Tove L. J., a big part of the creative force behind the prolific Midnight Tower studio, has launched her first solo project on Kickstarter: 100 Hand-drawn Fantasy Ink Illustrations. Moving away from the digital convenience of the studio’s typical fifth edition adventures, this campaign focuses on a curated collection of physical ink drawings designed for personal and commercial use within the tabletop community.
This project marks an important change for Tove, who is moving away from the Midnight Tower brand to create her own personal identity. The campaign has already exceeded its initial £200 funding goal by 10x, showing growing interest in “100% human-made” products in a world where generative AI is becoming more prevalent.
The collection is defined by its commitment to traditional media. Each illustration is hand-drawn on hot-pressed paper using a traditional dip pen and Black Indian Ink. This “scratch” of the pen is a deliberate return to a more physical and demanding artistic process after two decades of digital work.
Tove notes that the lack of an “undo” button requires greater concentration and skill, since mistakes cannot be erased once the ink hits the paper. This dedication to the craft results in a “gritty OSR” (Old School Renaissance) aesthetic, heavily influenced by the 2nd edition of Dungeons & Dragons and the work of Gary Chalk in the Lone Wolf series.
The Witching Hour and Oxford Roots
Much of the artwork is produced during “late-night sessions,” a time Tove describes as the “Witching Hour”. The stillness of the night allows for uninterrupted creative flow, often resulting in pieces that are darker or more mysterious.
The artistic style is also deeply rooted in the 15 years Tove spent living in Oxford. The city’s gothic architecture and literary history, ranging from J. R. R. Tolkien and C. S. Lewis to Philip Pullman, has a way of “sneaking up” on the creator. This influence is visible in the atmospheric, storied quality of the 100 illustrations.
Creative Control and the Midnight Tower Art Licence
Aspiring creators can utilise these illustrations through the Midnight Tower Art Licence. This specific agreement was designed to balance creators’ freedom with professional protection, allowing backers to use the art for personal or commercial projects while preventing its redistribution on print-on-demand sites like Redbubble. The project aims to provide a coherent style of stock art for those who prefer to avoid AI-generated content in their roleplaying games.
Interview with Tove L. J.
You’ve mentioned that these illustrations are drawn with a traditional dip pen and ink on hot-pressed paper. In an age of digital tablets and undo buttons, what is it about the “scratch” of the pen on paper that keeps you coming back to traditional media?
I think that the main reason why I picked up pen and paper again, after creating digital fantasy art for more than 20 years, is that I longed to go back to a time when creating art was much more physical and demanded more of my attention. I first drew illustrations using pens, but soon discovered dip pen and ink, which I used for drawing maps. Using physical media requires more skill and concentration, but there is something liberating about the process as well. You can’t erase a mistake with black ink, and there are no nifty shortcuts that allow you to flip your illustration horizontally to get a perfect mirrored copy of your drawing.
I heard that many of these pieces were created during “late-night sessions” outside your usual publishing schedule. Does the atmosphere of the night change the kind of monsters or heroes that end up on the page?
Oh, yes, for sure. I’ve always loved creating late at night, both drawing and writing. There’s something in the stillness of the night, when most people are asleep, that is magical. (It’s not called the Witching Hour for nothing.) Late at night, with no time pressure, is a great time to be creative. Thoughts that aren’t interrupted have the possibility to take form – and they might lead to artworks that are a little bit darker or more mysterious.
You’ve spent a lot of time in Oxford, a city practically soaked in fantasy history. Does being surrounded by that kind of architecture and history bleed into your art style?
Absolutely. I lived in Oxford for more than 15 years, and the town’s history, quirky pubs and literary legacy (ranging from J. R. R. Tolkien, C. S. Lewis, Jane Austen and Oscar Wilde to modern-day writers like Philip Pullman) sneak up on you. The fact that you can visit C.S. Lewis’ lamppost and the tree that inspired the Ents was absolutely wild to me when we first moved to Oxford!
Midnight Tower is famous for polished 5e adventures, but this project leans into a “gritty OSR” (Old School Renaissance) style. What draws you to that old-school aesthetic? Is there a particular 80s fantasy book or artist that first sparked this “nerdy passion” for you?
I grew up with the Lone Wolf Adventure books and Gary Chalk’s illustrations are a massive influence. Since I didn’t have anyone to play role-playing games with at that time, I spent hours reading and playing solo books. Later on, when I started playing Dungeons & Dragons, we used the 2nd edition rules (together with parts of the first edition and a hefty dose of homebrewed content), and I’ve always loved the old-school illustrations in those editions.
