Latching on to what I said in my previous post, I chose two substantial shots due to their foreshadowing perspectives. I arranged both drawings in a duality-driven form due to their interconnecting contexts, loyal to the notion that a background is a feasible tool for telling a descriptive story on its own. Both drawings are done in the same style and with the same technique: pencil sketched "skeleton" of the space, followed by ink (the first one being with easy-flowing ink brush movements, whereas the second is done with planned out and precise movements with a drawliner), shaded with pencil to give off a desolate atmosphere, and finished with red ink for a horror/murder contextualization keen on the concept of immobilizing movement in blood. An example of this would be Claire Denis' "Trouble Every Day", where random blood splatters signify the tone and foreshadow a possible future occurrence, keeping the viewer at his prime time alert state of expectance.
In this drawing, I primarily used the pool-table's bulk to add vagueness and obscurity to the entire contextual situation that I tried to create with the background. A murder has occurred in a pub, completely devoid of detail, however, whose procedure has been captured with the blood of the victim being splattered around the space, pacing the movements of the killer and the body. For example, the blood splatter at the jukebox signifies that the main blow was executed there, whereas the markings on the floor (smudged, to insinuate movement) show the movement. However, the notion that I tried to convey was the openness to interpretation, where someone might interpret it as such: the victim had been disabled there, then carried of to another space (which is feasible given my second drawing that continues the story). What I tried to pull of was to use background/element conventions of olden horror and crime movies in one, where nowadays it is highly unlikely for a morbid murder of this magnitude to happen around a jukebox (different times, different conventions). Furthermore, the color white dominates since it is associated with something unpleasantly mechanical (such as the walls of asylums), something unnatural.
As I said prior, this second drawing continues the story. The shadowing of the walls adds aesthetic "fulfillment" to the drawing, as I believed without it there would be an emptiness to it as the space would not feel like a space. Furthermore, with the texture of the floor (done by pencil shading over a textured wooden desk), the space comes to life as it seems more furbished. This needed not be done in the previous drawing as the thickness of the ink movements completed the composition of the drawing. The length of the hall might be perfect for a tension building scene as one walks down it slowly with ascending atmospheric horror music in the background, as the focal point is placed at the 1st third of the drawing where a unlabeled door finishes the trail of blood. To give the story a bit more vibrance, I drew hand prints on the wall, a classic trope in horror films.
In this drawing, I primarily used the pool-table's bulk to add vagueness and obscurity to the entire contextual situation that I tried to create with the background. A murder has occurred in a pub, completely devoid of detail, however, whose procedure has been captured with the blood of the victim being splattered around the space, pacing the movements of the killer and the body. For example, the blood splatter at the jukebox signifies that the main blow was executed there, whereas the markings on the floor (smudged, to insinuate movement) show the movement. However, the notion that I tried to convey was the openness to interpretation, where someone might interpret it as such: the victim had been disabled there, then carried of to another space (which is feasible given my second drawing that continues the story). What I tried to pull of was to use background/element conventions of olden horror and crime movies in one, where nowadays it is highly unlikely for a morbid murder of this magnitude to happen around a jukebox (different times, different conventions). Furthermore, the color white dominates since it is associated with something unpleasantly mechanical (such as the walls of asylums), something unnatural.
As I said prior, this second drawing continues the story. The shadowing of the walls adds aesthetic "fulfillment" to the drawing, as I believed without it there would be an emptiness to it as the space would not feel like a space. Furthermore, with the texture of the floor (done by pencil shading over a textured wooden desk), the space comes to life as it seems more furbished. This needed not be done in the previous drawing as the thickness of the ink movements completed the composition of the drawing. The length of the hall might be perfect for a tension building scene as one walks down it slowly with ascending atmospheric horror music in the background, as the focal point is placed at the 1st third of the drawing where a unlabeled door finishes the trail of blood. To give the story a bit more vibrance, I drew hand prints on the wall, a classic trope in horror films.
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