Recent entries

Herowannabe

In his chapter annotations, Brandon specifically pointed out the scene in Well of Ascension where Vin and the Koloss walk out of the mists, and said that- well, let me just find the quote... Ah, here it is.

"The scene where Vin walks away with the koloss in the mists, sword over her shoulder, all of them making silhouettes. . .well, that’s one I wish someone would do an artistic rendering of sometime."

As far as I can tell, nobody has ever done a rendering of that scene (though you have done one that was similar, with just Vin in the mists- that image now adorns my mousepad. :) thanks!)- have you ever thought about doing it? I'd love it if you did. ;)

Brandon Sanderson

The illustration of Vin you mention was, in fact, an aborted start to illustrating that very scene. One day I might get back to it. :)

sansaTheGreat

Who's your favorite Cosmere character to draw?

Ben McSweeney

Mmmm... lately, Adolin. But I don't get to draw the characters "officially" very often.

Enasor

Does it mean you have drawn Adolin? Any chances were are going to see those sketches someday? As a die-hard fan of him, I am dying to see a proper representation.

Ben McSweeney

There's a peek at Adolin's face on the Shardplate page, but just a peek. His armor does appear twice, both on the same Plate page and as Adolin's chapter icon, and those are Brandon-approved designs for both Plate and Blade... we might modify them as time goes on, but for now they're a good starting point.

Brandon's always been pretty cagey about releasing official illustrations of characters... Michael Whelan gets a pass because he's Michael flipping Whelan and because covers need faces, but we try to limit it within the pages of the book (covers change around the world, but the interiors go everywhere). This is because Brandon doesn't want to force one interpretation of a character's likeness down the reader's throat. He describes them, but the face you see in your mind is your own creation, and that should remain as valid as possible for as long as possible.

Someday we might collect those background works into a book, but not for a while. :)

Enasor

Oh that's a shame. I really hoped to see a more detailed facial within the next book. The miniature was amazing. You did a great job: I especially loved the little bangs of hair. I wished we could see what hid under the helmet though or just Adolin without his armor.

Ben McSweeney

I might do some unofficial version at some point. I like doing fan-art as much as anyone, it's how I got this job to start with. :)

TransFattyAcid

One of the drawings in The Rithmatist contains a spoiler for the chapter that follows. How do you all normally ensure that doesn't happen? Do you read the whole book or is it more of relying on the art request telling you what to avoid?

Ben McSweeney

That's something that falls at the feet of editing and layout, at the publisher. I produce illustrations to spec, but I don't get a lot of input on where they're ultimately placed on the page or in the book.

That being said, someone really should have caught that. [Peter], do you know if this is something that was fixed in later editions.

Peter Ahlstorm

The illustrations are all the way Brandon designed them. Some of them contain information that comes up in the text of that chapter.

Ben McSweeney

That's about as definitive an answer as an answer can be. :)

Arithered

What is your conception of how spren would appear to the average person? Do they have a solid physicality of some kind or are they more ethereal/ghostlike?

Ben McSweeney

Back during the pitch I did illustrate a few spren ideas for Brandon, but my understanding of them has expanded greatly since then. There's a lot I don't know, but I think I've got the basic idea down.

I see them as looking like they're made of Stormlight, sorta like many common sci-fi "holograms". I don't think any spren have physically solid forms unless the manifest fully, and the only examples we've seen of that so far are Blades.

In terms of their appearance, the text descriptions are always the first place I look. Never contradict the text, it's the common basis for all our interpretations.

botanicaxu

Could you give us some clues about how the two lines of buttons on Vorin havah actually look like? I find it hard to imagine correctly. (When designing this costume, has Brandon got some in-world reference?)

Ben McSweeney

The cut of a havah is similar to a cheongsam through the torso, with full sleeves and skirts falling from the hips. Beneath the slitted outer skirt are many thin layers like fine silk which interweave to create a sort of accordion effect. This would (I think?) allow the dress to fall at a sharp angle from the hip when still, while expanding to allow a full range of leg movement. The buttons run from the throat down to the waist, following a line from the jaw down to the collarbone, curving out to follow the bust and then down the line of the torso. I don't think there's a rule for the number of buttons, but when in doubt remember that "10" is significant to the culture. Frog buttons are legit, I think.

JavaPython_

If you have read The Emperor's Soul, what do you think of Forgery as an art form? Is it one that you wish you could use?

Ben McSweeney

It's pretty cool, I especially like the stamps... I think they'd be fun to design, just as visual props.

I'm not sure I'd be a Forger at heart... maybe. I think Brandon's playing around with some concepts regarding reproduction and the essence of content that are highly relevant to modern creative concerns, but that's another conversation altogether.

JavaPython_

What is it like to be famous really only because someone else famous hired you? That sounds impersonal, but it kind of feels like that's what happened to me.

Ben McSweeney

Nope, I know what you mean. It's a weird place, being on the coattails.

I try not to give it a lot of thought, really... I trust that I'm the right person for this job, because I bring a unique combination of skills and interests to the table beyond just my ability to render.

