#gisli orn gardarsson

[juliabarghest]

Vidar Jutul (Ragnarök).

Digital art without a tablet (I use a computer mouse 🐭💻).

Actor: Gísli Örn Garðarsson. TV series: Ragnarök (NETFLIX).

[destinededits]

gif pack: GÍSLI ÖRN GARÐARSSON in "Beowulf: Return to the Shieldlands"

At the source link (or here), you'll find #65 gifs of Icelandic actor Gísli Örn Garðarsson (b. 1973) as Breca in the 2016 ITV series Beowulf: Return to the Shieldlands. The gif-making scene has changed a LOT since I last dabbled in it, so I'm behind the times on methods for sourcing footage (among other things), but I recently renewed my interest in the character I intended to use this FC for, so I managed to find a handful of HQ clips on YouTube and threw some gifs together. Might as well share with the rest of Tumblr in case anyone else wanted Gísli in this role. Coloring is psd #1 from @themaesters though I apologize if it looks a little odd in my application of it. I only barely know what I'm doing, okay?

Enjoy and simply don't claim as your own, that's my only rule.

[drewsb12]

OMG!!! JONAS AND GISLI BOTH POSTED MY EDIT IN THEIR STORY ON INSTA!!!

I'M SO HAPPY!!! THIS IS AMAZING!!

My entire year has been made, honestly!

[filministic]

Ragnarok (2020-...)

[scary-pixie]

Watching Ragnarok Season 2. Not nearly enough shirtless Evil Dad for me this season. Much disappointment.

[mercurygray]

So, I started watching Ragnarok on Netflix and it’s really good so far, but one of the main villains (who are supposed to be the Jotuns, or Giants, of Norse Mythology) is giving me really low-key Matthew Clairmont vampire vibes. (Not the least of which is because the Jotuns act a little like vampires - they hunt, they eat raw meat, they have a certaint power to charm humans.)

Gísli Örn Garðarsson. Am I right? A De Clermont cousin, at least? 

[ramonaillustrationtwo]

Research Point: The Metamorphosis

Metamorphosis has been reimagined countless times by illustrators. Some choosing a literal approach and some more metaphoric. 

Bill Bragg choses quite a traditional approach to the story. On the cover, the use of wallpaper pattern gives a sense of scale to the insect shadow. The choice of layout resembles that of a monster horror film, the shadowy figure filling the frame, all that is missing is a screaming damsel in the bottom right hand corner. In the illustration within the book the use of dramatic lighting (another convention of horror) and the way in which the reader looks upon Gregor is interpretation eludes more to the perspective of the family rather than Gregor’s. The image provokes repulsion and fear from the reader like that experienced by Samsas.  

Ben Jones’ illustrations have a less literal approach to the story despite still using the clear imagery of an insect in all three. The use of box and a man (a portrait of Kafka) gives the reader the feeling of entrapment and claustrophobia felt by the protagonist. Rather than monster, Jone’s interpretation retains some human like qualities, Kafka’s eye staring at the reader, the character evokes pity. Jones choses to depict Gregor as an insect in his bed and the scene where his father throws apples at him. In the former we are looking down on Gregor as if we are on the ceiling, although the bed indicates size the choice of high angle connotes the powerlessness felt by Gregor. He appears to the reader as a helpless bug on the ground rather than something to be feared. The apple throwing within the text is a turning point for the relationship between Gregor and his family. The tension peaks and his father throws apples at his son hurting him badly, as he is completely dehumanised. Interestingly in this interpretation of the scene Jones does not show the father, instead Gregor is surrounded by darkness indicating the characters isolation and distance from his family. 

In an adaptation of the story for children by Matthue Roth illustrator is Rohan Daniel Eason is tasked with creating far more illustrations than the standard paperback. Given the target audience Eason treads the fine line between creepy and scary well, making the insect seem more relatable despite his appearance. The shell of the insect is embellished with pattern and in on the drawing where Gregor is on the ceiling the body of the shell looks like the face of a mask (it reminded me of Peking Opera mask). This is a clever use of symbolism as the gaudy grinning face is part of the monster transformation, under the mask it is still only Gregor. This imagery is used again when the insects reflection appears in a bowl of liquid as a screaming mans face again connoting the imprisonment of of our protagonist within the shell of the roach. 

In the graphic novel by Peter Kuper he is faced with the challenge of holding the readers attention despite the limited setting. He does this well by utilising the comic style panelling to not only divide the images but push the narrative forward by conveying Gregors thoughts, memories and changing perspective. Out of all the illustrations I’ve looked at, Kuper has given Gregor’s face the most human features. Rather than presenting as a full insect the protagonist is able to convey more emotion through eyeshape, mouth and body language which helps the reader to relate to his plight. 

