Invisible Cities

Online Greenlight Review

 Armilla

10 11
1 2 3

4 5 6 12
13

7 8 9
 Baucis

20 21
22 23

14 15 16 17

24

26 27
25 28

18
19

29
30
 Diomira

31 32 33 34

44 45

35 36 37 38

46 48
39 40 41 42

47

43
49

50 51
 Ersilia

53
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
101

115
98
100 104
109
102

113
112
103 111 110

116
114
 Phyllis

115 116 117 127 128

126

118 119

120 123

124

121
129 130

125
122
 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

161
154
152 153

155
156

162
157
 Thekla

165
163 164

166
167
168

170 171
169
 Zenobia

172 173 174

185 186 187

176 177
175

178 179 180 181

190 191
189

182 183 184

 Esmeralda

203 204 205

192 194
193

206
196 197
195

207

198 199 200 210

208 209
201
202
 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