Friday, 19 January 2018
Thursday, 4 January 2018
Nil: No Blood for Coffee Movie Poster
The short film now has a movie poster.
Because posters are cool!
Tuesday, 2 January 2018
Saturday, 30 December 2017
The Last Jedi Review (and SPOILERS)
I didn't mind it. On one level, it's a great deconstruction of hero tropes. Aspects are subversive for the genre. There was some spectacular (if senseless) action. The film did raise irksome questions, some more nerdy (and admittedly irrelevant) than others.
Maybe i was grumpy.
Maybe i was grumpy.
Here are thoughts that shouldn't have occurred, in no particular order:
(SPOILERS!)
1) Canto Bight made no sense. How do you have arms dealers selling to both sides in a binary state system? That only works in a multi-state system where you are selling from a third party nation. Any state locked in existential conflict with another, which allows arms sales to their deadly enemy, is inherently incompetent.
It would be like Northrop Grumman selling missile defense systems to the Soviet Union during the Cold War. They'd be arrested immediately. Same goes for any Soviet factory that tried to sell advanced torpedoes to the USA, for example.
Selling under the table would also be ridiculously risky, jeopardizing the entire business for a few extra sales. It makes no sense whatsoever.
Secondly, the war started with the complete destruction of the Republic (?) fleet. So who have these dealers been selling to? There is no indication that the Republic fleet has been rebuilt, and there's been no time to do so, either. The war hasn't been going on long (Finn was still in med bay from his injuries in the last movie, and that's when the war started). So the idea that arms makers have long been profiting from human misery in this war doesn't make sense either.
And if the Republic and First Order were frequently at war, why not carry the battle to a conclusion and destroy the Space Fascists? Have they not heard of 'unconditional surrender'? Why didn't General Leia and the Republic finish them off?
And if the Republic and First Order were frequently at war, why not carry the battle to a conclusion and destroy the Space Fascists? Have they not heard of 'unconditional surrender'? Why didn't General Leia and the Republic finish them off?
Finally, how would a state like the Republic defend itself from the wanton aggression of Space Fascists if they didn't have arms manufacturers? What were they going to use? Rocks?
Wait! I know, it's love, right?
They're going to fight planet-destroying hyperspace-lasers with love.
Good luck with that.
Wait! I know, it's love, right?
They're going to fight planet-destroying hyperspace-lasers with love.
Good luck with that.
2) Why didn't some of the First Order ships (they had a whole fleet) use short hyperspace jumps to get ahead of the fleeing Resistance? They had lots of fuel. Why pursue the rebels for... what, hours? Days? A week?... just using subspace drives. It makes no sense, when the Rebels are perfectly capable of using short hyperspace jumps to close distances quickly (see the next point). Can't the First Order figure out that they could get AHEAD of the Rebel ships using such short jumps?
3) If smashing your flagship into a much, much bigger flagship (as Admiral Holdo does) can destroy it easily and spectacularly, why not build lots of kamikaze cruisers? If I invest 10 unit of production in a ship, and you invest 100, and I destroy your ship with mine, you are down 90 more production units than I am. Does this tactic not suggest it is a bad idea to throw all your resources into one huge vessel? Did not naval strategists change fleet composition with the coming of the aircraft carrier? The battleship went away. Carriers were large for a functional reason: to carry aircraft. The First Order builds enormous, easily destroyed ships because...? Is it the same reason why I'd build big Lego ships as a kid and then destroy them? Who is doing their strategizing?
It was Hux who did the strategizing, wasn't it?
I bet it was.
Has their accountant talked to them about how they're investing their resources?
It was Hux who did the strategizing, wasn't it?
I bet it was.
Has their accountant talked to them about how they're investing their resources?
4) After Holdo flew the Resistance flagship into Snoke's even more immense flagship, the ship was in dreadful shape. It was cut in half. Sections were spinning off into space. Hull integrity was gone. Presumably it was blowing up, because everything in the movies explodes. The hanger with the ground vehicles (AT-STs) was in flames. The next thing we see is an organized landing on the salt planet, as if nothing bad had happened. At all. Ship blew up? Nevermind.
