on the individual portrait version I have for each of the girls, but her sleeves are soooo luxurious and lacy.

I also think you can feel each girl’s personality coming through the portrait. Jace is taking it the most seriously with her classic pose and “just a little smile but not too much of a smile” expression.

Luce is having fun but probably arguing with the painter, “What do you mean I can’t show teeth? Also I am going to lean on this table, because it gets tiring standing in this pose.”

And then there’s Joff, who doesn’t want to be here. But Rhaenys and Rhaenyra really want a nice portrait of all the girls, so she’ll put up with the ordeal.

10000/10 would recommend working with Liesl. Definitely check out her other ASOIAF art!

Ygritte commission for @jaehaeryshater 🩵

oc commission by @shripscapi 💜

Danaë of Brno, a Přemysl Revenant and Fiendish knight of Clan Tzimisce. Shaagra's worst great-great-granddaughter. My Vampire: The Dark Ages -- Prague by Night OC, painted by the wonderful Liesl @shripscapi.

such a fright.

a commission of shera from @shripscapi who was a JOY to work with!!! LOOK AT HERRRRRR, they captured her haunting essence perfectly.

thank you so much again!!

Commission of Dany in Rhaegar’s armor! I thought this one was such a great concept and I loved working on the armor design <3

hello!!! first of all i absolutely adore your art, i kinda use it to motivate me to draw 😅😅 i wanted to ask you if you’d want to draw hotd and the x files characters in the future!! have an amazing day

hello! I'm glad to hear!! that's very kind :)

I haven't seen the X-files, so unless something possesses me to watch it someday, probably not.

Unfortunately, same with HOTD. I only watched season 1, but from what I've seen I'm not that interested in watching season 2. If I ever did fanart, it would probably be of the book versions. I like depictions of book rhaenyra

The Weeping Bride — Portrait of Emmeline Albrion by a well-known painter, 140 A.G.

The union of Lady Emmeline Albrion, heiress of Lion's Gate, and Lord Cerhir Beithir, Lord of Edina, sealed the long-awaited pact between their houses. This alliance was forged in the aftermath of their loyalty to King Alfons II during the war against his elder brother, King Philip I. Yet, despite the political triumph, the marriage was anything but happy. Lady Emmeline’s sorrow was evident, for in every portrait painted after her wedding, not once was she seen smiling.

Emmeline is a character created by me and lives in the original setting Artesia. You can read more about Emmeline here

(art by @shripscapi )