Other Visual representations

I was fortunate enough to see the Vesturport and Lyric Hammersmith theatre adaptation of Metamorphosis around 2006. Rather than use costuming in a literal way to demonstrate Gregor’s transformation, the production used a combination of physicality, creative set design and symbolism to distance Gregor from his family and convey his new form. At the beginning of the play Gregor is wearing a suit, despite is transformation into a roach he remains in this suit, representing his families view of him, he is still a man to which something terrible has happened to. Through the use of physical movement and ingenious hand holes hidden through the set, actor Gisli Orn Gardarsson is able to climb the walls and contort his body into insect like shapes. The gradual removal of suit, tie, shirt, trousers tells of the dehumanisation of the character and his family’s perception of him. 

Although the illustrations I looked at are all widely different I feel that they are all effective although they highlight different aspects of the story. My favourite illustrations are those by Rohan Daniel Eason. His use of warped perspective heightens the surrealism within the narrative, blurring the lines between reality and nightmares. 

References

Benjonesillustration.com. (2020). benjonesillustration. [online] Available at: https://benjonesillustration.com [Accessed 7 Mar. 2020].

Billbragg.co.uk. (2010). Bill Bragg Illustration. [online] Available at: https://www.billbragg.co.uk/filter/Franz-Kafka/Metamorphosis [Accessed 7 Mar. 2020].

Heartagency.com. (2020). The Metamorphosis - BEN JONES - Heart Agency. [online] Available at: https://www.heartagency.com/projects/metamorphosis/?linked_artist=739 [Accessed 7 Mar. 2020].

Kuper, P. and Kafka, F. (2004). The Metamorphosis. New York: Random House.

Metamorphosis Barcelona TV. (2012). [image] Available at: https://www.youtube.com/watch?time_continue=1&v=SChJchsG8TM&feature=emb_logo [Accessed 7 Mar. 2020].

Metamorphosis official trailer by Vesturport and Lyric Hammersmith. (2011). [image] Available at: https://vimeo.com/15947048 [Accessed 7 Mar. 2020].

Rohaneason.com. (2020). Portfolio - Rohan Daniel Eason. [online] Available at: http://www.rohaneason.com/portfolio [Accessed 7 Mar. 2020].

Roth, M., Eason, R. and Kafka, F. (2013). My first Kafka.

Vesturport.com. (n.d.). Metamorphosis | Vesturport. [online] Available at: http://vesturport.com/theater/metamorphosis-hamskiptin/ [Accessed 7 Mar. 2020].

[andy-lawrence-euro-blog]

DVD Review: I Hunt Men (Mannaveiðar)

DVD Review: I Hunt Men (Mannaveiðar)

Happiness is a Warm Gun: Compelling mystery is a prescient and exhilarating Icelandic Noir.

Two mismatched detectives investigate a serial killer and uncover a dodgy banker’s conspiracy to land-grab. When a serial killer targets goose hunters a newly formed police department pairs by-the-book detective Hinrik is partnered with dishevelled and disorganised Gunnar. Overcoming their distrust of…

[naijawapaz1]

Gisli Orn Gardarsson, an Icelandic-Norwegian actor, producer, director

Gisli Orn Gardarsson, an Icelandic-Norwegian actor, producer, director

Quick Facts of Gisli Orn Gardarsson

Full NameGisli Orn Gardarsson

Date of Birth1973 /12 /15

NicknameGisli Orn

Marital StatusMarried

BirthplaceReykjavik, Iceland

EthnicityWhite

ReligionChristian

ProfessionActor, Director, Producer

NationalityIcelandic

Active Year2001-present

Eye colourHazel Blue

Hair colourLight Brown

BuildFit

SpouseNina Dogg Filippusdottir

Height6 Feet 2- 3/4 Inch (1.9 m)

Edu…

[juliabarghest]

Hassansin Zolm (two versions). Prince of Persia.

The Sun version:

The Moon version:

Digital art without a tablet (I use a computer mouse 🐭). Some stages of my work :

Movie: Prince of Persia: The Sands of Time. Actor: Gísli Örn Garðarsson. Inst: @gisli__

[jagr15]

[drewsb12]

Laurits & Vidar (Ragnarök) || Saved My Life

[filministic]

Ragnarok (2020-...)

[knuckle-draugr]

Metamorphosis: A Six-Legged Nightmare by Franz Kafka (2010)

Written and directed by: Gísli Örn Gardarsson

[weltekel]

seabear, sin fang, soley, gisli orn gardarsson, sigur ros, oyama, vesturport theater company, bjork, erró. iceland must be the most creative place like ugh i want to move thereeh

[thedenialtwister]

Recent drawing of mine. It's Zolm from Prince of Persia.

Also known as Gisli Orn Gardarsson, the icelandic actor. Any way it's a colored pencil and sharpie piece. and I'm quite proud of it. XD ^__^