Where is the rest of the crew? Did they not abandon ship? Why are the survivors not more disheveled? They just escaped a disaster worse than Titanic, with dialogue every bit as bad.
Where is the rest of the crew? Did they not abandon ship? Why are the survivors not more disheveled? They just escaped a disaster worse than Titanic, with dialogue every bit as bad.
5) After the fight with Kylo aboard the super-duper-big star-destroyer thing, how did Rey get aboard the Millennium Falcon?
6) The ground flyers on the salt planet were rickety. Poe put his foot through the hull of his. This point is emphasized. Yet Rose then flies her already-falling-apart vehicle right into Finn's, which, at high speed, would very likely kill (or severely maim) them both. And get them captured, to boot.
This is a wiser move than flying into the death gun (which could delay the enemy attack and serve a purpose) because?
Wait! I know the answer. The answer is luuuuuv.
This is a wiser move than flying into the death gun (which could delay the enemy attack and serve a purpose) because?
Wait! I know the answer. The answer is luuuuuv.
7) Bombers in zero-gravity? I hear that they were magnetic bombs, but this is never explained properly. The distances in space are vast, so using bombs without propulsion or serious acceleration seems just... dumb. Really really dumb, especially when you put them on ships that move slower than I can walk. They used to have Y-wings. Those were faster. Who was in charge of equipment purchasing for the Resistance?
9) Why are the two henchmen of Snoke such laughable losers? They should be a comedy duo playing clubs not out menacing the galaxy.
Their talents are being misused.
And why would anyone put Hux in charge? I wouldn't trust him with a call centre, much less a space army.
Are you seriously telling me there was no one out there more qualified?
I sense nepotism.
Their talents are being misused.
And why would anyone put Hux in charge? I wouldn't trust him with a call centre, much less a space army.
Are you seriously telling me there was no one out there more qualified?
I sense nepotism.
10) Wildly unrealistic schemes are shown as being unwise by Poe's early heroics, and later by the failure of his scheme with Finn and Rose, which dooms most of the fleeing rebels in their tiny ships (who are sold out by DJ). This is actually pretty cool, in a way, but it also makes the heroes look like dangerously incompetent doofuses with very poor discipline.
11) Luke doesn't seem like the kind of guy who'd go into a child's bedroom with the intent to murder the kid in their sleep, even if it's only a momentary lapse in judgement. And if he did, Luke would right that wrong, not sulk on an island for 20-40 years.
The whole late night visit with the laser sword smacked of child abuse.
Granted, Vader murdered younglings, so maybe killing kids runs in the Skywalker family. Is that Rian's point?
How does Rian Luke fit with Lucas Luke? They seem like different characters.
Hamill is a trooper, but he has valid complaints.
He understands his character far better than Rian does.
The whole late night visit with the laser sword smacked of child abuse.
Granted, Vader murdered younglings, so maybe killing kids runs in the Skywalker family. Is that Rian's point?
How does Rian Luke fit with Lucas Luke? They seem like different characters.
Hamill is a trooper, but he has valid complaints.
He understands his character far better than Rian does.
13) Why were the precious Jedi texts kept in the open air, on a wet island? They looked like they were made of paper. Was it special non-biodegradable space paper? Okay, I know, this is a quibble. Just kidding.
14) Poe talks to Finn and Rose while they are in hyperspace using a little walkie-talkie device. So now they can communicate across light years instantaneously. And no ship communication monitoring is going on that would alert Holdo. Really?
Since when could they talk instantly across light years even while in hyperspace?!? (I seem to remember a call from the Emperor over hyperspace radio in ESB, but I also remember this being an exception to the rule, that there were only a few devices in the galaxy capable of this. Maybe that was from Extended Universe material?)
