Vintage graphic
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Cinematic artwork
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.
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.
Throughout the cinematic past, film directors have borrowed a cue from fine arts, referencing well-known paintings. Direct imitations, as well as coded allusions, have been made in a bid to provide depth, symbolism, and poignancy in film. In a bid to blend classical paintings and modern narratives, film directors make interesting visuals in a gesture of respect for arts in the past and a contribution to storytelling.
It is almost an entire movie. The painter carries his easel as the car is parked by a wind turbine. Here again is one of Theo’s signature motif’s of contrasting modernity with classical imagery. There is a classic car sitting on the side of a hill, lurking behind a wind turbine. Does the car belong to a stranger, or the couple in the foreground? Once again a woman wears a striking red dress carrying a shawl on her back. The sky is lit up by moonlight and the patterns of the heavens at night are one of the most striking aspects of this particular painting.
That, as it happens, is a pretty good definition of what cinematography does at its best: It converts feelings and ideas and unspeakable desires into the visual. Much the same could be said about painting. In all probability, the two arts will continue to speak to each other—sometimes competitively, sometimes cooperatively, but always productively.
As Justine drifts through the dark green waters, her mouth open in eroticized agony, we’re powerless to avert the disaster—all we can do is drink in the horrifying, slow-motion beauty Claro has captured. It’s as if, in the seconds leading up to destruction, the whole world is transforming into a painting.
Film graphic
Working as a film graphic designer means meeting tight deadlines and delivering projects quickly and efficiently is essential in the film industry. There is a steady stream of graphic projects in various stages, from research, approval, and printing to pickup and delivery. The constant queue requires close attention to ensure they are completed on time.
«A sensibility for detail is key,» Mina says. «Some people set their own projects and put them in their portfolio. For example, I’ve seen applicants recreate their family history using false letters between family members, where they’ve gone and researched all the right ink and stamps etc. It’s about having a curiosity for the ephemera.
«Assuming you don’t know anyone in the industry, but you have the skillset,» Mina says, «though I was cynical about it before, I actually think work experience is really important for both sides. People might think they want to work in film, but work experience exposes you to the environment and you might change your mind. Or you might love it. And because you love it, you go the extra mile to demonstrate how talented and capable you are.»
There will always be a place for artists in film and TV. And where our work makes its way into the film, either on set or in post, it’s not as important as the finished project. Those hundreds of names you see in the closing credits are there for a reason. Each has a unique skill and expertise. Without each of their contributions and talent, the film would be lesser for it.
Classic artwork
Ai Wei Wei is a highly captivating artist who produces amazing art installations. His art speaks of political activism as he places himself in the middle of world events. He uses Chinese art forms in his art, along with photography and video.
Madame Recamier by Jacques-Louis David features a portrait of Juliette Recamier, who was a popular Parisian socialite in the early seventeenth century. The portrait features her reclining on a settee dressed in white, with mostly antique furniture around her.
Vincent Van Gogh’s most popular painting, The Starry Night was created by Van Gogh at the asylum in Saint-Rémy, where he’d committed himself in 1889. Indeed, The Starry Night seems to reflect his turbulent state of mind at the time, as the night sky comes alive with swirls and orbs of frenetically applied brush marks springing from the yin and yang of his personal demons and awe of nature.
There are more than a hundred versions of the Peaceable Kingdom by Edward Hicks. The ornamental painter created all these versions featuring a theme of the eleventh chapter of Isaiah. The painting made its mark not only for its appealing imagery but also for its beautiful message of peace.
The famous painting St. George and The Dragon by Paolo Uccello is a clear visual depiction of a gothicizing tendency of the artist. It represents a scene from a popular story of St. George and the dragon.
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