{"id":719,"date":"2019-05-09T15:48:39","date_gmt":"2019-05-09T14:48:39","guid":{"rendered":"https:\/\/denverharrington.com\/main\/?p=719"},"modified":"2019-09-08T09:24:02","modified_gmt":"2019-09-08T08:24:02","slug":"luke-oram-on-style-epic-battles-and-dunes-visual-depictions","status":"publish","type":"post","link":"https:\/\/denverharrington.com\/main\/luke-oram-on-style-epic-battles-and-dunes-visual-depictions\/","title":{"rendered":"Luke Oram on Style, Epic Battles and DUNE’s Visual Depictions"},"content":{"rendered":"
\"\"<\/a>
Wormsign. By Luke Oram<\/em><\/figcaption><\/figure>\n

Denis Villeneuve’s DUNE 2020 filming continues, and fans are keeping an ear to the ground for any rumbling signs of the film’s overall appearance, and though we only have a few clues, I’ve been interviewing concept artists about style, epic battles and the visual depictions behind this hauntingly surreal science fiction world.<\/p>\n

Recently, I got in touch with artist Luke Oram to ask him about his own work and how he envisions the world of DUNE as both a reader and an illustrator.<\/p>\n

Luke blends a traditional approach to painting with various modern imaging tools to present some colourful and stunning illustrations. His work is primarily aimed towards the music industry, painting masterful images for album covers, posters and promotional artwork. “I tend towards an interest in dreamlike or otherworldly atmospheres in my work,” Luke told me.<\/p>\n

DENVER: So Luke, what are your influences and how did you initially get into illustration?<\/em><\/p>\n

\"\"<\/a>
David and Goliath (After Titan \/ Masters Portfolio) By Luke Oram<\/em><\/figcaption><\/figure>\n

LUKE: I was always interested in art from a very young age, spending a lot of time drawing dinosaurs, monsters, aliens and such. I grew up in 80s Britain where there was an abundance of fantastical imagery – I have an early memory of looking at 2000ad<\/strong> in the newsagents while my mother was occupied with my younger brother. It’s very vivid, I can still see it decades later. I also very clearly recall seeing TV promos for the films Labyrinth and Legend and being captivated by them – I’d ask older relatives what films like Alien were about and then try to draw whatever they described.<\/em><\/p>\n

Growing up in the 80’s, I felt a sort of parallel experience here. This conversation had immediately made me nostalgic about the dark and gritty comics of the time, the wild artistic imagery of Judge Dredd<\/em> and the Alien,<\/em> even the rare action figure sets that are now collectables. Before the internet, kids had to go and seek things out a lot more and coming across independent comic stores made you keep an eye out for such places and remember where to find them. There was a place in my town called Wallpaper Supplies that had a very unlikely comic book store tucked away at the back of the outlet. While my parents were shopping for interior decorations, I hung out there, trading X-Files cards and looking out for exciting new comic book releases. In the early 90’s, I was awestruck when I’d found a Dark Horse <\/em>comic of Newt’s Tale from the alien series and had<\/em> to get it.<\/p>\n

“Most of my influences are passive like that,”<\/em> Luke said. “Simply imagery I absorbed from my environment during childhood – especially stuff like Nemesis The Warlock, Nausicaa, and the (Moebius-designed) film Time Masters. My parents had lots of Reader’s Digest hardback books containing lots of classic painting, photos of exotic places and information on how technology works. This is what you did before the internet.”<\/em><\/p>\n

When it comes to personal goals, Luke Oram said he has an idea for an illustrated graphic novel and is already working on a book with his friend about British Folklore, further motivated to one day work with British Science fiction author Alastair Reynolds.<\/p>\n

DUNE 2020 – Imagery, scenes and story<\/h2>\n

Luke’s detailed work portrays epic and mythical moments, detailed with a classical touch in style. I wanted to understand what his vision would be for the new DUNE film from an artistic perspective to try and glimpse at what his own hopes were for the visual aesthetic and style.<\/p>\n

LUKE: I think it’s a difficult task because the world of DUNE is so particular. It’s technological but also very ornate and stylised. These are human cultures that have developed to grow over the advanced foundations of their worlds in ways that yield a diverse set of visual aesthetics. I am fond of Lynch’s movie, but it makes choices that are simply incongruent with how things are described in the book – for example the Fremen stillsuits in the film are form-fitting and black, compared to the original description of the costume that is more reminiscent of Bedouin dress.<\/em><\/p>\n

DENVER: What do you think about how the film might show the DUNE planet Attakis, what are your hopes here?<\/em><\/p>\n

\"\"<\/a>
Spice Mass. By Luke Oram<\/em><\/figcaption><\/figure>\n

LUKE: I really want the film to capture the sense of Arrakis as a character – vast and mercilessly <\/em>inhospitable to the point of oppressing the off-world characters. Paul endures with the Fremen because the Harkonnen think there is no possible way that anyone can survive in that endless desert.<\/em><\/p>\n

Luke discusses Villeneuve’s other work and visual style as: “a strong visual language and compositional sense (shots of empty streets in Prisoners are bleak and threatening alone) that I’m hopeful this aspect can really come across. DUNE may have some things in common with a vibrant space opera setting but underlying that is a remarkably well considered ecosystem and economy.”<\/em><\/p>\n