If they can, why not call for help earlier? Why not get on space radio and tell the galaxy what's happening? Why is there no Space TV? The whole galaxy can know what's happening instantaneously... that's huge. Why isn't the Rebellion using this? Do they have no PR people?
In The Force Awakens, the Space Fascists use a planet-based hyperspace-laser (?) to fire (presumably) between star systems. Yet we can see the laser beam moving in slow-motion past Ren's ship. If it is so slow you can see it move, how does it get to destroy another star system before someone notices it coming and uses instantaneous space radio to alert people? Stars are light-years apart. If it was a hyperspace-laser, I missed the line of dialogue, and the visuals certainly didn't convey it. And once the planet's laser sucked up the sun (what on earth is left of the sun at this point? Suns are massive), where did it get it's heat from? What about the gravitational effects? Was the planet mobile, too? It'd have to be, if it ever wanted to fire the big laser again.
Since when could they talk instantly across light years even while in hyperspace?!? (I seem to remember a call from the Emperor over hyperspace radio in ESB, but I also remember this being an exception to the rule, that there were only a few devices in the galaxy capable of this. Maybe that was from Extended Universe material?)
If they can, why not call for help earlier? Why not get on space radio and tell the galaxy what's happening? Why is there no Space TV? The whole galaxy can know what's happening instantaneously... that's huge. Why isn't the Rebellion using this? Do they have no PR people?
In The Force Awakens, the Space Fascists use a planet-based hyperspace-laser (?) to fire (presumably) between star systems. Yet we can see the laser beam moving in slow-motion past Ren's ship. If it is so slow you can see it move, how does it get to destroy another star system before someone notices it coming and uses instantaneous space radio to alert people? Stars are light-years apart. If it was a hyperspace-laser, I missed the line of dialogue, and the visuals certainly didn't convey it. And once the planet's laser sucked up the sun (what on earth is left of the sun at this point? Suns are massive), where did it get it's heat from? What about the gravitational effects? Was the planet mobile, too? It'd have to be, if it ever wanted to fire the big laser again.
In Star Wars, why didn't Han just turn on his hyperspace-radio and find out that Alderaan blew up? Surely some trader's spaceship (Alderaan would have had considerable space traffic, would it not? There'd be space trade. They had a war about trade routes before sometime, I seem to remember.... wait, don't remember...) saw the planet blow up. Wouldn't they have spread the word?
Didn't Tarkin want to use the destruction of Alderaan for PR purposes, to intimidate? You can't intimidate if no one knows about it.
Is this new tech? When did this happen? Why am I not getting the memos?
Do the rules go out the window the moment it's inconvenient? And if the rules are completely fungible, how is there any drama? You just change the rules to get the characters out of trouble.
Didn't Tarkin want to use the destruction of Alderaan for PR purposes, to intimidate? You can't intimidate if no one knows about it.
Is this new tech? When did this happen? Why am I not getting the memos?
Do the rules go out the window the moment it's inconvenient? And if the rules are completely fungible, how is there any drama? You just change the rules to get the characters out of trouble.
15) What the heck is going on with the state of the galaxy? I know it'd require an info dump, but honestly, it's not clear. What happened to the victory at the end of Return of the Jedi? Why can't you give us a one-two minute breakdown of where we're at?
The whole thing seems like a movie-reset, so they can milk conflict between Empire and Rebels and sell the same sort of merchandise in perpetuity. The galaxy isn't moving forward, but forcibly set in place.
This universe could be, should be, bigger than that.
I didn't like the prequels, but at least they weren't as much of a rehash.
16) Subverting expectations is good, but when you put in threads and dangle mysteries and then repeatedly go "Ah-ha!" it's just annoying. Why throw in so many narrative dead ends? It felt like too many things going nowhere. Am I watching Game of Thrones?
17) How long do hyperspace jumps take in this galaxy now? I thought they used to take awhile. Days, even. Now they seem much, much faster. According to some, the whole thing only happened over a few hours, although days obviously pass with Luke and Rey's subplot. Time in Empire Strikes Back was screwy like that too, but here it feels worse because the subplots are so boring.
