![]() ![]() It reminds us of the age-old warning not to play God, not to make new life, not to Frankenstein things together lest we get a monster. We’re uncomfortable when we see the discarded clones of Ripley in Alien: Resurrection, or the spliced together side show gaffs of carnivals long past. Disparate meshingįinally, meshing two disparate things together really rubs us the wrong way as humans. Consider the Pale Man from Pan’s Labyrinth, or the Doctor Who episode “ The Idiot’s Lantern.” In each of these instances, pieces of the characters’ faces have been removed, placed elsewhere, or entirely erased. Pivoting off of the distortion concept, you can also make goosebumps form by removing parts of an object or putting them somewhere where they usually wouldn’t be found. Our minds are set to recognize when something is mostly normal, but just a little bit off, so that we can recognize the wolf in sheep’s clothing, so to speak. Think of the abnormally long fingers of Slenderman or Nosferatu. Unnatural DistortionĪn easy way to create a feeling of “wrongness” is to take an ordinary object and distort it in an unnatural way. Here are some tricks to make that happen. So, if you are trying to create something that is scary in your art, the best way to go about it is to create something that will make your viewer uncomfortable by its very oddness, its very differentness if you will. ![]() Whether that scary thing is their classmate’s odd habits, or the structure of the roaches that crawl in the walls, challenging ourselves to understand the nature of something that is different is a key way to make it less scary. I always tell my children that if there is something that scares them, they should learn more about it. ![]() Our brains are designed to notice when something is “off.” Therefore, whenever we encounter something truly foreign to what we may perceive as “natural,” we automatically begin to feel uncomfortable, even scared. As humans, we seek comfort in the familiar. ![]()
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