Official image

And today, in 2014, 100 years since the start of the First World War, it seems more important than ever not only to understand the nature and long-term effects of conflict, but also the process of looking back at the past…”

“This is one of the first episodes of mass tourism in the history of the world,” explains Baker https://voltagebets.com/. “There were 300 million postcards sent from the western front, for instance by people visiting the places where their relatives had died. And the photographers had to make these incredible compromises: making photographs of places that weren’t there anymore.”

Some of the most moving evocations of the Great War were captured by commercial photographers who arrived in northeast France in the wake of the conflict, when people began travelling to the region in order to see for themselves the extent of the devastation of local villages, towns, and cities. There was enormous appetite for images recording the destruction, available in the form of cheap guidebooks and postcards.

Shomei Tomatsu (Japanese, 1930-2012) Atomic Bomb Damage – Wristwatch Stopped at 11.02, August 9, 1945, Nagasaki 1961 Gelatin silver print on paper 253 x 251mm Tokyo Metropolitan Museum of Photography, Tokyo

Film graphic

The use of brilliant colors in fantasy and science fiction films transports viewers to fantastic realms, generating aesthetically attractive landscapes and situations. Rich and brilliant color palettes are used in films like “Avatar” and “Guardians of the Galaxy” to express the extraterrestrial character of their themes.

“Eduardo and I totally geek out on those things because they give you information. We have boxes of stuff in our studio, which aren’t just on typography from a certain period but how that typography was painted on a wall. What sort of printing techniques were used and how do they show on a page, do they leave an impression? Being interested in the history behind something and researching it is key, as it’s all of those details that will help an audience believe that something is authentic. That is a trait that’s really hard to force that onto a designer. You’re either into that or your not, and when people are, it’s like they speak the same language.

“The first thing to know is that every project is different and will have different needs. Features and episodic are also very different animals, in terms of prep time and managing the workflow during filming. Typically the graphic designer is one of the final members to come onto the art department. The Production Designer, Art Directors and Set Designers have already been very busy getting construction going, and it’s up to us to come in and work on the specific art unique to this new world. Getting familiar with the script and the needs of the project are the main focus early on, and meetings with the director/writers is not common during prep. Those meetings happen with the department heads, while the rest of the crew is busy doing what they do best, trying to make those words on a page into something an audience will enjoy.”

visual

The use of brilliant colors in fantasy and science fiction films transports viewers to fantastic realms, generating aesthetically attractive landscapes and situations. Rich and brilliant color palettes are used in films like “Avatar” and “Guardians of the Galaxy” to express the extraterrestrial character of their themes.

“Eduardo and I totally geek out on those things because they give you information. We have boxes of stuff in our studio, which aren’t just on typography from a certain period but how that typography was painted on a wall. What sort of printing techniques were used and how do they show on a page, do they leave an impression? Being interested in the history behind something and researching it is key, as it’s all of those details that will help an audience believe that something is authentic. That is a trait that’s really hard to force that onto a designer. You’re either into that or your not, and when people are, it’s like they speak the same language.

“The first thing to know is that every project is different and will have different needs. Features and episodic are also very different animals, in terms of prep time and managing the workflow during filming. Typically the graphic designer is one of the final members to come onto the art department. The Production Designer, Art Directors and Set Designers have already been very busy getting construction going, and it’s up to us to come in and work on the specific art unique to this new world. Getting familiar with the script and the needs of the project are the main focus early on, and meetings with the director/writers is not common during prep. Those meetings happen with the department heads, while the rest of the crew is busy doing what they do best, trying to make those words on a page into something an audience will enjoy.”

Visual

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Cinematic artwork

Framed in a discussion between the characters Joe and Seligman, Lars von Trier informs almost every scene of his film with the idea of the lure. Seligman’s enthusiasm for fly fishing compares with Joe’s sexual lures to sate her own passions. But is Seligman what he seems to be? Joe constantly reminds him that she is not a good person, and that his sentiments will change once her story has been told. So to does director von Trier cast his own lure, with Seligman revealing his true nature once Joe completes her story.

A reporter stands in the foreground while a photographer is in the background. The characters are sheltering under their umbrellas whilst the rain is pelting down and pours of their umbrellas. This painting is so ambiguous it leaves a lot to the viewer’s imagination.

In this painting the colour elements represent the present, and the black and white elements represents the past. Painting and cinema go hand in hand here, where most of the same rules and concepts apply. Going to movies in this instance is like looking at a painting only the moving image is in our minds, and not on the screen or canvas. Glimpse Into The Past painting by Theo Michael January 2014

Another example is Ridley Scott’s The Duellists of 1977, which is imitative of Jacques-Louis David and Jean-Léon Gérôme paintings in composition style and lighting. The painterly style of composition and historical detail of this film make visible a large portion of its storytelling, taking viewers on a journey in Napoleon’s time.

with a beautiful woman wearing a red dress in an auditorium while a movie plays celebrating a small town. The movie looks like an illustrious painting, such is the sheer degree of detail and perspective. A group of men are gathered in the corner of the screen and others are wandering by sets of tables and chairs. Itseems as though there is some kind of commotion on the screen and the auditorium is otherwise empty signifying, perhaps, that the movie is just beginning.