Approach and technicalities<\/h2>\n

LUKE: I’m very much a ‘planner’ in this regard. As most of my work is for clients, they will usually have visual references and possibly an overall direction in mind. This might be quite vague such as \u201can ethereal scene\u201d or very specific and descriptive, so I have become habituated to making lots of preparatory sketches and rough compositions in order to show that to the client. This carries over into my personal work, I will have an initial spark of inspiration but from that point onward it’s procedural- sketches, reference, iterate the design until the rough looks good etc. <\/em>I’d like to think my style takes in a good amount of ‘classical’ painting influence – very big fan of Turner and Titian – as I often attempt to reproduce some of my favourite works as a technical exercise. Of course, that is mixed with lifelong illustration favourites such Moebius, Bruce Pennington, Alan Lee, and Rodney Matthews – the last two of which I have had the pleasure of meeting recently.
\n<\/em><\/p>\n

Film anticipation and special effects<\/h2>\n

DENVER: A lot of DUNE fans are anticipating the special effects. Do you prefer CGI or a more authentic approach? And if you had to think of a regional location for the film’s shooting, what sort of locations as an artist, would you choose as references for your artwork?<\/em><\/p>\n

LUKE: Completely favour practical effects in movies. Part of that is just me being a curmudgeon, of course, but I think the results speak for themselves. Go and watch David Lean’s Lawrence of Arabia to see just how effective great use of location and actual people running around can be. It’s clearly the inspiration for Lynch’s DUNE, and by extension most subsequent DUNE based works.<\/em><\/p>\n

\"\"<\/a>
The Lantern and the Serpent. By Luke Oram<\/em><\/figcaption><\/figure>\n

Location wise the story calls for a truly enormous desert, so no filming on a beach and comping the ocean out afterwards. I always felt Caladan’s climate and architecture evoked an imperial central European atmosphere- perhaps a splendid old estate somewhere in Czech, Germany or Poland would capture that. For Geidi Prime I think I’d draw inspiration from heavily industrialised places such as Port Talbot in Wales. I read that Chris Foss developed his entire spaceship design principles from seeing steam cranes and docks when he was young – there is certainly something deeply imposing about the vast metal structures from that period and that can really fire the imagination.<\/em><\/p>\n

When you review some of Chris Foss’ spaceships for Jodorowsky\u2019s<\/span> DUNE, and parallel them with the crane ports in Port Talbot, you do get a sense of where it was drawn from and how it was layered in colour. Industry is a great source for artists. When I was studying art in my BA, I remember many of our class outings were based around old industrialised milling and steam engines and there were some real visual gems to draw on.<\/p>\n

Epic Battles and stylization<\/h2>\n

I asked Luke how he would portray epic battle visually and what we can expect from the design team and visual concept artists.<\/p>\n

DENVER: What techniques would you employ, and how do you think the film’s art team will try and tackle this?<\/em><\/p>\n

LUKE: The immediate thing that springs to mind is that most of the action in DUNE takes place at night, in order to avoid the unremittingly harsh sun of Arrakis’ daytime. With this in mind I can imagine a foreboding, heavy dusk. The air as thick with dust and dread as the terrain is thick with hidden enemies, slowly creeping into position. Suddenly the night is broken as forbidden atomics melt a pass into the shield wall, and the blast throws vast armies into stark contrast as the first charge commences. That’s the kind of atmosphere I would aim to bring- chaotic and terrifying. Very much portray the storm of battle as a storm, and focus less on clean images of soldiers lined up in formation.<\/em><\/p>\n

Style and depictions<\/h2>\n
\"\"<\/a>
The Devourer of Dimensions. By Luke Oram<\/em><\/figcaption><\/figure>\n

DENVER: I like this piece about the Devourer of Dimensions. It really reminds me of something Lovecraftian. <\/em>Did you know Geiger was drafted for an earlier development of DUNE? Do you think this sort of style would be suitable or can you see a different style being represented? (For example, DUNE the books often reminded me of Salvador Dali’s dream scapes.)
\n<\/em><\/p>\n

LUKE: Yes, I am aware of this, and I have seen Jodorowsky\u2019s DUNE which details so much fantastic and visionary art.\u00a0 I do think Geiger’s style would be wholly appropriate for the Harkonnen aspects – dark and eldritch industrial – but perhaps the various religious aspects in the story would lend themselves more readily to the surreal sense of rapture we see in Dali’s work. Given Dune is such a large cultural universe it would likely be a great idea to use these drastically different artistic languages to represent these different settings in the story.\u00a0 The audience will be aware of the context to different aesthetics and that can be played with to remarkable effect by a filmmaker.<\/em><\/p>\n

DENVER: Luke, thank you for your time and your insights! Your work is excellent and it’s been great speaking with<\/em> you. I look forward to your future releases.<\/em><\/p>\n

To check out more of Luke Oram’s work, check the link<\/a> in this description, or go to the web address: http:\/\/lukeoram.com\/<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

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Recently, I got […]<\/p>\n","protected":false},"author":2,"featured_media":739,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":"","_links_to":"","_links_to_target":""},"categories":[38],"tags":[],"class_list":["post-719","post","type-post","status-publish","format-standard","has-post-thumbnail","category-feature-artists-conceptual-fiction-sci-fi","entry"],"yoast_head":"\nLuke Oram on Style, Epic Battles and DUNE's Visual Depictions - Denver Harrington<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/denverharrington.com\/main\/luke-oram-on-style-epic-battles-and-dunes-visual-depictions\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Luke Oram on Style, Epic Battles and DUNE's Visual Depictions - Denver Harrington\" \/>\n<meta property=\"og:description\" content=\"Denis Villeneuve’s DUNE 2020 filming continues, and fans are keeping an ear to the ground for any rumbling signs of the film’s overall appearance, and though we only have a few clues, I’ve been interviewing concept artists about style, epic battles and the visual depictions behind this hauntingly surreal science fiction world. 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