It also helps that Brandon and I started working together before he became the Fantasy Superstar... when I first started drawing for him back in 2008, he had only a handful of novels out, and his part in The Wheel of Time had not yet been the rousing success it eventually was.

Lastly, I do a lot of work for other clients aside from Brandon, and some of those clients also represent high-profile property like LEGO and Gears of War. If I'm good enough for them, and good enough that they keep coming back and asking me to do more work, I must be doing something right.

So I try to not fall victim to a sense of Imposter Syndrome. I think I might maybe be good at this stuff, or at least good enough. :)

JavaPython_

Are you getting to work on White Sand?

Ben McSweeney

Sadly, no. I'm not involved with White Sand, but Isaac speaks very highly of the artwork. He keeps promising to show me some of it through internal channels, but I haven't seen it yet.

I know they're certainly taking their time to do it well, and I'm as excited as anyone to see how it comes out!

JavaPython_

Did you have any hand making Aons for the first Elantris book, or preparing some for the second book?

Ben McSweeney

No, that's all Isaac Stewart. He's been working with Brandon much longer than I have, and he's responsible for all the maps and icons and symbols and most of the chapter heading illustrations, with the exception of The Rithmatist where I got to do it all.

russki516

Hey, thanks for doing this!

My question is how developed are your ideas of what Spren look like and how they behave? I would love to see some illustrations of them in the future.

Ben McSweeney

There's some early illustrations of them in the original pitch package, where they look very Miyazaki if I say so myself, but my understanding of them has widened considerably in the time since then.

I usually envision (and illustrate) them as ghostly, glowing shapes of infinite variety, a lot like the classical interpretation of a hologram. To the best of my understanding, spren appear to be made of stormlight when they're made apparent at all. Some have more detailed features than others, but I don't think any appear solid unless they actually manifest in the Physical Realm, and the only manifestations we know of are Shardblades (living blades have freedom to reshape though, so who knows what that could mean).

As to their details, if you take the few descriptors that Brandon gives and let your imagination run, you probably can't go wrong... even among the spren, two of the same type might look very different in detail. And an awakened spren has a lot of mutability, Syl is changing shape all the time.

As with all concepts, the text rules. So angerspren is gonna look like blood-red pools boiling up from the ground, and gloryspren will look like tiny translucent globes of golden light. Brandon wrote it, so that's what it is.

But you can translate "blood-red pools [of light] boiling up from the ground" in a few creative ways, and any of them might be equally valid. As the Interlude suggests, the appearance of spren is kinda quantum... fluid until/unless observed. I have a lot of fun seeing how creative I can get with the description while making sure I'm staying true to the text.

JavaPython_

What tips would you have for a beginner sketch artist/free hand drawer? How can I improve my illustrations? (I'm left handed, don't know if that'll make a difference or not.) I'm not horrible, I just tend to make large mistakes and since I prefer pen and pencil drawings (in a LOT of colors of ink) I can't really fix it.

Ben McSweeney

Being a lefty shouldn't hold you back, I've known plenty of excellent animators and illustrators who work sinister. Biggest hassle I know of is setting up your desktop workspace with hotkeys and all, everything is biased for dexters.

Gosh, tips... well, practice is the big one, but I know that sounds glib. I think it's true, though, that in order to be successful as an illustrator you need to love the process more than the project or the results... it's as much about doing the thing as seeing and being the thing. Rewards and results are fleeting, but the job is forever. So, you know, it's part of the process to review your work, identify your weaknesses, and seek active solutions.

I can't emphasize the value of rough layout and structural sketch lines enough... I never go straight to the finish lines, I need those buildup sketches in order to know where the finish inks will go. Even more so when working with real media, where you can't Undo your way out. If you're not applying the classic rules of structural composition, that might go a long way towards helping improve your stuff. My go-to was red pencil, but you can do a lot with a 4H or even an HB with a light hand.

If you're already doing that, then I'm not sure what to suggest... keep practicing, I guess?

Kisaoda

I got my wife hooked on Sanderson's works recently, especially the Stormlight novels. She absolutely loves Shallan as a character and fell deeper in love with her when she saw your illustration of her... which is now saved as her current desktop wallpaper. So kudos there!

My question to you is this: how much reading into the novels do you do before coming up with an idea of a setting or character to paint? What is your process when deciding the best scene to depict?

Ben McSweeney

The Shallan endpage is mostly Michael Whelan, I assisted some in the layout and design but he's responsible for the finished painting.

I read the full text of the novel while it's still in the draft stages, which is a rare privilege and part of what makes our production a little different than usual. When deciding what subjects to choose for Shallan's pages, I first look for seed that Brandon plants in the text, usually moments where Shallan specifically mentions drawing something. Or I look for subjects that are suitable for her to draw and which she's reasonably likely to see (and have time for) during her travels. Based on that and the conversations I have with Brandon and Isaac, we come up with a list of 6-8 subjects which we then develop further.

Even though Shallan does draw portraits of people, we avoid trying to reproduce those so as to not define the features of various characters too strictly. Instead we focus on plants and animals and hints of the world around her.

