Sunday, 29 September 2013
These are my first 24 concept ideas as thumbnail sketches. Here you can see I have mainly focused on the scene of the burning sculptures. I would like to challenge myself with low and high lights, such as the glow of the flames or natural window daylight.
My favourite ones from this group are 1, 15, 21.
Apologies for the low quality.
On our first meeting with Meg we used a praxinoscope. Here we drew ten frames on a circular piece of paper then span the wheel to see our drawings move. From this exercise I have learnt to consider the speed of something, how fast or slow do I want my object/subject to move? I know ten frames isn't even half a second but it still puts into perspective how many drawings and how much detail is necessary.
This is my zoetrobe. It is a simple clock with the hand going around. I think drawing this simple object has worked effectively and I thoroughly enjoyed it.
Saturday, 28 September 2013
It took me awhile to decide on a concept artist as I adore so many. From time to time I have a 'new favourite' however, James Gurneys' work I keep going back to. Since discovering paleo-art and not just looking at them as science material, but pieces of art, I began to dig deeper into which artists use dinosaurs in ways we haven't seen before.
'Morning in tree town'. (Right) I like the scale contrast in this piece and how these creatures seem to be playful and connect with young children.
'Canals at Night'. (Left) I admire the colour palette used in this piece as it is very complimentary. I also like how he has influences of culture in there; from the details of european architecture to the Asian-style dino boat.
I can definitely say that these two artist illustrators have been my main source of inspiration for a long time. Both of which have been issued in Imagine FX twice, which is where I discovered Jennifer Healy. I then started following their work on deviantart, and here I found Anna Dittmann.
Her two pieces here 'Crown' (right) and 'Costellation' (left) are just some of my favourites. I love how her images have a dreamy and delicate feel to them, also her use of colour gives off the right mood and tone that she is aiming for.
I think I admire her work even more so as I haven't seen something like it before and would love to achieve this level of technical skill and personal flair.
From her sketches to her final designs I am always intrigued to see her workflow. I like how she puts beauty in a contrasting environment, for example; 'Beauty in the Beast' (right).
Jennifer Healy has been a great influence on me as now on occasion I'll swap my graphics tablet for colouring pencils.
Friday, 27 September 2013
Wednesday, 25 September 2013
This is my first influence map. I first started researching castles. Then i thought about the texture of the castle,
as it is described as old and earthy. Though the book does not suggest where it is or what location i imagine it to be on a cliffside or hilltop of some sort. There are certain perspectives and areas that i would like to test out as thumbnails; such as, the book describes a castle hall with emerald structures in it (hence the stained glass window and emerald). Lastly, i want to challenge myself with perspective and the use of low light, there is a scene of a fire blazing as onlookers watch quietly, I'm hoping that testing out the bright colourful emerald light and the orange fire flames I can come up with some atmospheric scenes.
'The Cabinet of Dr Caligari' directed by Robert Wein in 1920 has certainly been an inspiration and influence to our modern directors, such as Tim Burton. Instantly the mise en scene is obscured and unnatural yet the people living in the location act as if it is the norm. "Reality is reproduced as if it were reflected in a fun house mirror. The distortions , however, do not obscure the objects but instead render them in distorted shapes". Merrick Doll, The Modernism Lab.
I feel this film is open to interpretation, was the young Francis simply going insane? Is Dr. Caligari who he seems to be or a professor at a asylum? "a film of delusions and deceptive appearances, about madmen and murder" Roger Ebert, 2009. The design of the set contributes to the horror theme, not just because of the quirkiness but also the spacing. The small empty spaces with nothing more than (sometimes) just black crooked lines could suggest how confined we are to whats really going on; reality. It seems Francis breaks out of the 'confined space' and pays a consequence for it.
Wein has installed some conventions of the horror genre that we still see today. "often considered one of the greatest horror movies of the silent era" PublicDomainReview, 2011. With his set being diagonal and angular he has deliberately elongated the shadows to make the 'shadow-maker' seem more intimidating and menacing whereas the distressed victim, who is unaware, now becomes more vulnerable. It is the 'unknown' that gives this film the scare factor. I think Wein wanted to play off of 'your'e only aware of what is shown to you or what wants to be revealed to you' and if you are able to discover something (that you shouldn't have) what and if are the consequences?
To our modern eyes 'Le Voyage Dans Le Lune', directed by Georges Melies in 1902 seems more magical with an underlining of sci-fi and humor. The 'unknown species' that live in the moon add to the conventions of sci-fi. However, I feel the 'wizard-like' hats the scientists wear at the beginning and the personified stars and moon make the film less menacing and more whimsical ."it saw its maker hailed as a cinemagicien, weaving spells on celluloid. Sci fi cinema was born" Louis Pattison, NME, 2012.
The comical underlining I feel has come from the personified stars and moon. Melies didn't just give these space forms action or life but actual personality. "signature image of a bullet-shaped rocket lodging itself in the eye of a smirking moon". Mark Pittillo, RottenTomato. I like how even though at that time we hadn't investigated outside of our world, Melies still put life into something that we were unsure about whether it had/was life or not. No one could tell him it didn't/did have life so he was free to make the 'smirking moon' have expressions and become amusing to audiences.
Throughout the film the mise en scene does contribute to the sci fi genre but it really goes up a notch when the scientists are exploring inside the moon. "as the travellers discover a world full of strange rock formations, waterfalls, and enormous mushrooms". Aycyas, 2008. He has created natural 'earth-boundees' and put them on foreign turf, then made them unnatural sizes. It seems as if Melies deliberately obscured his environments to make audiences of that time question if there is other life-forms out there? Whether they are bouncing beasts, massive mushrooms or worlds hidden inside a floating hollow rock.
Tuesday, 24 September 2013
I have divided it into 5 scenes; the castle and hall, the kitchen and attic, and lastly the room of roots.
I would like to challenge myself to different types of light, therefore I am thinking about using the castle/balcony as one environment, the hall or attic as the second. However, the third I am unsure of, I think the kitchen has the most description but I don't want to lose the fantasy element that this book possesses, so maybe the room of roots?
Later I will put these excerpts into a Scribd document.
Monday, 23 September 2013
Even though I have only read the given parts of this book, it was a delight to read. Poetic and beautifully written, I'm looking forward to creating some sinister concoctions with ( I feel ) a medieval flair. The words of Mervyn Peake practically painted a scene for me, lets hope my picture can tell a narrative as well as Peakes' words can create a world.
Friday, 13 September 2013
Monday, 9 September 2013
Sunday, 8 September 2013
I have enjoyed inventing these things as it gave me a chance to try a new style (steam-punk) and really test my creativity because of the rules of concept drawing.
Apologies for the low quality scans.