I have tried adding a colour overlay to my thumbnail sketches to experiment with how colour will work with the compositions and get ideas on what sort of colours would work for my concept art.
Monday, 30 September 2013
I produced some more thumbnail sketches using the graphics tablet to try and improve my skills using it, I felt these thumbnail sketches came out better than previous ones. I was improving upon previous sketches I had hand drawn.
Sunday, 29 September 2013
Thursday, 26 September 2013
I produced two more Influence Maps, one focusing on caves and the other on machinery, the scenes in the book describe caves with giant plants and fungi growing as well as a giant engine that creates light in the caves. So i looked at underwater caves with the glow of the man made light illuminating them, and at engines to get some ideas to base my concept art on.
This film review examines Robert Wiene’s 1919 film, The Cabinet of Dr. Caligari, a German expressionist film set in a surreal world of an expressionist painting brought to life through the sets designed by Hermann Warm, Walter Reimann and Walter Rohrig. The style of the film is symbolism for the uncertainty of the German people at the time following World War 1, and the emotions they were feeling having lived through it.
The film starts out in a normal setting and then becomes this surreal world during a flashback that the story of the film takes place in, this world is later explained through the psychological state of the main character. This is symbolism for the psychological state of Germany at the time after world war 1 and uses expressionist paintings to show how unsettled the country was feeling, which is portrayed through the characters and the locations, Matt Holmes agrees that ‘The imaginative sets show the deep psychological nightmare of Germany who couldn’t quite believe the horrors they had been through in the previous years.’, also due to constraints in budgets with the value of money dropping during the German expressionist period, cheaper sets were used which allowed this style of expressionist films to come forward and be more successful as well as the ban on most international films in Germany. The film was also part of the extreme anti-realism period of German expressionism, which worked as a form of escapism to the public, from what had happened and their lives.
The dimly lit spaces and contrast between dark and light in the film are typical of German expressionism but add to the effect, creating a dramatic emphasis on the characters and what is happening. Using dark cramped settings adds to the suspense and build up to the climatic points, such as when the Sleepwalker is creeping up to the victim, the camera angles are close to the scene and enclosed creating a sense of claustrophobia while the victim is being attacked. Kolar takes the view that ‘The story lines of German expressionist films matched the visuals in terms of darkness and disillusionment. Often sombre in mood and featuring characters from a corrupt underworld of crime, the films’ dramatic effects produced motifs of claustrophobia and paranoia.’, the visuals are used to add to the narrative of the film, with the sets being used to start the build up to a climatic point, and add emphasis on parts of the film. Everything in the world created is familiar in shape and recognisable but is distorted to become stylized in a way which adds to the psychological unsettlement in the film, Reimer agrees that ‘The world, created to be both familiar and strange, speaks to the physical and psychological horrors Germans experienced after the end of the war’, which adds to the escapism of the film by the settings being different to everyday life but while still familiar.
Kolar. German Expressionism: The World of Light and Shadow. http://mubi.com/lists/german-expressionism-the-world-of-light-and-shadow
Matt Holmes. The Cabinet of Dr. Caligari: Suffering creates art? http://whatculture.com/film/55-the-cabinet-of-dr-caligari-1920-robert-wiene.php
Robert Reimer, Historical Dictionary of German Cinema (New York: The Scarecrow, Inc., 2008)
This review examines George Méliès’s 1902 film, La Voyage Dans La Lune, a film where Méliès uses an array of painted backdrops and special effects to create the other worldly-feel about the film. No one had been to the moon in 1902 so the moon was still mysterious and unexplored, allowing Méliès to create his own world based on fantasy novels of the time such as H. G. Wells’s 1901 novel, ‘First Men in the Moon’. Méliès relied on painted backdrops as was custom at the time, making the whole film look very theatrical and as if it was on a stage, as well as some of the sets looking like they could be an ‘old masters’ landscape painting.
The sets in the film were designed by Méliès himself, capturing the mystery of the moon in a low detail way with the lack of clarity on the shapes adding to the effect the sets create, sometimes only using basic shapes or rock formations but successfully creates the sense of being in a different world, as can be seen in the still above. The depth to the scenes is created using forced perspective, making the 2d sets look real, as is described in the follow quote ‘In his exuberant narrative Méliès successfully mixes traditional stage-craft with his extensive repertory of special effects.’ a technique that is common in theatre and the way he uses special effects with the theatrical sets creates various perspectives in the shot and create the sci-fi element of the film. The scenes also used moving parts to show exploration of the moon as is described in the following quote, ‘Méliès was also known for creating a glass studio that allowed him to carefully construct the mise-en-scène, using elaborate scenic backdrops complete with moving parts’, in the scene above part of the back drop quickly moves away as they explore and becomes a different scene, creating a more immersive experience to the film.
The poster above shows the most famous scene from the film, where lighting and special effects are used to create the character of the moon and create a sense of momentum as the rocket flies towards to moon and ends up lodged in the face , as is described in the following quote, ‘its signature image of a bullet-shaped rocket lodging itself in the eye of a smirking moon is one of the most recognizable images in cinema history.’ This is interesting as it is only a short scene in the film and is purely for comedic purposes, without much relation to the rest of the film, and could be just because of the special effects used were ground-breaking at the time.
Le Voyage Dans La Lune. http://www.rottentomatoes.com/m/trip_to_the_moon-1902
R. F. Cousins. Le Voyage Dans La Lune. http://www.filmreference.com/Films-Vi-Wi/Le-Voyage-dans-la-Lune.html.
Tyson James Yates. Le Voyage Dans La Lune. http://staticmass.net/early-films-and-cinema/le-voyage-dans-la-lune-a-trip-to-the-moon-1902/
Wednesday, 25 September 2013
This is my first influence map, the surface of the moon in the book is covered in fast growing plants in the day so I looked at plants as well as the moon surface and antarctic conditions to generate some ideas.
I produced more thumbnail sketches while reading the second and third extract from the H. G. Wells book 'First Men in the Moon'. The terrain changed from the first extract which was mainly the surface of the moon, to inside caves and with a focus on machinery. I tried to generate some quick sketches on what was described, and tried to capture the scale of the caves and the engine that the descriptive language in this part of the book focuses on, mainly in sketches 25, 29 and 30.
I also tried to capture a sense of claustrophobia that the characters would be feeling at this point in the book with the caves narrowing in on them during their escape, mainly in sketches 33, 34 and 35.
These are my first thumbnail sketches I produced while reading my first extract from the H. G. Wells book 'The First Men in the Moon'. I was just drawing what the language in the book was describing and what I imagined as I was reading it just to get ideas out.
Tuesday, 24 September 2013
Thursday, 19 September 2013
These are my 101 concept drawings based on the original objects, completed over the summer in stages to stop my ideas running out. Combining different objects to create new ideas and repeating ideas to try and take it further, after a while I started to find it difficult to come up with new ideas from the same base objects but managed to prevail and come up with 101 drawings.