![]() ![]() ![]() His device consisted of a collapsible tube attached to a floating barge, ending in a in a helmet chamber with arm casings so operators could move underwater. A sea captain from Virginia, Charles wanted to ensure the tube was completely watertight for submarine engineering and salvaging shipwrecks, writes Crylen. Williamson’s father, Charles, first envisioned what would come to be known as the submarine tube-but he wasn’t looking to make movies. But thanks to three inventions, Williamson could bring audiences face to face with a great “cephalopod” under the sea. ![]() ![]() Had it been produced under normal circumstances of the time, writes underwater cinema scholar Jon Crylen, this iconic battle scene would have been filmed on a set against a backdrop of painted waves, or an aquarium may have sat in the foreground while actors played the scene behind it. Charles Williamson’s patent for the submarine tube. The battle, and great octopus, was the centerpiece of the first major motion picture to be filmed underwater. They were sucked in not only by the terror it inspired but also by its technical innovations. Moviegoers were held rapt as Captain Nemo dove into the water and battled with the impossibly large cephalopod, eventually hacking off one of its writhing arms, freeing the pearl fisher, and fleeing in a cloud of the creature’s ink. Loathsome, uncanny, monstrous, a very demon of the deep, the octopus was a thing to inspire terror in the stoutest hearts.” (While Jules Verne’s original novel often features a giant squid when translated into English, Williamson refers to his creation for the 1916 film as an octopus.) From the film ‘20,000 Leagues Under the Sea.’ Public domain. “The giant cuttle-fish glided with sinuous motion from its lair. “ Undersea filmmaking pioneer ” John Ernest Williamson reflects on the scene that he helped create: “The of that great pulpy body, those great staring eyes, those snake-like sucker-armed tentacles, sent a chill of horror down my spine,” he writes in his memoir 20 Years Under the Sea. The scene from the 1916 film 20,000 Leagues Under the Sea was shocking to audiences. Then, a single sinewy arm of an octopus snakes through the water, closing in on the diver. Waves gently buffet the diver as he nears a coral reef, and crabs scuttle into their holes. An unsuspecting pearl fisher paddles through the water, going about his business. I probably should have waited for the page to dry properly before I continued, but I went straight on with it and used Distress Inks with an ink blending tool and a bunch of different stencils - all of which disappeared as it dried except a few that were over the yellow plants.The scene begins innocently enough. After altering the plants and drawing more elements with a black marker, they were then painted with yellow acrylic paint. The seaweed, coral and ground (scalloped sea floor) were stamped directly onto the page using the Dylusions Ocean Backgrounds Stamp Set. There isn't a photo of this technique in action, only the above photo of the dried paint with the plants already started. Using a rubber roller (brayer), paint was applied and rolled back and forth until I liked what I saw, then dabbing with a sea sponge to break up all the lines. The background was created using 2 colours of acrylic paint (dark and light blue, use whatever paints and colours you wish). All get used eventually, on cards, ATCs and other journal pages. I keep all extras in a tray to wander through now and then. Dylusions by Dyan Reaveley Mini Collage Glue Stick - 3 PackĪs usual, I stamped out more than I needed onto Dylusions Mixed Media Paper (see below), using black Archival ink and an Acrylic Journal Block. This link is to everything labeled "Under the Sea" (might be useful) Jane Davenport Mermaid Markers (watercolour ink brush pens) Tim Holtz Non-Stick Micro-Serrated Mini Snips Dylusions Stamps (I used "Under the Sea", "Ocean Backgrounds" and "Flight of Fancy") Art Journals or use blank paper (my page was approx A3 in size) ![]()
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