You’re letting backers vote on the subjects of the final illustrations. What’s the strangest or most exciting request you’ve received from the community so far?
A banjo, perhaps? Most of the suggestions are really good, and several of them have made it to the book. I’ve just finished an illustration of a Green Man mask, which will be included in the Bard’s chapter.
You’re offering a specific “Midnight Tower Art License” with this project. For the aspiring creators out there, what was the goal in creating a license that balances “creator freedom” with “professional protection”?
I wanted to protect my artwork, but at the same time let people use the illustrations for their own personal or commercial projects. The art licence that I’ve come up with will prevent people from using the art on sites like Red Bubble or sell them directly as “their design”. It’s always a good idea for aspiring creators to keep the balance between making sure to own their intellectual property while at the same time letting people use their art, which I’m hoping that the Midnight Tower Art Licence will achieve. One of the reasons that I wanted to make this project is to let other creators have the possibility to get 100 pieces of stock art in a coherent style that they can use for their projects, especially for those who prefer not to use AI in their books or adventures. In a way, it is my gift to the community, which has given me so much in return.
Your bio mentions you are often “bossed around by your cats.” Have any of your pets ever “helped” with an illustration, perhaps by stepping on a wet ink drawing at the worst possible moment?
One of my cats, Sally, is very much my cat (or rather, I’m her loyal and subservient feeder). She often parks her fluffy bum on my illustrations and likes to confirm that gravity is still working by pushing pens, pencils, and brushes down on the floor. So far, she hasn’t actually managed to destroy anything, but I have a feeling that if I ever forgot to feed her, she would promptly and mercilessly knock over the glass pot with black ink without even an ounce of bad conscience. I make sure to feed her according to her preferred schedule, to be on the safe side.
When you aren’t drawing, you play a level 10 bard named Nell Desmodena-Murkborne. If Nell were to look through this collection of 100 illustrations, which one would she want to write a song about?
Since Nell has fey origins, and her great-grandmother is a hag, she probably would love everything that is fey-ish or related to music, and probably wouldn’t say no to the flamboyant hat, either. But what I really believe that she would die for is the Staff of K’herizzi-Dûn or the Tome of Dark Arts, which is used to belong to the legendary archmage Octavia Dragonborn.
After these 100 illustrations are out in the world, what’s the next dream project for you? Is there a specific corner of the fantasy world you haven’t drawn yet but are dying to explore?
I have two things brewing in my cauldron. One is a new murder mystery, which I’m hoping that we can launch in a couple of months on Kickstarter under Midnight Tower once the campaign guide has been sent out. Then, of course, since the art Kickstarter has been funded (massive shout-out to everyone who has supported the project: You’re amazing!!!), I have an inkling that there might be more ink illustrations on the horizon… I mean, I wouldn’t say no to drawing 100 fantasy magical weapons, for example!
How does it feel to step out from the “studio name” into your own spotlight?
I thought long and hard about whether I wanted to run this Kickstarter under Midnight Tower or my own name, and in the end, I decided to branch out and launch it under my own name. The reason is that I don’t want people to get confused (or disappointed), if they are expecting a Midnight Tower Kickstarter, most people will assume that it’s going to be an adventure for 5e. Having said that, it wasn’t an easy choice. Running this Kickstarter under my own name is – in a way – absolutely terrifying. Although I’ve launched 13 successful Kickstarters together with my partner Erik since 2019, this is the first time I’ve done it without “hiding” behind Midnight Tower. I’m always nervous when we launch a Kickstarter and I sometimes feel overwhelmed by the imposter syndrome. But then again, deep down, I do feel that my art and quirky writing are actually making people happier, and I want to share it.
Rewards and Funding
Backers can support the project starting at £10 for a digital thank-you card. The primary reward tiers include a £25 digital package containing all 100 high-resolution illustrations for commercial use, or a £50 signed hardback edition of the book. For collectors, the £100 tier offers a unique, original hand-drawn artwork alongside the signed book, while the £250 tier allows backers to commission a custom illustration for the final collection.
Midnight Tower has also confirmed its attendance at the UK Games Expo this year; fans can find them at Stand 2-T90.
The project is an “all-or-nothing” campaign with a funding deadline of Thursday, April 23, 2026, at 7:46 PM BST. Digital and physical rewards are estimated to begin delivery in May 2026.