TheAngush

I could never tell, and I've got nothing better to ask, so: which drawings from the Stormlight books were you responsible for? Just the "Shallan's Sketchbook" ones, and nothing else?

Brandon Sanderson

All of Shallan's pages, and a few of the chapter icons in WoR. And I assisted Michael on the Shallan endpage illustration, although the final painting is all him.

Mostly what I do is help conceptualize animals and plants, and to a lesser degree Plate and Blade designs.

Lafona

I assume there are decisions you have to make on the fly while doing the art, so I was wondering: are there any of those that have made it into the lore, and maybe actually made changes to some of the plot elements? If so, what is your favorite thing you added to the story through the illustrations?

Ben McSweeney

Actually, most everything that makes it into the book has been reviewed and discussed and approved, so even the decisions I make on the fly are subject to change.

There's a series of character illustrations that were done early on, for the initial book pitch before the first novel was fully written. When Brandon eventually wrote descriptions for those characters in the text, the illustrations I'd provided played a part in what he wrote, which was wildly gratifying.

Zuesz

How many folders/piles of fan art do you have that have never been seen?

Ben McSweeney

There's not so much fan-art buried in the stack, because I usually publish it online as soon as it's done (if you can't share fan-art, what's the point?), unless I judge it to be awful in which case I bury it with the bodies and nobody will ever know.

But there's a lot of jobs that generate ancillary material which is never seen by the public. When it's client work, it's not mine to freely share. With Stormlight in particular, we'll hopefully be able to collect it all into a book at some point, so there's value in keeping it archived.

SonOfOnett

Do you think illustrations in books are going to become more common in the future? Sanderson seems to be enjoying exploring the idea of using them as part of his writing process and as another way for the reader to interact with the work (particularly with Elantris and Rithmatist).

Ben McSweeney

Gosh, I sure hope so. I'm a huge fan of illustration, and I think when it's done well that it really adds value.

I just picked up the George Martin collection of his Hedge Knight shorts, A Knight of the Seven Kingdoms, which has 160 beautiful pen illustrations by Gary Gianni. And I love the huge, hardbound Kaluta-illustrated of A Princess of Mars that came out last year.

Beyond that, I'm a huge fan of what Brandon's been doing with specifically illustrating in-world documents. We don't really do "scene illustrations" in Stormlight, and we only do spot illustrations in terms of the chapter icons. Some of those are more contextually descriptive, like Lift's pile of food (which is doing double-duty by being both thematic of her power and hinting a little at Rosharan food typs. Lots of gourds, shelled meats, berries and seed-breads) or the straightforward picture of Adolin's Plate, but for the most part we're pretty careful about making every illustration also serve as an artifact.

A page of Shallan's represents a page in her collection. A map of a location is a map on someone's table. An image of Alethi fashions is part of a regular delivery of correspondence that Adolin recieves because that's how damn rich he is.

Not every book would benefit from that sort of supporting content, but some might. I'm reading Jim Butcher's magical airship adventure The Aeronaut's Windlass and enjoying it, but I could really go for a series of illustrations on just how these ships are meant to look. He gives a pretty good description of one of the main vessels... 190-some pages into the novel, after a couple action scenes involving that ship, and I'm still kinda unsure of what the other ships look like.

Lastly, given that there's plenty of precedent for books that are well-suited to be adapted for other media, it's not a bad idea to establish aspects of the property as the author intends while he's still got some input. Once it gets licensed, that opportunity is often reduced or lost.

Oudeis16

I'm going to be cheeky and ask another question.

Is there a defense you think you'd favor as a Rithmatist? Either in a duel, the Melee, or at Nebrask? Do you think you'd be more offensive, or defensive? Would you favor chalklings or Lines of Vigor for attacks?

What style chalklings do you think you'd have? Melody made fantasy creatures, Fitch tended towards people, Nalizar made monsters. Do you think you'd tend towards a type?

Ben McSweeney

OOooo, nobody ever asks me Rithmatist questions.

I think I'm reasonably good at eyeballing dimensions, but I got a bend towards symmetry, so I'd probably not be fast with a 9-point. The Eskridge and Matson defenses are 8-pointers though, with the Eskridge being more suited to a melee and the Matson for a duel. I'd probably favor the Matson in a pinch 'cause it's fast to draw.

I think I'd create a lot of fat octopus chalklings for defense, 'cause there's a strategic mobility advantage in those long tentacles, even if the body is anchored to a point. Not sure what I'd use for attack... probably something I can draw a lot of, very quickly, so I can try to Zerg Rush my opponent while using my octochalklings and Vigor lines to hold back their attacks. Millipedes, maybe, with lots of fast legs and pincers.

I've just realized my side of the field is all bugs and tentacles. I think I might be a thematic bad guy. Or worse, the bad guy's henchman.

Oudeis16

Now I wanna see you and Isaac Stewart in a Rithmatic duel... or maybe fighting with Aons.

Really? No one asks you Rithmatist questions? I just finished a re-read. I love that book. Did you have to learn a lot of math to draw it all? Or did you know the math already? Or did you just draw it with the explanation and forget all the math?