18) Was it my imagination, or did a laser bolt bounce off of Captain Phasma's armour in one scene? If so, why don't all stormtroopers wear reflective armour? Their space armour seems pretty useless otherwise. And it's not like the First Order is cash strapped, what with their monster-sized battleships and planet-sized space lasers. Why skimp on reflective space armour?
Was Phasma hogging it all? Did she want to keep that edge all to herself?
The stormtroopers should unionize.
And why not make their ships reflective too?
19) Why did you have the two characters who have the least chemistry together kiss? It'd make more sense if Finn and Poe had.
So there you go. Just some of my silly questions. Granted, many of these things you just have to look over in a sci-fi space opera type film. But if the narrative is working, these thoughts don't occur.
The whole thing seems like a movie-reset, so they can milk conflict between Empire and Rebels and sell the same sort of merchandise in perpetuity. The galaxy isn't moving forward, but forcibly set in place.
This universe could be, should be, bigger than that.
I didn't like the prequels, but at least they weren't as much of a rehash.
16) Subverting expectations is good, but when you put in threads and dangle mysteries and then repeatedly go "Ah-ha!" it's just annoying. Why throw in so many narrative dead ends? It felt like too many things going nowhere. Am I watching Game of Thrones?
17) How long do hyperspace jumps take in this galaxy now? I thought they used to take awhile. Days, even. Now they seem much, much faster. According to some, the whole thing only happened over a few hours, although days obviously pass with Luke and Rey's subplot. Time in Empire Strikes Back was screwy like that too, but here it feels worse because the subplots are so boring.
18) Was it my imagination, or did a laser bolt bounce off of Captain Phasma's armour in one scene? If so, why don't all stormtroopers wear reflective armour? Their space armour seems pretty useless otherwise. And it's not like the First Order is cash strapped, what with their monster-sized battleships and planet-sized space lasers. Why skimp on reflective space armour?
Was Phasma hogging it all? Did she want to keep that edge all to herself?
The stormtroopers should unionize.
And why not make their ships reflective too?
19) Why did you have the two characters who have the least chemistry together kiss? It'd make more sense if Finn and Poe had.
So there you go. Just some of my silly questions. Granted, many of these things you just have to look over in a sci-fi space opera type film. But if the narrative is working, these thoughts don't occur.
Rian Johnson makes some really counter-intuitive story choices (unceremoniously slicing Snoke in half, for example, early on), which surprised me. That was great. I thought Snoke might have been wounded, but wow, no, they flat out cut him in half.
On the other hand, some of Rian's zigs I really didn't jibe with (see Luke above).
On the other hand, some of Rian's zigs I really didn't jibe with (see Luke above).
So spectacle, sizzle, action, explosions. Some decent emoting.
But it was also a long film, felt that way, and was filled with holes.
Maybe the third one in this new trilogy will be better.
But it was also a long film, felt that way, and was filled with holes.
Maybe the third one in this new trilogy will be better.
Thursday, 28 December 2017
Steam mech sketches
There are lots of different models of steam mechs, built for various tasks. Some are for fighting big monsters, some dealing with small swift ones, and others are built just for show.
Sunday, 26 November 2017
Theo Paxstone and the Dragon of Adyron... second trailer
Resized for YouTube, as well.
FaceBook (what the original trailers were made for) has an odd size for videos (1200 x 628, as opposed to the more common 1920 x 1080). It's a bit of a hassle, resizing, as it wiped out all the 3D camera movements. So I tied everything to a Null object and scaled that.
And it worked!
Thursday, 16 November 2017
Grace Heejung Kim's Petite Bourgeois Revolution
What's top of mind when your create?Composition, concept, craft, anatomy, color? What aspect fascinates you most?
When I make illustrations, concept always first, then, composition and color. I believe that every single step of the process is important and fascinating. I try to consider everything as an play/experiment. That way, you constantly push your boundaries and also have fun while doing it.
