A third set of abstracted landscapes, exploring shapes and blocks of colour – more on the way.
Another set of collaged symbols, shapes and colours inspired by Fernand Léger’s large scale oil painting entitled – La Ville (1919). What I love above Léger’s piece is the flatness of it and how all consuming it feels – nothing in particular sticks out but the whole composition is taken in as a whole and something I have tried to mimic with my own constructions. I was contemplating given a whirl of pushing things further by bringing this crop of creations into the 3D world and extruding elements out, but I think that would work against it – after trying some tests and realising that those extrusions would only be seen from angles other than straight on I wasn’t feeling it and I’ve decided to leave it be.
Fernand Léger’s mammoth oil painting entitled – La Ville (1919) is this weeks kick about prompt over on Red’s Kingdom where artists of all stripes have created something in response. After serving in World War 1 Leger came away recollecting upon how conflict forced a new world view of it’s surroundings. Those surroundings in city’s urbanisation characterised by interchanging materials and structures – like Legos that will never fit. I decided to mimic the feeling of constant change. Gritty photos taken from my current stomping ground in and around London are meshed together in a smorgasbord of shapes colours and texture, to highlight the building up and tearing down of the fast paced concrete jungle. I found it a very meditative experience to wander around London, scout out the best shapes, materials and texture and take photos of those blasé everyday things that would otherwise go amiss, afterwards chopping and splicing them up in photoshop and like a postmodern architect try to make something of them again.
This weeks kick about over on Reds Kingdom revolves around Fundus Photography. When looking up images of fundus photography I was reminded of Olafur Eliasson and his otherworldly The Weather Project, but also the people that got to experience such an event. With all this in mind I have been yearning to do some digital painting as it has felt like yonks ago since I have held my wacom pen and got lost in some jazz music while painting away. I envisioned a blazing sun from a planet where the sun fills the air in a misty orange hue – a sprawling metropolis materialised with vivacious characters and stories between them, feeling so close but far away. It was a thoroughly enjoyable prompt to flex those digital painting muscles again.
I have gone back and decided to do a paintover of the metropolis world for The Green Glider animated short. After playing about with the Oasis world by trying to adopt real world references with the render showing depth and field, focus and atmospheric perspective I have decided that I want the rest of the worlds to follow suit. With previous renders of the metropolis world the bubble cars that are crowded around Ash’s careworn car were too overpowering; even though this would follow theme with how the story unfolds it just didn’t look nice, to combat this I want the lights of the bubble cars to be brighter and more exaggerated with a bokeh effect of yellows and reds dotted around the meandering roads in similar vein to the concept art below.
The focus needs to be centred around the Ash’s car with the surrounding areas being blurred which I think can be achieved with render layers and a dark vignette to pull the eye right to our main character. A spotlight on top and pointing down onto Ash’s car will further draw the eye towards him for the opening shot. I also need to reel things back with this world as the render times are horrendous, over a few hours for a single frame isn’t ideal so I’ll have to do some tinkering.
I loathe the dreaded Christmas shop, with frankly rude people barging for their gibbles and queuing for their festive, shitty Starbucks “coffees” although it gave me a reason to bring the camera along and play around with it some more – a small silver lining.