This plate is exploring the geometry in the movie the places of the scenes and the items that shows in more than one scene. the deference in time between place to another the understanding of the each era and how does it present it self.
Friday, January 22, 2016
Project 1 Elements 2,3 and 4 : Plate two
The Plan is an idea behind what the crew of the movie understands the movie and how they want to present it to the viewer. The scenes is mixed together and driven by the director is experience to generate unusual environments, characters and stories. the tectonic pieces are telling the story by articulating the differentiation between the Presentable material and between the real story.
Project 1 Elements 2,3 and 4 : Plate one
]The first plate is driven by the type
of cameras the photographers used to create the scenes, particularly the space
scenes. They used the Micro photographer to film the reactions of the different
chemicals. The main element in the movie was the tree of life and how everyone
was trying to get to it, that was my main element in the model and how
everything oh making the movie is circling around it.
Project 1 - Element 2, 3, 4
Element 2
Element 2 derives from the repeated
geometries that are present in the many scenes of The Fountain. Using
Photoshop, I created a collage of these images by overlapping. Each of the
images used has a centrally located vanishing point and projects radially
outward from that point. A grid was created with this knowledge to map out
spatial interactions created by the layering of similar geometries. Though
there were many angles that derived from this central vanishing point an
orthogonal method of construction was used to define where these angles exist.
Element 3
The main
concept behind this construct is the idea of conceal. The scenes selected to
create the Photoshop image all incorporate the act of concealing the character
in a very specific manner. The first, a scene where Tommy shown by peering into
the frosted glass of the hospital room where his wife lays, another, the Mayan
queen awaits the conquistador at her throne concealed by a patterned steel
gate, and the third scene the contour of a demonic presence awaits the
conquistador in his final battle upon the holy mountain.
All of these individual scenes are
parallel edited together to arrive at the climax of the movie (Izzy’s death).
By layering images from these scenes in Photoshop I was able to find points of
intersection derived from the depth of tone of each image possesses. The
highlighted points of intersection were then transposed into physical nodes on
the drawdel. These nodes allow for an intertwining of yarn to weave about layer
to layer. The yarn is used as a method to define connections within layers that
exist at parallel points along the same axis.
Element 4
In
researching The Fountain it was made clear that the director used many
microorganisms to graphically portray images of outer space. With a
juxtaposition of tectonic linear elements and planar paper elements this
drawdel was constructed with the intent to map out the contrast between two key
themes within the movie: space and microorganisms. Deriving from the drawing in
Element 1, Element 4’s orientation arrives from the same mapping. The angles
that extend from the central vanishing point are emphasized with this drawing
as opposed to implied. Linear elements are constructed orthogonally with the
angles points of intersections as mapped by the drawing. In juxtaposition to
this paper elements are folded and connected to the linear elements to show the
relationship connecting and also separating the two.
One storyline portrays Tommy as a
doctor who works at the molecular level to cure disease. While in the other
storyline, Tommy is depicted as a resident of outer space. If we further
investigate the connection between space and microorganism and the method for
which the director filmed these two very different scenes can we suggest the
connection between the two? Is it safe to imply that since films images of
space derive from actual microorganisms, can we suggest that rather than Tommy
ascending to a greater outer reality he is alternatively ascending into the
higher being within? This is the investigation behind Element 4.
Set 3 of Elements 2, 3, and 4
The final set incorporates the cinematic concepts of memory, decoupage, sequence, shapes, and the establishing shot.
In the drawing I used imagery from the movie and my own
water color painting to create an abstract image. This abstract image sets the establishing shot
on which other layers of meaning are created.
The idea of memory being laid down over time is a conceptual decoupage,
and the sequence of vertical lines show this memory as a sequence of shapes.
The drawdel version of this image uses a rectilinear frame
to create an establishing shot, while the layers of planar and tectonic
elements form the representation of sequenced memory. The shapes made in between the memories are connections
of thoughts through one’s life, creating a grid of meaning, though partially
obscured by time and the subconscious.
Set 2 of Elements 2, 3, and 4
In the second set, these cinematic terms informed the
drawing and drawdel: eyeline match,
macro, weaving, jump cut, and light.
Using rectangles of various black and white washes, I
created a weaving network. The edges of
these bands helped set the large scale of the moves in this image, which
references the macro technique used in the film. I used various intensities of saturation to
show the effusion of light in different layers; this tone was derived from
painting water colors and then scanning them into Photoshop. The ambiguity of the image and the non-linear
organization of the orthogonal weave represents the concept of jump cut in cinematography. The horizontal band of lighter color wash
represents the concept of eyeline match, as it cuts across the whole image and
creates stability in the midst of ambiguity.
The hand drawn lines are used to accentuate the idea of jump cut,
splitting up spaces unexpectedly.
The drawdel uses material to convey the the idea of jump
cut, while eyeline match is represented by the ability to rotate the model and
still feel the same elements from any angle.
The foam provides a stereotomic element, which interacts with the
implied space created by the thin tectonic elements is the element of weaving
in the picture. Light is represented by
the space created by the contour linear elements and the tone of the paper
planar elements.
Subscribe to:
Posts (Atom)