Tuesday, 29 September 2015

SPACE ODDITIES: Metropolis (1927)

Fig.1. 'Metropolis' poster

Fritz Lang's, Metropolis (1927) an early, yet highly influential german science fiction movie that created an overwhelming sense of scale and intensity through the use of highly stylised visuals and a distopian landscape that had audiences in awe of what the future could have been.

This review will look at the way in which visionary director Fritz Lang, created a film of such magnitude through the use of narrative, set design and sound, that it captured the hearts of directors and movie-goers for years to come.
Not only has it influence movies, but it has had an impact on pop culture as a whole. 
'Metropolis has also been a major influence in pop, with Kraftwerk and Madonna overtly rifling its imagery and oddball soulster Janelle Monae even now kitting up in Langian robo-chic' (Romney, 2010) This is because of it's strong use of art decor and inspiring visions of the future that is such an influence within modern society.

Fig.2. Metropolis film still
Throughout the beginning of the film Lang welcomes audiences with scenes of machinery and structures that loom across the screen. The sheer scale of the set design is a key factor in which this movie stands out. 
'Metropolis employed vast sets, 25,000 extras and astonishing special effects to create two worlds: the great city of metropolis, with its stadiums, skyscrapers and expressways in the sky, and the subterranean workers' city, where the clock face shows 10 hours to cram another day into the work week' (Ebert, 1998) 
Scenes which involve machinery exploit an underclass of society, shunned away from the bright lights and thriving city that is, Metropolis.
This overlooked underbelly of the city is seen as the engine that keeps everything working, clockwork machines that are in sync to the grand soundtrack, giving the workers a robotic look, something that is key within the story.
'Frederden's city is designed to malnourish its inhabitants. The workers' city is strictly utilitarian, its streets completely deserted with no signs of life save for when the grunts trudge home from work.' (Abrams, 2010)
Fredersern, the owner and hierarchy of Metropolis, acts in a powerful manner.  A man that looks down on his city, at its beauty, little be known to him that his city is nothing without the people, the people that are hidden away within the cities underground, almost blending in to the machines mechanical movements. 

Fig.3. Mary transformation
Mary, a main character throughout, a woman of passion and calm, then manipulated and manufactured to become the protagonist a provocative figure of the future.
Seen as an early look at artificial intelligence, it seems that Lang was looking at the anxieties of the real world of 1927. Fast paced scenes of the workers taking a stand, brainwashed by the crazed, Maria.

Fritz Lang's 'Metropolis' is an immersive roller coaster ride of both sound and picture collaborating to create scenes of devastation that depict visions of things to come, or what is conjured up in the minds of anxious yet intrigued citizens of 1927.


Abrams, S (2010) Metropolis At: http://www.slantmagazine.com/film/review/metropolis Accessed on: 29/09/2015

Ebert, R (1998) Metropolis At: http://www.rogerebert.com/reviews/great-movie-metropolis-1927 Accesed on: 29/09/2015

Romney, J (2010) Metropolis At: http://www.independent.co.uk/arts-entertainment/films/reviews/metropolis-fritz-lang-145-mins-pg-5851451.html Accessed on: 29/09/2015


Figure.1 Metropolis [Poster] At:https://www.1stdibs.com/furniture/wall-decorations/posters/rare-second-edition-poster-fritz-langs-film-metropolis/id-f_820111/ Accessed on: 29/09/2015

Figure. 2 [Film Still] At:http://www.filmeducation.org/metropolis/images/stills/Metropolis_large_still_9.jpg Accessed on: 29/09/2015

Figure.3 [Film Still] At:http://www.cinemagraphe.com/_movies/metropolis-1927/bridgitte-helm-metropolis-1927-6.jpg Accessed on: 29/09/2015

A Couple More Baucis Thumbnails

Baucis Thumbnails

Baucis Thumbnails
Beginning to look a little more in depth at Baucis.

Sunday, 27 September 2015

Maya Tutorial 2: Ray Gun

Ray Gun Turnaround
I really enjoyed this tutorial. The end result is so fun and aesthetically pleasing. I am really getting to grips with the software.

Saturday, 26 September 2015

Friday, 25 September 2015

Thursday, 24 September 2015

Digital Thumbnails 51-56

Using different brushes resulted in messing around with different styles. My favourites are 55 and 56.

Wednesday, 23 September 2015

Moriana Thumbnail Sketches

Enjoying drawing how I used to. SO much fun!

Esmerelda and Isaura Thumbnails

Sketchbook Thumbnails
Really starting to get into drawing how I used to. A lot more loose and fun. A more enjoyable way of working, distorted proportions within a 2D environment.