What kind of work do you usually do? Commercial, editorial, advertising, fashion, fine art?
I mostly do editorial works and fine art. However I am always open for new challenges!
What is your dream project?
I always like to tell a story with my illustrations, and I like to read, a lot. I’ve only done mock covers so far, but I would love to make book covers and eventually publish my own story.
Why did you chose the First World Problem you did?
Aren’t we always looking for free wifi?
I know I am.
What artists and / or art movements inform / inspire your work?
I am inspired by all of the contemporary and modern art that I come across living in New York City. But I have to say Fluxus from the 60-70s is my favorite art movement. I love the idea of collaboration of different artistic media and disciplines.
If you could cross the world to see the work of one compelling creator and visit their studio (anytime, anyplace), which one would you chose?
I would love to visit the New York City in the 1960s to experience, and hopefully participate, the Fluxus.
Any advice for new artists, starting out in today's market?
Be persistent and patient. Don’t be afraid to put your work out.
Do you have anything to say to your future self in 5 years?
I hope you have a dog by now.
Monday, 16 October 2017
Theo Paxstone and the Dragon of Adyron
Announcing Theo Paxstone and the Dragon of Adyron, my first middle grade novel, four years in the making:
“Dragons and worse lurk in the forests of Adyron, and only steam knights in their gleaming battle machines can keep the kingdom safe.
Theo Paxstone dreams of being such a knight. Instead, he finds himself slaving away at a repair shop for the pitiless Master Grimes.
When a dragon abducts Princess Jena from the royal tournament, Theo sees his chance and escapes. He joins forces with Sir Bentham, a crippled knight, and his pugnacious squire, Riley. Together, they pursue the dread beast, determined to rescue the princess from its clutches.
Along the way they discover that not all enemies are what, or who, they seem…”
Theo Paxstone's a fun filled, rollicking adventure story,with great twists and turns.
Trust me, I’m known for my objectivity and good taste.
It’s 411 pages, complete with illustrations, and available on Kindle for just $3.99.
Please share and spread the word (Writing the book was easy compared to promotion!).
And if you have a spare evening, give it a read, a review, and a plug or two.
Website, animations, and even more breathless, obligatory hype to come…
Sunday, 15 October 2017
After Dark Film Festival
Nil: No Blood for Coffee showed to a packed house, before Beyond Skyline, which was a real effects extravaganza!
Saturday, 7 October 2017
Great J.K. Rowling quote
“Rock bottom became the solid foundation on which I rebuilt my life.”
― J.K. RowlingInspiring, resilient, authentic.
Love it.
Tuesday, 1 August 2017
Frederico Gastaldi's Petite Bourgeois Revolution
Frederico Gastaldi was in the My Petite Bourgeois Revolution art show recently at Northern Contemporary Gallery in Toronto. He does fabulous conceptual work with bold shapes and striking colours. I asked him a few quick questions in the wake of the show...
What's top of mind when your create? Composition, concept, craft, anatomy, color? What aspect fascinates you most?
Definitely the composition and the concept. I like how an illustration, once finished, is very different compared to the initial idea I had.
Definitely the composition and the concept. I like how an illustration, once finished, is very different compared to the initial idea I had.
What kind of work do you usually do? Commercial, editorial, advertising, fashion, fine art?Editorial and advertising primarily.
Why did you chose the First World Problem you did? Well-being is too badly distributed. I am worried that this gap will continue to increase.
What statement do you want to make with your work?
Whatever statement comes to mind of those who see my work.
We often build on the backs of giants. I know I try to, and I've been influenced by the Constructivists, Symbolists, and Bauhaus. What artists and / or art movements inform / inspire your work? There are many artists and art movements that influence me. My favourite painters are Bo Bartlett, Edward Hopper and William Turner.
If you could cross the world to see the work of one compelling creator and visit their studio (anytime, anyplace), which one would you chose?