I'm pretty sure I've deduced that the Line of Silencing is based on the involute of a circle, the way a Line of Warding is based on a circle marked by the significant points of a triangle...

Ben McSweeney

I think the Rithmatist will be a lot more popular when we've got another book in the basket. Brandon has a very good idea for the second novel, but it involves getting into imaginary revisions of actual history and cultures with living descendants, and he's looking to be careful as he does that.

I'm actually not responsible for any of the mathy bits of the novel, Brandon designed every defense and wrote all the rules and descriptions himself. My job was to take his diagrams and drawings from MS Paint to finished renders.

Because I rendered the illustrations in Photoshop, it helped to ensure that the geometry was perfect. Flawless circles, razor-straight lines, symmetry and point-placement clocked and locked. I could have done the same thing with compass and ruler, but it was significantly easier to build geometric shapes in-system and then texture and revise.

I got to be nice and creative with chalklings, but that's my place on the team. When it comes to the rules and the math, that's 100% Brandon.

WeiryWriter

Brandon is pretty good at including people as cameos (such as much of Bridge Four being his friends). Has he given you a cameo in the cosmere, or one of his other books, or do you know if he has any plans for one (because you totally should have one).

Ben McSweeney

You know, I don't think he has... if he did, nobody's told me and I haven't caught it. Of course, I already get name-checked in every book both in the acknowledgements and in the credits. And in a certain sense, I suppose I'm there every time my work is on the page.

WeiryWriter

You've mentioned in the past that you'd really like to do an art book of all the unused and supplementary art done for the Stormlight Archive that doesn't make it into the books. Are there any other projects that you'd love to do, if not now than at some point in the future?

Ben McSweeney

Well, as an animator/storyboard artist by day, it's no surprise that if Stormlight were to be optioned for animation I'd want to be all over that in as great a capacity as allowed. But that's kind of a cheat answer... I'd like to do more comics work, if I could find a way to make it balance. I've been enjoying the hell out of Gary Gianni's work in George R.R. Martin's new collection of the Dunk & Egg novels, a project like that could be fun. Honestly, right now I'm in a nice place with a lot of fun stuff on my lap, so as long as I can keep that rolling I'm feeling good.

mooglefrooglian

I loved the illustrations in WoR, and the broadsheet in Shadows of Self.

I'm wondering if it's possible to put more art in the books in the future. Are there limits in terms of printing costs to putting more art in things like the Stormlight books? Do you guys think the amount of art you have in the books now is perfect?

Something like an image for every chapter seems like it would be wonderful in my opinion. For example, a picture of how the bridges were held/carried during the first scene involving them in WoK (because I found that confusing).

Ben McSweeney

We actually did bump up the number of illustrations between book I and book II, but as you may know we also ran right up against the actual page-count maximum in Words of Radiance. The printer literally could not manufacture a book with more pages, we maxed 'em out.

We're never going to cut Brandon's text in favor of the art, 'cause we're not crazy, but we want to put as much in there as we can. We're probably not going to reach the point of an illustration for every chapter, but I don't think we'll be cutting back soon either.

fastlindyrick

I've seen you comment on other Cosmere-based conceptual discussions and fan art around reddit. How much does fandom influence your ideas of how things should look?

Ben McSweeney

When a fan really nails it, I think it can most certainly have an influence.

That being said, I firmly believe that the text comes first and foremost... I can't illustrate something that conflicts with Brandon's descriptions and expect it to be taken as canon, and a fan can render the most beautiful art imaginable but it won't stick in my head if they contradict the text.

tritlo

What is your favourite drawing so far? What is your next project?

Ben McSweeney

I think Shardplate is my favorite page. My favorite drawing... I think I'll have to think on that.

My next Brandon project is, unless something breaks, Stormlight III. Of course, Shadows of Self just came out, and Bands of Mourning will hit the shelves early next year, so those are the next things to see print.

tritlo

Nice! Are there any other artists that inspire you in particular?

Ben McSweeney

Oh gosh, lots and far too many to list!

If I was hoping to emulate anyone in my Stormlight work, it'd be artists like Alan Lee and John Howe for Peter Jackson, or Ralph McQuarrie and Johnston for George Lucas, or Ron Cobb and Chris Foss or Syd Meade for Ridley Scott.

I think Brandon's got the legs. But we've got a long way to go. :)

Rutsahl

How does the process work?

Does he give you his ideas, have you draw something up and get back to him when you're finished, or do you both work on it together (like in the same room, with him watching you draw.)

How many rough drafts and back and forths do you usually go through with a particular piece of work before it's called complete.

Ben McSweeney

Usually I get a rough draft of the novel, which lets me start looking for seeds (here is a neat thing) and direct subjects (here is a neat thing that Shallan is specifically described as drawing), and from that we build a list for what we'll actually produce.

Unfortunately, geography prevents me from working in the same room with Brandon very often, but we live in the age of email and Skype so it's mostly just an inconvenience that we work around. Generally what I'll do is start drafting rough sketches, submit them for feedback, and begin a cycle where we spitball ideas and work back and forth until the subject's design is settled. Then I lay out the actual Shallan page itself, putting the subject into place and deciding what else we can include. Once the page layout is approved, I'll render the final illustration.

