Jaws 15 Delort
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- halftonegraphics
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font choice is pretty ridiculous. pretty hard to focus on anything else.
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Cool illustration, cool concept. Foreground birds are a little flat, but ok, they're in shadow.
Like others have said, not feeling the "Jaws" title treatment at all. He's done the hand-drawn horror script to good effect before. But here, it looks forced. Maybe it was rushed to meet deadline... Kinda ruins the piece for me. It doesn't fit and it distracts from the subtlety of the scene. I would like to see something much more low-key integrated into the scene, similar to the way he did the credit block. Perhaps even just added as part of the credit block.
Just my opinion. Still a very cool illustration.
Like others have said, not feeling the "Jaws" title treatment at all. He's done the hand-drawn horror script to good effect before. But here, it looks forced. Maybe it was rushed to meet deadline... Kinda ruins the piece for me. It doesn't fit and it distracts from the subtlety of the scene. I would like to see something much more low-key integrated into the scene, similar to the way he did the credit block. Perhaps even just added as part of the credit block.
Just my opinion. Still a very cool illustration.
- shibbyaholic
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I love that Quint's shadow is in the mouth of a shark jaw shadow on the floor...... With the colors, or lack there of, and shadows this print gives a dark ominous feeling of whats to come.
- guerilladubber
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that is cool.Revstevmiller wrote:I love that Quint's shadow is in the mouth of a shark jaw shadow on the floor...... With the colors, or lack there of, and shadows this print gives a dark ominous feeling of whats to come.
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- Wintermute
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Posted this in the mondo thread, but it ended up buried under new releases by the time it got posted, so I figured I'd throw it in here where it probably belongs:
"...I think it’s some of his best recent work. I like the title, although if you cover the left side of the A, yeah it looks a little like JEWS with an incomplete E. But if no one had said anything, I wouldn’t have noticed. The J looks like a hook, the A is reminiscent of a fin, and the tail of the S like a curled wave. The letters also vary in size, long J, shorter A, long W, shorter S. So when I look at it, the overall shape I see is /\/\, like teeth or the peaks of waves. The seagulls bring the same sort of forms to it, but elongated. To me, the placement of the title above the seagulls reminds me of a shark coming up out of the waves (the dark, long forms of the seagulls), mouth open/teeth first (the white titles). Not saying it looks exactly like it, but for me that’s what the title evokes and why it works.
I think the seagulls really add to the piece, partially for the reason above, and partially because they work well for balancing out the lighter areas and adding variety and depth. Remove the seagulls and you’re left with a midground featuring a bunch of fine lines broken up by larger chunks of white (the windows and title). The absence of anything as dark as the windows/title are light makes it seem a little gray - washed out by the lighter areas (sorta like how cranking up the brightness on your TV throws off the contrast). The seagulls add big chunks of black to balance this out and provide a full range of contrast, which I think is very important in a black and white image. The seagulls also give it more variety in terms of size. Most of the elements of the image (the person, the timbers, books, skeletons, etc are fairly small compared to the overall size of the image ‘fish'. The exceptions to this are the seagulls, the title, and to some degree the windows (they’re big, but they’re broken up into panes). The other thing the seagulls do is give the image depth, which I think is really important because without the seagulls the piece is comparatively flatter and gray-er. (that is to say its less dynamic -> less visually interesting)
I especially like this piece because I see the progression of Delort as an artist in it. His King Kong piece did a similar thing, but in my opinion, it didn’t work quite as well. In King Kong he used dark foreground vines around the perimeter of the piece to frame Kong and the mountain in the mid/background. It was a little more ambitious, as it pushed the midground back and the frame covered a lot of the image. But there was also a camera in front of the vines/frame that looked like it belonged behind them in what would have been the midground of the image. For me, the camera stuck out and threw the depth off, making it seem unnatural. The seagulls in his Jaws piece serve a similar purpose, but are much more successful, I think because they don’t take up so much of the image, and are well placed so as to not interfere with any of the more important details. (most of the areas they block, you could probably visualize based on context) The difference between foreground and midground isn’t pushed quite as much as it was in the King Kong piece, and I think the overall composition is a lot tighter. Delort's been killing it recently, and it's awesome to see the way his art evolves from piece to piece. ..."
"...I think it’s some of his best recent work. I like the title, although if you cover the left side of the A, yeah it looks a little like JEWS with an incomplete E. But if no one had said anything, I wouldn’t have noticed. The J looks like a hook, the A is reminiscent of a fin, and the tail of the S like a curled wave. The letters also vary in size, long J, shorter A, long W, shorter S. So when I look at it, the overall shape I see is /\/\, like teeth or the peaks of waves. The seagulls bring the same sort of forms to it, but elongated. To me, the placement of the title above the seagulls reminds me of a shark coming up out of the waves (the dark, long forms of the seagulls), mouth open/teeth first (the white titles). Not saying it looks exactly like it, but for me that’s what the title evokes and why it works.
I think the seagulls really add to the piece, partially for the reason above, and partially because they work well for balancing out the lighter areas and adding variety and depth. Remove the seagulls and you’re left with a midground featuring a bunch of fine lines broken up by larger chunks of white (the windows and title). The absence of anything as dark as the windows/title are light makes it seem a little gray - washed out by the lighter areas (sorta like how cranking up the brightness on your TV throws off the contrast). The seagulls add big chunks of black to balance this out and provide a full range of contrast, which I think is very important in a black and white image. The seagulls also give it more variety in terms of size. Most of the elements of the image (the person, the timbers, books, skeletons, etc are fairly small compared to the overall size of the image ‘fish'. The exceptions to this are the seagulls, the title, and to some degree the windows (they’re big, but they’re broken up into panes). The other thing the seagulls do is give the image depth, which I think is really important because without the seagulls the piece is comparatively flatter and gray-er. (that is to say its less dynamic -> less visually interesting)
I especially like this piece because I see the progression of Delort as an artist in it. His King Kong piece did a similar thing, but in my opinion, it didn’t work quite as well. In King Kong he used dark foreground vines around the perimeter of the piece to frame Kong and the mountain in the mid/background. It was a little more ambitious, as it pushed the midground back and the frame covered a lot of the image. But there was also a camera in front of the vines/frame that looked like it belonged behind them in what would have been the midground of the image. For me, the camera stuck out and threw the depth off, making it seem unnatural. The seagulls in his Jaws piece serve a similar purpose, but are much more successful, I think because they don’t take up so much of the image, and are well placed so as to not interfere with any of the more important details. (most of the areas they block, you could probably visualize based on context) The difference between foreground and midground isn’t pushed quite as much as it was in the King Kong piece, and I think the overall composition is a lot tighter. Delort's been killing it recently, and it's awesome to see the way his art evolves from piece to piece. ..."
It's a fresh perspective featuring my favourite character from the film...I love it. The seagulls give some nice depth and that feeling of being beside the sea (despite no external view).
I like that too, clever.Revstevmiller wrote:I love that Quint's shadow is in the mouth of a shark jaw shadow on the floor.....
It's a bad IPhone pic and I've since hung up the picture but this is better than nothing...
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ISO: Stout - The Thing