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Line And Color

On July 23, 2016, in Leadership 7th Edition, by Neculai Fantanaru

Compose a picture from successive images and combine them into a good dosage of effects in order to obtain a successful panoramic image of your own nature.

Eisenstein is dazed by the empty asceticism of graphics, the clarity of the drawing, the torturous cruelty of the line bloodily ripped away from the multicolored body of nature. He said at one point:

"I find that graphics were born out of the image of the ropes with which the bodies of martyrs are tied with, from the traces left by the whip lashes on the white surface of the body, from the whistling blade of the sword before it strikes the neck of the condemned. This is the way in which the nude line tears apart the illusion of space, same as the line travels through color, and the lawfulness of harmony splits the diverse chaos of form. Then the whips whistle no more. The sharp cutting pain is replaced by a state of warm numbness. The empty traces of the blows split the surface of the body, the wounds have opened as poppy flowers and the crimson blood began flowing. Thus, the line gave birth to color."

He sees this phenomenon everywhere.

Around the arid cliffs around Tasco, on the leafless stems grows a purple flower. It is called "sangre de toros" and these flowers appear as spots of color sprayed from the stream of blood that spurts from the black body of the bull when the matador’s sword penetrates the flesh. *

Leadership: Does your art reunite that incisive vigor of exposing the novelty of the theme with the communication power of an important part of the scenery?

The work of a director is the painting composed of successive images, combined in a good dose of effects, in order to obtain a successful panoramic view which is part of a tour of his creative vision’s anatomy. And the entire art of such an artist lies in how he shows the content of his work, realistically captured, on the border between "line" and "color".

The line represents the sum of those actions and deeds through which the director’s messages, referring to his vision, to his reality of creative manifestation, are wholly transmitted, but at a certain level, to the target audience.

The color, in the succession of factual evolution, through the piercing of external reality, is the vital force on which the entire structure of the complex conceptual world scenery is based. Color sums up the whole of these nuances, tones and undulations of feelings, points of view, ideas, values, beliefs that can be shared through a variety of effects and staging mechanisms based on relevant language mechanisms.

The artist who strives to cultivate a world of his own, with a message that often turns into a "noise" of features ripped away from the thoughts, feelings and the actions of people, intends to achieve through their convergence the desired suggestion. He may be called a leader, a man with positive, real ideals, when he makes the influence by suggestion possible – as long as the positive suggestions can be augmented and those that exert negative influences diminished.

We recognize the nature of a leader not by the concepts that rule his actions and which guide him to the most important of decisions, but by the content of the suggestions he introduces in his work and administers to the audience.

The leader is, at the same time, a seeker of essences which lets himself be "read" thoroughly in the depth of the messages transmitted by his work. He reunites that incisive vigor of exposing new themes with the power of communication of an important part of scenery which he thinks of. However, this scenery is a live study of the mind, emotions, spirit, experiences, behaviors, attitudes, communication patterns, paragraphs – to a certain vision, to an ideal build after his own will. After his own nature.

Line and Color are two main forms of building a film scenery, which the director calls upon to implement his vision of himself reflected in a certain theme, in a particular scenario.



* Note: Ion Barna - Eisenstein, Youth Publishing House, 1966.

 


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