During the entire process I'm in a regular email loop with Brandon, Peter and Isaac. We make loooong email threads. Some designs take many iterations before we get it right (the axehound was particularly difficult), some designs are nailed down almost instantly (Brandon and I got on the same page with Shardplate pretty early). There's no way to predict how it will go until it gets going.

_0_-o--__-0O_--oO0__

Do you think it ruins some of the mystique to include Shallan's sketches in the novels since her skill level is not left up to the imagination? It's kind of like the recently announced Kingkiller television show that's being developed. No matter how good of a musician they get to represent Kvothe, they will never match the skill level that I imagine him having from reading the books. Do you get what I'm trying to say?

Ben McSweeney

I totally get what you're saying.

The meta-function of Shallan's pages are to help illustrate the more alien aspects of the world around her... we focus largely on the wildlife and fauna of Roshar, with the occasional diversion into something like Shardplate. The idea is to supplement the descriptions, not to supplant them. We try to avoid illustrating characters (even though Shallan often draws portraits) in order to leave them to reader's imagination as much as possible... it's the only perfect tool for interpretation.

Unfortunately, the more popular something becomes, the greater the demand rises for visual interpretations. As such, I think it's much better to have a dedicated team directly working with the author on the subject. Because the alternative is the standard, in which artists will interpret the work at the direction of a third party (usually an Editor or Art Director), without direct, unfiltered authorial input... and possibly without even reading the book itself. I may not match Shallan's skills, but I know that I'm matching what Brandon wants to see, to the best of my ability.

TsorovanSaidin

How awesome an anime do you think Stormlight would make?

Ben McSweeney

OH MY GOD SO AWESOME.

I am biased, as an animator, of course. But I think the world of Roshar is too fantastic and unique to be anything other than fully animated. If you do it with actors, they're gonna do it in the big green rooms, and that so rarely works out well.

I'd be content with a CG animated series (Shardplate kinda begs it), but it'd be a lot trickier to do well. That being said, I've seen some really great CG, so it could be done.

TsorovanSaidin

I'm so happy you agree. I've been a pretty huge fan of Knights of Sidonia on Netflix. That's a perfect style for Plate in my opinion.

Ben McSweeney

KoS is pretty great (awesome manga, too), but the cines for Guilty Gear Xrd are just sick.

Game cinematics offer the best examples of quality, but it's not easy to get a studio in the range of Plastic Wax or Blur to dedicate the resources required for a full feature or a 22x12/24 series. Well, mostly it's just crazy expensive. But costs are always adjusting, the field is expanding, and we've got a lot of books left to publish before anyone's adapting it for animation or film.

ari54x

I think some of the 2.5d CG animation they do could work well for Stormlight- you know, where it's mostly illustrated but some action scenes use cell-shaded 3d models as a reference for the perspective and animation so it's really spot-on? That would be really cool.

Ben McSweeney

Oh, it's entirely feasible. Just a matter of the right budget with the right people at the right time. 'Course, that's a tricky triumvirate. :)

ari54x

Definitely. I'm hoping White Sand does well as a start to prove that drawing Brandon's work is a good idea.

Ben McSweeney

I think it might. And if nothing else, it's one more branch on the tree. Reaching out to new audiences is almost always a good strategy. :)

sproon

What medium do you usually favor and about what dimensions do you use for a standard book cover piece? Are they the actual book size or scaled down?

Also, do you have any clever signatures or symbols you like to hide in your work that you wouldn't mind sharing?

Ben McSweeney

I work almost exclusively in digital media these days, usually Photoshop or Manga Studio. Before I made the switch, I was primarily a pencil and ink artist. Hence the "Inkthinker" name, which I've been using for... well as long as I can remember being active on the internet. It was my first email!

Interesting you should ask about clever logos, are you already familiar with my other work? I do have a signature symbol, variations of which I will often use in illustrations. It's an icon of a lightbulb over a pen-nib, and you can find it all over my stuff on DeviantArt. Here's a good example of the logo game..

I don't think I've ever used it in Stormlight, because it would seem... inappropriate, I guess? Shallan's pages represent in-world artifacts, the lightbulb-logo meta-game has no place hiding there. I have used it a couple times for Mistborn illustrations in the MAG, and I did sneak it into an ad in the first broadsheet, but only because it seemed thematically appropriate at the time (it was an ad for lightbulbs).

Of course, the problem with a "hide the logo in places" game is that I often forget when and where I've done it at all.

sproon

I won't lie, I'm not overly familiar with your work but what I've seen, I'm a fan of for sure.

Do you enjoy the digital medium or do you miss the old days?

Ben McSweeney

I miss the secondary revenue stream that original art represents once your profile reaches a certain state. I still work with physical media from time to time, but I'm completely consumed by the variability of digital drawing. It's given me the freedom to do a lot of things I could never do before, but that option for secondary sales is greatly reduced.