Who's Who Presentation: Lou Romano


Maya Tutorial 1: Egg Cups

To begin with a was struggling to create the eggs cups via polygons but after going through the tutorial a few times, I finally got to grips with the way in which Maya works as a software. But we have this is only the beginning.

Tuesday, 22 September 2015

SPACE ODDITIES: Das Cabinet De Dr. Caligari (1920) Film Review

Fig. 1 'Das Cabinet de Dr. Caligari' poster

This review will look at how director Robert Wiene revolutionised the way in which reality and fantasy were showcased upon the big screen. Directors and artists alike, still consider this movie one of the greats.

Robert Wiene's Das Cabinet de Dr. Caligari' (1920) considered a classic amongst the greatest movies ever made. Weine created a silent horror film that has inspired directors of today to look at the way in which environment can give story depth and a new sense of purpose. 

In an instant Wiene captures the audiences eye, with jagged edges, swooping corners and structures that twist and turn in irregular angles, surrounding the actors into an offset reality that gives the film an environment with a story of its own. "Robert Wiene uses jagged sets, non-naturalistic acting and flashbacks within flashbacks to discombobulate, before delivering a twist so blindsiding it's ripped off to this day" (Smith, 2014) A sense of the unknown is key as Weine uses sets that end in dark crevices that create the feeling of mystery and another side to the  the city in which the characters can be drawn into. Possibly seen as metaphor of, Francis. 
As his twisted mind becomes maniacal, his inner self is battling to find a path within this dystopian city to enter a path of mental solidarity and calm.
The sets within the movie bring a new sense of story that hadn't been seen so early on within cinema. Based around the delusions of the main character (Francis), Weine has assembled the corrupted perspectives within this tormented characters mind. Perspectives that are shown within mangled and twisted structures that set each scene throughout the film. Topped off with an ending that is still used in cinema today.
"The stylised sets, obviously two-dimensional, must have been a lot less expensive than realistic sets and locations, but I doubt that's why the director, Robert Wiene, wanted them. He is making a film of delusions and deceptive appearances, about madmen and murder" (Ebert, 2009) These delusions are seen throughout the entirety of the film as we are bombarded by the turmoil of the characters within this setting that has been conjured up by Wiene. Pop-eyed acting, flared nostrils and highly effective uses of eye make up add to this categorisation of 'deceptive appearances' as the characters evoke emotion through every inch of their body whether that be a twitch of the finger or the raising of an eyebrow.

Fig. 3.
"It was also Germany's first post war cinematic success, and it reflects the anguish of the people who had been through four terrible years". (Stend, 2014) Those four terrible years are showcased as mangled walkways and windows at obtuse angles are seen in the backgrounds a sign of unknowing what the future hold. A frantic mind trying to find the light at the end of the tunnel yet still caught up in a hopeless nightmare of what was.
This films is a masterpiece that tells a captivating story, with works of art as it's main character.
 It is an artists dream to watch such beauty.


Stend, S. (2014) Das Cabinet des Dr. Caligari - Review at: http://silentlondon.co.uk/2014/06/24/das-cabinet-des-dr-caligari-review/ (Accessed on 22-09-2015)

Smith, A (2014) The Cabinet of Dr. Caligari - Review at: http://www.empireonline.com/reviews/reviewcomplete.asp?FID=138758 ( Accessed on 22-09-2015)

Ebert, R (2009) The Cabinet of Dr. Caligari - Review at: http://www.rogerebert.com/reviews/great-movie-the-cabinet-of-dr-caligari-1920


Figure 1. Das Cabinet des Dr. Caligari (1920) [Poster] At: http://cdn8.openculture.com/wp-content/uploads/2013/10/Cabinet-Of-Dr.-Caligari-.jpg (Accessed on 22-09-2015)

Figure 2. [Film Still] At: http://www.zekefilm.org/wp-content/uploads/2015/04/cdc4.jpg (Accessed on 22-09-2015)

Figure 3. [Film Still] At: http://ludditerobot.com/wp-content/uploads/2015/04/caligari14.jpg (Accessed on 22-09-2015)

Monday, 21 September 2015

Sunday, 20 September 2015

Saturday, 19 September 2015

Invisible Cities Thumbnails 1-10

Initial thumbnail sketches from exerts of 'Invisible Cities' that stood out to me

Influence Map

I decided to start this project with an influence map. The images I have chosen show things that have caught my eye when reading Italo Calvino's, 'Invisible Cities'.

Thursday, 17 September 2015

Trying out the new Wacom tablet

YouTube doodles

Sketches of Matthew Mungle, Hollywood Make-Up artist

Monday, 7 September 2015

Thursday, 3 September 2015

Machine Turnaround

I decided that for machine I would use the lightbulb hand. This could also fall into the category of lifeform but I felt that this Adams Family-Esque creation worked better as a machine.

Tuesday, 1 September 2015