I guess Paul Gauguin's studio.
Any advice for new artists, starting out in today's market?
Take it easy!
What are you working on now? What’s your next big challenge?
I'm working with some American and German clients, and preparing a personal illustrated book.
Check out more of his work here.
Why did you chose the First World Problem you did? Well-being is too badly distributed. I am worried that this gap will continue to increase.
What statement do you want to make with your work?
Whatever statement comes to mind of those who see my work.
We often build on the backs of giants. I know I try to, and I've been influenced by the Constructivists, Symbolists, and Bauhaus. What artists and / or art movements inform / inspire your work? There are many artists and art movements that influence me. My favourite painters are Bo Bartlett, Edward Hopper and William Turner.
If you could cross the world to see the work of one compelling creator and visit their studio (anytime, anyplace), which one would you chose?
I guess Paul Gauguin's studio.
Any advice for new artists, starting out in today's market?
Take it easy!
What are you working on now? What’s your next big challenge?
I'm working with some American and German clients, and preparing a personal illustrated book.
Check out more of his work here.
Wednesday, 26 July 2017
Robb Mirsky's Petite Bourgeois Revolution
The awesome Robb Mirsky participated recently in the My Petite Bourgeois Revolution show at Northern Contemporary Gallery in Toronto.
I asked him a few questions in the wake of the revolution, about art, his razor sharp indie-comix edge, and inspiration:
Usually i think about composition first. I like to try to find something simple yet captivating and sort of work from there. I don’t really have any one set way of doing things, so i let it fester in my brain a bit before heading to paper. I can usually see some form of what i want in my head before i really start getting down to the nitty gritty, and i just try to emulate that.
What kind of work do you usually do? Commercial, editorial, advertising, fashion, fine art?
For the most part i create comics (which can be found in the printed books, Read More Comix), but i also make a lot of band posters for local shows and bands around Toronto. I’m primarily working within commercial and advertising with a low brow/indepedant twist.
Why did you chose the First World Problem you did?
I chose the First World Problem I did because I am constantly inundated with (as I’m sure the rest of you are too) people who blindly walk the streets, staring at their phone screens, acting like zombies. I find it infuriating, but also hilarious how far humanity has slid that we can barely handle interactions that don’t have to do with our personal technology.
Why did you chose the First World Problem you did?
I chose the First World Problem I did because I am constantly inundated with (as I’m sure the rest of you are too) people who blindly walk the streets, staring at their phone screens, acting like zombies. I find it infuriating, but also hilarious how far humanity has slid that we can barely handle interactions that don’t have to do with our personal technology.
We often build on the backs of giants. I know I try to, and I've been influenced by the Constructivists, Symbolists, and Bauhaus. What artists and / or art movements inform / inspire your work?
For the most part, i find a lot of inspiration from independent comics artists of the past like R. Crumb, Basil Wolverton, Dan Clowes, and the list goes on. I stare at their panels and just soak in the composition choices and the details like line work and shading; really nerd stuff! I also grew up with a lot of custom car culture in my face (yet i know very little about cars…), and the work of people like Ed “Big Daddy” Roth really bent my mind with things like gross out art, and zany colour choices.
Any advice for new artists, starting out in today's market?
Do it cuz you love it. Do it for yourself. Spend years toiling in obscurity. Don’t expect anything from anyone else. Never settle. Always keep pushing. Keep striving to make better art than the last thing you did. NEVER STOP.
What are you working on now? What’s your next big challenge?
Currently I’m working on a few different comic projects for Read More Comix, as well as a couple show posters, beer labels for a small brewer, a shirt design, and as always filling sketchbooks with wacky sketches that i can pull ideas from later.
Check out more of his stuff at www.robbmirsky.com, on Instagram at @mirsktoons, or through his comics collective: www.readmorecomix.com.