If you like playing hunt-the-logo, I recommend my older work from 2007-2012, especially the game stuff. I was playing it all through my work with Fantasy Craft. Those guys give me lots of freedom to play around, and the meta-game seemed most suited to a game book. :)

_0_-o--__-0O_--oO0__

What is the best and worst part about working with Sanderson?

Ben McSweeney

Hmmm... best part is working with someone who genuinely loves what they do, and they're really, really good at it, and even better he's got a plan to keep doing it. It makes him a very inspirational partner.

Worst part... well, with the touring and so forth, sometimes it's really hard to get time where we can actually talk, even by phone. Unlike the rest of the team I don't live in the same city as Brandon, so aside from those few occasions when we're attending a con or his tour comes nearby, almost all our communication is by email. And that's a little frustrating, 'cause I genuinely like the guy on a personal level.

Brandon and I talk pretty steadily during production, but that's business and only takes place for a few months of the year. Most of the time I talk to Isaac, he has the patience of a saint.

inkfinger

Love your work, it must be so amazing to work alongside Brandon Sanderson and the rest of the team :)

As someone who wants nothing more from life than to be a full-time illustrator, I'd love to know what you think one should focus on to get into this type of work. Basically, what would your advice be to a young illustrator?

Ben McSweeney

Hm. To keep it short, I think you want to get a solid foundation in classical technique... the really boring stuff like perspective, anatomy, composition, life-drawing and portraiture. I know it might not seem like it relates to the sort of work you want to do, like you're being forced to conform to these rigid schools of thought that aren't relevant, and your teachers might mock your ambitions (if you have bad teachers), but please believe me... if you can master that cranky old-guy stuff, the possibilities are endless.

You're probably going to need to master digital tools, but most of the software we use to paint and draw in the computer is based on real-world toosl and techniques, so the more you know about the real stuff the easier you'll find it to manipulate and master the virtual. That being said, it's hard to survive as a commercial artist in the modern industry if you're not willing to work on a tablet.

It's a really competitive world out there. I worked for over ten years before I was able to make drawing-for-money into my sole source of income, and even then it was another five before I started to feel like maybe I wasn't going to grow old in the same world I grew up in. Lots of people make it happen faster. Even more people never make it happen at all. It's a great career, but you gotta be strong and well-suited and maybe just a little lucky.

The sooner you start, the longer you'll have to travel as far as you can go. :)

Argent

Are there any plans to create and release a collection of drawings as a separate book? While some of your gorgeous gorgeous arts makes its way into Brandon's novels, the focus is naturally not on them - but I am sure some of us would like to get our grubby grabby hands on a book that's only, for example, Shallan's drawings. One of her in-world sketchbooks, in a way.

If there are no such plans, is this something you would consider?

Ben McSweeney

There's plans, but they are waaay down the road. With Stormlight we're looking at a ten-book series, and we're only now on book 3.

That being said, we create and collect a lot of ancillary material during production. Failed ideas, wrong turns, and even just construction material. I don't see us leaving all that in a drawer forever. :)

Kopaka99559

Which of your illustrations would you say was the most enjoyable to create?

Ben McSweeney

Shardplate and Blades, hands down. It was also kinda the easiest, because I'd been doodling different types of Plate since the first pitch to Tor back in 2008. Brandon basically gave me a big ol' present with that one. :)

Discounting that, probably the Chasmfiend, just because it was one of those designs that was awful and failing and then suddenly I figured out a solution, and ultimately I loved the results. That nosedive is the worst on the way down, but man it feels good when you pull out of it.

platysaur

Chasmfiends are some of the most badass and terrifying creatures in fantasy, I think. So in that regard, you did an amazing job! Whitespines are pretty awesome too.

Ben McSweeney

Thank you! The whitespine design was particularly challenging, we almost went with a different creature up until just a few weeks before the deadline, when I scrapped it and redrew it all again. It really was a bad design, anatomically, and while I could have let it pass I would have hated it forever. The end result isn't perfect, but it's much better.

I think there's a blog post about it on Brandon's website, somewhere. Isaac did a whole interview with me, including pictures of the previous designs.

platysaur

Interesting story! Thanks for replying. I can't wait to see what you have next for Stormlight Archive! And great job on Shadows of Self too, I just finished it yesterday. I love the dude's super long and pointy mustache.

Ben McSweeney

Haha, I think Isaac came up with the description of the moustache, so he deserves much of the credit. They are dangerous-looking, aren't they?

Darkenmal

What's your average schedule while you are working on a novel?

Ben McSweeney

I usually get an early draft right alongside Isaac and Peter, which allows me to start thinking and thumbnailing and asking all Brandon all sorts of annoying detail-questions as much as a year before publishing. But the real, down-n-dirty work-work of producing the final art usually takes place in the last 3-6 months before delivery.

MikeOfThePalace

Is there a book out that there that you're just dying to illustrate? Something that caught your imagination and you would die of excitement if offered the chance to bring your drawings to print?

Ben McSweeney

Ohhh... gosh, if I wasn't drawing it already, I'd probably be all over Stormlight, but that's a crap answer. Let's see...

I reserve the right to come back to this later, but right now I've been enjoying the hell out of the Malazan series, and I wish I had solid illustrations of the various races... still, I'm only up to book 4.

