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Invisible Cities

Online Greenlight Review


Armilla

10 11
1 2 3

4 5 6 12
13

7 8 9
Baucis

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22 23

14 15 16 17

24

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25 28

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19

29
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Diomira

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44 45

35 36 37 38

46 48
39 40 41 42

47

43
49

50 51
Ersilia

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52

54 55
Fedora

65 66
56 57
58

59 60 61

67 68

63 64
62
Isaura

77 78 79

69
70

82
80 81

71

73

76

72

83
74
75
86 Leonia
84 85

93

89
87 88

94

90 91 92
M oriana

105 106 107


95 96 97

113
108
99
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115
98
100 104
109
102

113
112
103 111 110

116
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Phyllis

115 116 117 127 128


126

118 119

120 123

124

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129 130

125
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Sophronia

131 132 133

134 135 136 143

138 139
137

144 145
140 141 142
148
146 147 Tamara

160
159
158

150 151
149

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152 153

155
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Thekla

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163 164

166
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168

170 171
169
Zenobia

172 173 174

185 186 187


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175

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190 191
189

182 183 184


Esmeralda

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W hen you have forded the river, when you have crossed
the mountain pass, you suddenly find before you the city
of M oriana, its alabaster gates transparent in the
sunlight, its coral columns supporting pediment
encrusted with serpentine, its villas all of glass like
aquariums where the shadows of dancing girls with
silvery scales swim beneath the medusa shaped
chandeliers. If this is not your first journey, you already
know the cities like this have an obverse: you have only to
walk in a semicircle and you will come into view
M oriana’s hidden face, an expanse of rusting sheet
metal, sackcloth, planks bristling with spikes, pipes black
with soot, piles of tins blind with walls with fading signs,
frames of staved in straw chairs, ropes good only for
hanging oneself from a rotten beam.
From one part to the other, the city seems to continue, in
perspective, multiplying its repertory of images: but
instead it has no thickness, it consists only of a face and
an obverse, like a sheet of paper, with a figure on either
side, which can neither be separated nor look at each
other.
Out of all twelve other cities, two of which I was drawn to, I decided I would
like to develop Moriana because of its other worldly concept and contrasting
environment.
A lot of the environment inspiration I tried to convey through “When you
have forded the river, when you have crossed the mountain pass..” And in my
own interpretation I decided to base the city within a mountainous terrain,
and taking heavy inspiration from the Athenian Acropolis in Athens for the
structure of the temple and the city as a whole. In fact a lot of inspiration
from the environment and the architecture derives from ancient Greek cities
and sanctuaries, as well as Japanese temples to try and depict a sense of
elegance and power within the buildings and the large temple, of which has
Mission Statement been separated, like a castle to show off the skill and craft of the city and also
use as a buffer to hide the cities other half.
Representing the two half of the city, I decided to draw on the concept of
good and bad, light and dark with the open side being a light tone, such as a
cream or white (because of the alabaster) that feeds into the houses and the
stone wall, while the other side holds a darker tone of reds, browns and
blacks to represent rotting and decay, as well as an un-welcoming atmosphere
to counteract the warm, open from side of the city.
The thumbnails I decided to do mostly from super wide angels to gauge more
of an idea of the scale of the city, or medium so the houses are more visible.
But despite this, I think I do need to do more personal, internal thumbnails
before further developing this image, as I don’t think I have enough visual
material around it to confidently create a concept drawing for it.
Exterior influence
Interior influence

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