Monday, 24 July 2017
Chiara Dattola's Petite Bourgeois Revolution
Chiara Dattola was in the My Petite Bourgeois Revolution art show recently at Northern Contemporary Gallery in Toronto. Her vibrant work channels Milton Glaser and Paul Klee in a kaleidoscope of colour. She's recently been in 3x3 magazine, and can be found on Instagram here.
Give her work a gander, you'll thank yourself for it!
I asked Chiara some puzzlers after the show:
What's top of mind when your create? Composition, concept, craft, anatomy, color? What aspect fascinates you most?
Concept is always top of my mind when I start creating. But the second aspect I can't understimate is composition. I always rely on my instinct.
What kind of work do you usually do? Commercial, editorial, advertising, fashion, fine art?
Currently, editorial and fine art.
Why did you chose the First World Problem you did?
“Time” is the most important thing we have in our life.
The rise of an oligarchical elite that threatens to undermine free, flat, fair markets and establish a new feudalism is a concern for many. What real issue are you most concerned about in the world today? What fires your jets and gets your blood pressure up?
I think that the capitalistic system and, in general, an oligarchical elite is interested in keeping most of the people ignorant and isolated.
The more ignorant and isolated we are, the more unaware we are: we are unaware how much time we lose everyday (in order to possess unnecessary things), and how we are becoming slaves to this system.
I'm really worried about this. But the thing that gets my blood pressure up is looking at the people and seeing that they are mostly disinterested in their own life, their own care. They believe the most important thing is to have money.
I really feel an outcast in this contemporary world.
What statement do you want to make with your work?
I would really say to everyone: “Know yourself and be strong and be happy: don't waste your time.”
We often build on the backs of giants. I know I try to, and I've been influenced by the Constructivists, Symbolists, and Bauhaus. What artists and / or art movements inform / inspire your work?
I think I've been influenced by Fauvism, Folk art in general, Naif art, Precisionism, Charles Sheeler in particular, and I love primitive art.
If you could cross the world to see the work of one compelling creator and visit their studio (anytime, anyplace), which one would you chose?
David Hockney, because I'm studying his process of creation. I'm really excited because I have the opportunity to go to Beaubourg, Paris, to visit his retrospective.
Any advice for new artists, starting out in today's market?
Feel free to explore, and be happy doing that. At first.
Stay strong and be careful.
What are you working on now? What’s your next big challenge?
I'm working on different projects, but I'm going to start my first graphic novel, and then look for a publisher.
Give her work a gander, you'll thank yourself for it!
I asked Chiara some puzzlers after the show:
What's top of mind when your create? Composition, concept, craft, anatomy, color? What aspect fascinates you most?
Concept is always top of my mind when I start creating. But the second aspect I can't understimate is composition. I always rely on my instinct.
What kind of work do you usually do? Commercial, editorial, advertising, fashion, fine art?
Currently, editorial and fine art.
 |
| Dams, Billion-dollar dams are making water shortages, not solving them – Internazionale magazine |
“Time” is the most important thing we have in our life.
The rise of an oligarchical elite that threatens to undermine free, flat, fair markets and establish a new feudalism is a concern for many. What real issue are you most concerned about in the world today? What fires your jets and gets your blood pressure up?
I think that the capitalistic system and, in general, an oligarchical elite is interested in keeping most of the people ignorant and isolated.
 |
| Can Facebook really create a global community? Internazionale magazine |
I'm really worried about this. But the thing that gets my blood pressure up is looking at the people and seeing that they are mostly disinterested in their own life, their own care. They believe the most important thing is to have money.
 |
| Allergies – Internazionale magazine |
I really feel an outcast in this contemporary world.
What statement do you want to make with your work?
I would really say to everyone: “Know yourself and be strong and be happy: don't waste your time.”
We often build on the backs of giants. I know I try to, and I've been influenced by the Constructivists, Symbolists, and Bauhaus. What artists and / or art movements inform / inspire your work?