I just started Jim Butcher's super-steampunky The Aeronaut's Windlass, and I'm kinda wishing for a guide to ship types and some of the House heraldry. I really loved what Keith Thompson did for similar content in Scott Westerfeld's Leviathan novels, though that was much more traditional illustration rather than visual development.

Not every novel really needs an illustrator... for instance, I don't think it's needed for Glen Cook's novels, even though I love the Black Company, The Instrumentalities of the Night and the Garrett P.I. series (I do wish the cover artists would stop illustrating Garrett as if he were Sam Spade, it's worse than putting a hat on Harry Dresden).

I'll think about this some more.

Oudeis16

I know a lot of people get tattoos with work from Mr. Sanderson's books. How do you feel knowing people have your work etched painfully into their flesh?

Ben McSweeney

It's a little weird, only in the sense that it's so intensely, overwhelmingly flattering that it's difficult to figure out the right response. What do you say to someone who appreciates your work that much, other than a wholly inadequate "thank you"? Though I guess as it goes on, I'm getting used to it.

I'm quite certain Isaac has me way beat in the tattoo-inspiration department, as he does most all of the icons and symbols associated with Brandon's novels. But every Pattern tattoo is another tally for me. :)

NoNoNota1

Since you do this as a career, do you still draw and illustrate for fun as a hobby, or does it begin to just feel like working overtime, no matter how much you love it?

Ben McSweeney

I do, but not nearly as much as I would if I wasn't doing it all day, every day. I'm not sure what my hobby is, these days... reading, I suppose? Games sometimes. Redditing too often. :)

ChannelSaidin

First off, I want to say thank you for the great illustrations.

I was wondering, what is your favorite scene that you have, or wish, to draw?

Ben McSweeney

Thank you for the compliment! We do 'em 'cause we love 'em, and we love when you love 'em too. :)

All my favorite scenes are so spoileriffic. The Second Ideal, the chasmfiend appearances, the final battles of WoR, "Stretch forth thy hand!"

If I draw my favorite scenes and they're seen by people who haven't read the books, it'd be like seeing all the best parts of the movie in the trailer.

lurkotato

Are there any creature sketches of Shallan that didn't get included in the Stormlight Archive books?

... because I would pay for a copy Shallan's sketchbook, especially the wildlife detail. take note Brandon

Ben McSweeney

There's a few. We hope to collect all the ancillary material into it's own book at some point, but not for a while... the novels are the main focus for the immediate future. The more novels Brandon writes, the more ancillary material we can create and collect. It'll pay off in the long run.

Happilymarriedman

I'm currently working on a novel myself. I'm having some issues visualizing the characters I can write descriptions all day long. How often does an author come to you and give you a relatively vague description of what they are seeking, is there an extra cost for dreaming that stuff up?

Ben McSweeney

Well, generally speaking there's always going to be a cost if you're commissioning someone to illustrate your descriptions. Before you go to the expense, one suggestion I might put forward is to cast a few actors in the roles. Don't tell anyone who you choose, but if there's someone out there who would perfectly fit the role, cast them in your notes and then use Google Image and IMDB to collect reference and let that lead you. Also, don't overdo the descriptions when you do get down to the actual words-on-the-page... Pick a few notable features, be consistent, and allow the rest to be inferred.

Brandon is actually not very interested in portraiture for the published art in the novels... you may notice that we very rarely show anyone's full face in our illustrations. Part of this is because Brandon doesn't want to force the reader into imagining the characters looking just one way... the image you create in your mind when you read a description is yours, it's the part of your reading experience that you create and it should be as valid as anyone's.

That being said, I got to help Michael with Shallan's portrait in the Words endpages, and that was great fun for me as well as leading to a better, more accurate Shallan.

EctMills

Have any aspects of your style changed as a result of working in the publishing industry? If so what were the changes and why were they necessary?

Ben McSweeney

Oh gosh, yes... for one thing, I'm constantly having to push harder just to keep up, younger artists have a great advantage in learning to work digitally from the start. I picked it up over a decade into my career, and had to learn it on the fly.

The switch to digital media is probably the largest, most sweeping change to happen to Commercial Art in hundreds of years, and if you can't make the switch you had better be damn good. Art Directors and Editors have come to appreciate the mutability of digital media, and it has massive advantages that physical media can't replicate. It lacks the tangible nature, but for most commercial purposes an original piece of physical art is just an artifact with a separate value, it's not relevant to the needs of the client.

I was dragged kicking and screaming into learning to use a tablet. 8 years later, and I never want to give it up.

what_how

I enjoy your covers quite a bit. You also do a lot of animation work, one of which was Post Human, which was in 2012, I think? Incredible work!

I've looked around, and I can't see many of your sketches posted online. Those that can be found look incredibly clean! Do you keep a running sketchbook for ideas, and if so, are they all that pretty looking?

Ben McSweeney

I don't do very many covers (none for Brandon so far), but I love when the opportunity presents itself. :)

Yep, Post Human was produced in 2011-2012, it was the last project I worked on at Studio Fates. Crazy stuff.

