Wednesday, 9 October 2013

OGR- Cinematic Spaces Project 1.


Cinematic Spaces Project 1. 


  1. OGR 10/10/2013

    Hey Ruby

    Well done on putting your very first OGR together. Okay - well, I'm going to be a bit controversial here and suggest that you need to be careful that you don't create a bunch of very generic paintings of spooky corridors and spooky rooms - which might seem unfair of me, considering your source material. The Red Room is hard, because taken literally, it's just some stairs, a corridor, and then a room - which doesn't seem like much fun for a concept artist, does it? The whole story is about the fear of fear itself, which means the story is really a study in extreme psychology and I'd suggest that thinking more 'metaphorically' about this space will allow you to be bolder, more innovative and 'escape' from the book a bit more. Let me very quickly demonstrate what I mean in terms of identifying a 'visual concept' that will allow you a bit more artistic wriggle room; look at the way that the artist Egon Schiele drew himself:

    Here, the actual mark-making and exaggeration/distortion is telling us more than just 'this is a man' - we're also getting 'angst' and 'neurosis' and 'disquiet' from these images; it's still recognisably a human, but the way in which it is drawn tells us so much more. In the same way that The Cabinet of Dr Caligari shaped its world from an emotional feeling, I'm going to suggest that you try and 'shape' and 'draw' your world from the perspective of a feeling - fear. One of the most famous depictions of fear is Munch's The Scream:

    Notice how the lines radiate out from the person - like the sound waves of the scream itself? If you took as your 'visual concept' the idea that you would approach the painting of The Red Room as some of these expressionistic painters approached painting their subjects, you would, like them, be painting with fear and with anxiety; the very room would 'scream'. What you have to be very careful about, Ruby is that you just end up painting a kind of 'cliche' ghost house - when really, Wells' story is about a psychological condition - it's a story really about the mother of all panic attacks. I'm just wondering if you could loosen up a bit and get a bit more 'arty' in term of your spaces?

    In terms of expressionism and developing a visual concept further, you might also want to look at linocut images and woodblock printing - anything that might give you a bit more 'scream' and a bit less 'corridor with shadows':,-linocut,-11-x-10cm.gif

    And remember the colour red - think expressionistically; the point about the colour red is that it advances; when you paint a wall red, it rushes to meet the eye (whereas blue recedes) - red can be aggressive, an attack, it provokes!

    Short version, Ruby - I think you need to push your visual concept much more boldly and really think about those interior spaces as proclaiming the character's inner emotion - look too the expressionists for some permission to go wilder! :)

  2. Hey Ruby!

    I've just read through Phil's feedback and I have to say that the ideas he put forward are really exciting (although my love of black and white prints makes me hugely biased). It's clear from your thumbnails that you can create a very atmospheric space but now is the time to really get in there and use a bit more violence in your imagery. Put a black marker pen in your hand and try to imagine a time when you were really anxious or frightened (if it's not too distressing of course) and just scrawl across the page. Try to visualise your feelings as shapes or lines and then see what emerges. Feel free to have a nose at some other artists for inspiration, along with those that Phil has pointed out, Saul Bass ( ) is a favourite of mine for clean lines and bold shapes, along with some of Bridget Riley's work ( ). It might sound like a silly exercise but it has helped me out before.

    Anyway, I'll let you have a rest and I look forward to seeing what comes next :)