The Tree of Life
posted:
On the heels of this week's Oscar nominations, I thought this would be a fitting time to post my illustration for the review of this film in Entertainment Weekly's "Best and Worst of 2011" issue.
"The Tree of Life " by Terrence Malick was nominated for Best Picture, Best Director and best Cinematography, and was winner of the Palme D'or at the Cannes Film festival.
The Tree of Life is a visual and ethereal poem about loss, despair, God and the search for faith and reconciliation.
(quote from a review: www.theendofthepage.com)
I tried to narrow my focus on the central aspect of the film, the O'Brien family dynamic: the eldest child, Jack caught between the polarizing personalities of his parents and his (metaphorical) struggle with choosing between the way of nature and the way of grace.
The primary important element for me was creating a composition that reflected the mood and tension of the family dynamic, and to focus on the portraits later. My composition focuses on the tension between Jack and his overbearing father, played by Brad Pitt, juxtaposed by the ethereal mother played by Jessica Chastain.
The actor Hunter McCraken (Jack) gives a magically performance as the protagonist. He also emotes great facial expressions, so it was a joy to create his portrait. Portraying his vulnerability was important aspect and a central aspect to the evoke the mood of this film.
It's interesting how much a hairstyle can alter the way we perceive a person. I was amazed how that haircut helped visually transformed Brad Pitt into the strict, abusive, authoritarian father.
The nebula in the sky represents the cosmic beginning section of the film, where Malick wants us to be awestruck by the wonder of the world as though seen through the eyes of a child.
"The Tree of Life " by Terrence Malick was nominated for Best Picture, Best Director and best Cinematography, and was winner of the Palme D'or at the Cannes Film festival.
The Tree of Life is a visual and ethereal poem about loss, despair, God and the search for faith and reconciliation.
(quote from a review: www.theendofthepage.com)
I tried to narrow my focus on the central aspect of the film, the O'Brien family dynamic: the eldest child, Jack caught between the polarizing personalities of his parents and his (metaphorical) struggle with choosing between the way of nature and the way of grace.
The primary important element for me was creating a composition that reflected the mood and tension of the family dynamic, and to focus on the portraits later. My composition focuses on the tension between Jack and his overbearing father, played by Brad Pitt, juxtaposed by the ethereal mother played by Jessica Chastain.
The actor Hunter McCraken (Jack) gives a magically performance as the protagonist. He also emotes great facial expressions, so it was a joy to create his portrait. Portraying his vulnerability was important aspect and a central aspect to the evoke the mood of this film.
It's interesting how much a hairstyle can alter the way we perceive a person. I was amazed how that haircut helped visually transformed Brad Pitt into the strict, abusive, authoritarian father.
The nebula in the sky represents the cosmic beginning section of the film, where Malick wants us to be awestruck by the wonder of the world as though seen through the eyes of a child.
When I watched the film I was spellbound by the cinematography ( Emmanuel Lubezki) and the art direction. Almost the entire film is painted with a green/ turquoise palette.
When I begin painting, I'll most often have a set colour palette in mind, but sometimes I can't decide on a direction, in which case I'll do a few colour studies with colour pencil. I began this one with the gold background (because of the frequent setting sun in the film). Midway through I decided this wasn't working so I repainted the entire background ( underpainting and all) in the green tones.
I'm glad I made the colour change because I think the greens reflect a more 1950's feel.
Art director Jennie Chang also let me know in advance the selected colours for design for the spread (the cayenne square on the right in my studies) , so I kept this in mind when working on my palette.
Another inspiration was Lubezki's use of natural light that frequently picked up the rays cast by the setting sun.
My technique seems to have become unconsciously tighter over the last few years. I try to find a balance between the rougher textured areas, juxtaposed with detail done with tighter brush work. Sometimes I really loose myself in a piece and it's a struggle to pull myself back, not to overwork it and let the paint and colour breath some life into the piece.
My technique seems to have become unconsciously tighter over the last few years. I try to find a balance between the rougher textured areas, juxtaposed with detail done with tighter brush work. Sometimes I really loose myself in a piece and it's a struggle to pull myself back, not to overwork it and let the paint and colour breath some life into the piece.
My initial preliminary sketch, trying to figure out how to incorporate my idea with the 3 figures.
In this version, I have the suggestion of the other brothers, but decided to simplify, and keep it to the main 3 characters.
Another possible direction, inspired by a dinning room scene from the movie.
Study of Brad Pitt and Hunter McCracken.
Final sketch.
Thanks to art director Jennie Chang and creative director Amid Capeci for the great assignment.