I do have a couple physical sketchbooks that I doodle in, but a large portion of my work today is digital. I keep a Manga Studio story file for a digital sketchbook, though I'm just as likely to doodle something up in Photoshop.

Most of the work I do now is for clients, either studios or individuals, and that doesn't allow me to share as much as I used to. It's unfortunate that one of the results of doing more paid, professional work is that it cuts into your time for personal work that you can share freely.

the_mighty_titan

What's the general cost when commissioning an illustration?

Ben McSweeney

Industry standards vary wildy depending on where you're sourcing your talent, and through whom. Unless you have someone like an Art Director or Editor doing the legwork and brokering the deal, you'll have to negotiate specifics with each artist privately. Their rates will be informed by their current availability, industry experience, and self-confidence.

Newer artists will often work for a few hundred per image, sometimes less. For a more experienced illustrator who's in-demand, you can probably expect a total budget of several thousand, and if they're really popular and you're looking for, say, a cover painting, it's going to hit five figures easily. It's earned through the experience and reliability that they bring, when you commission Michael Whelan he might cost you a chunk of money, but you know you're getting one of the very best.

That being said, the rise of digital painting combined with a growing entertainment industry has given birth to a flood of new, hungry commercial artists... you still have to sort for the diamonds, but if you're willing to do the legwork there are more options for you now than, I'm quite certain, ever before in history.

It's an interesting time for the field, but it really brings that Chinese curse aspect to the front. :)

oednj

How much input does the author have into the illustration?

Do you read his work then draw and show it to him? Do you sometimes draw something and he incorporates it in the novel?

Ben McSweeney

Brandon actually has direct input into the illustrations we do, especially those for Stormlight.

For the most part, I get an early (often partial) draft about the same time as Peter and Isaac. On occasion, something I draw gets incorporated into the text, either as a later edit or even in another part of the book. That's always awesome for me, but it's really rare and only we know when that happens.

Brandon Giles

Did we see the Fourth Ideal of the Windrunners anywhere in Oathbringer?

(I.E. did Teft speak the Fourth Ideal before he went through the Oathgate?)

Brandon Sanderson

No.

Wubdor (Part 1/Part 2)

Early in [The Well of Ascension], Vin calls duralumin the 14th metal. But at the end of [The Final Empire] only 12 are known to them, aluminum being the 12th.

Did they find out about electrum as the 13th (since it's in the Ars Arcanum), but didn't tell the reader? Is it intentional that duralumin is the 14th to them or was there a specific reason that electrum was never mentioned?

Peter Ahlstrom

Electrum was found between book 2 and 3. But they said 14th because of pairing.

Elayne Startracker

Can Shardblades be pulled and pushed?

Brandon Sanderson

It would take a LOT of power to do so. Conventionally, no.

Also, why y'all are reading today's Oathbringer sample chapters, know that I wrote chapter one of the final Stephen Leeds (Legion) story.

David J Foster

Wait, the FINAL one? Are you really going to answer all the questions raised about his back story? Or is this just FINAL FOR NOW?

Brandon Sanderson

This one is back story focused.

Phantrosity

If polestones glow in colors appropriate to their gem, what color does smokestone glow?

Peter Ahlstrom

Grey.

Leinton

Who shaves Marsh's head? Is he able to see his hair well enough to do so? Does he have a barber?

JazzyKandra

Is it a matter of Spiritual Identity? Marsh sees himself as Ironeyes, like Kaladin sees himself as branded. Seems like similar things.

Peter Ahlstrom

I do not think it's like that for Marsh in this case, for various reasons.

David J. Foster

It sounds like [Brandon] identified a new shard, Ingenuity, in an interview in Bulgaria. Can you verify this?

Peter Ahlstrom

That is news to me! Maybe [Isaac] can ask him.

Isaac Stewart

I asked [Brandon]. He said readers can interpret his words how they want.

Argent (Part 1/Part 2)

Been discussing something Mistborn - can we have Wayne's and Marasi's time compression/stretch factors?

i.e. What would 60 seconds of "real time" turn into for either one of them?

Peter Ahlstrom

We'll have to RAFO that.

Yata

Hi, the community has a [question], we have two WoBs: Shardblades can cut aluminum and Shardblades can't cut it. Which one is true?

Brandon Sanderson (Part 1/Part 2/Part 3)

Hm. Yes, I wondered last night if I'd ever answered this before. Truth is, the answer is contentious at Team Sanderson.

I've been pushing for one answer, but Peter (whom I trust) is pushing back. We will see what ends up in the books as canon.

Problem with magic like I do is sometimes you have to wait for the scientific consensus... :) Err on "no" for now.

Peter Ahlstrom (Part 1/Part 2/Part 3)

Oh, I think aluminum would stop Shardblades from magical cutting. But if it's too thin like foil, a sword...

...would cut it anyway. What I'm arguing is that something else that Shardblades don't cut doesn't need...

...to necessarily be made of aluminum, for various reasons.

Yata

For example Invested objects (metalmind,spike,etc) or polestones (from some SA's Quote) ?

Peter Ahlstrom

RAFO