I think I've been influenced by Fauvism, Folk art in general, Naif art, Precisionism, Charles Sheeler in particular, and I love primitive art.
 |
| L'homme sous la mer – Revue XXI online |
David Hockney, because I'm studying his process of creation. I'm really excited because I have the opportunity to go to Beaubourg, Paris, to visit his retrospective.
Any advice for new artists, starting out in today's market?
Feel free to explore, and be happy doing that. At first.
Stay strong and be careful.
 |
| Double page spread from the children's book “Les Petites Planètes”, Les Editions du Ricochet |
What are you working on now? What’s your next big challenge?
I'm working on different projects, but I'm going to start my first graphic novel, and then look for a publisher.
 |
| Dutch dna – Internazionale magazine |
Check out more of her work at her website.
Thursday, 20 July 2017
Xiao Hua Yang's Petite Bourgeois Revolution
Xiao Hua Yang was one of the fantastic artists who participated in the My Petite Bourgeois Revolution show at Northern Contemporary Gallery in Toronto recently. His work feels like the product of Symbolism meeting the wondrous Lorenzo Mattotti.
What's top of mind when your create? Composition, concept, craft, anatomy, color? What aspect fascinates you most?
The aspect that fascinates me the most is how convenient our lives have become thanks to some of the great inventions out there lately, but as we are benefiting from them, we are also more or less getting too dependant on them, which contradicts the idea of having those inventions at the first place. Having this in mind, I wanted to comment and make fun of a common struggle of ours.
What kind of work do you usually do? Commercial, editorial, advertising, fashion, fine art?
Mostly editorial work. I like working with texts and stories because I get to experience something brand new each time when assigned a new project. All I need to do is to focus on the story and find a way to get the author's idea across in a visual way.
What are you working on now? What’s your next big challenge?
I am working on a personal project right now. It's a story in which two smaller stories intertwine together as one. A story about hunting and being hunted and a story about chasing and being chased. It sounds a bit complicated, but it's actually not that complex. Here, I am hoping to explore the relationships between people and leave an open space for the viewers to participate and experience too.
Xiao let me get a sneak peek at his personal project, and the pieces are gorgeous. Rich, sumptuous and eerie imagery.
You can find Xiaohua Yang at his website, yxhart.me, and on instagram: @dawnwatch. Check it out!
The aspect that fascinates me the most is how convenient our lives have become thanks to some of the great inventions out there lately, but as we are benefiting from them, we are also more or less getting too dependant on them, which contradicts the idea of having those inventions at the first place. Having this in mind, I wanted to comment and make fun of a common struggle of ours.
What kind of work do you usually do? Commercial, editorial, advertising, fashion, fine art?
Mostly editorial work. I like working with texts and stories because I get to experience something brand new each time when assigned a new project. All I need to do is to focus on the story and find a way to get the author's idea across in a visual way.
Why did you choose the First World Problem you did?
It's one of my daily struggles to keep my battery alive so that I feel connected to the rest of the world. I'd assume people are having the same struggle too.
What statement do you want to make with your work?
First of all, it's just a friendly reminder. Secondly, I am hoping that people would actually give it a second thought.
Any advice for new artists, starting out in today's market?
Keep working hard
It's one of my daily struggles to keep my battery alive so that I feel connected to the rest of the world. I'd assume people are having the same struggle too.
What statement do you want to make with your work?
First of all, it's just a friendly reminder. Secondly, I am hoping that people would actually give it a second thought.
Any advice for new artists, starting out in today's market?
Keep working hard
What are you working on now? What’s your next big challenge?
I am working on a personal project right now. It's a story in which two smaller stories intertwine together as one. A story about hunting and being hunted and a story about chasing and being chased. It sounds a bit complicated, but it's actually not that complex. Here, I am hoping to explore the relationships between people and leave an open space for the viewers to participate and experience too.
Xiao let me get a sneak peek at his personal project, and the pieces are gorgeous. Rich, sumptuous and eerie imagery.
Monday, 17 July 2017
Matthew Daley's Petite Bourgeois Revolution
Illustration maestro Matthew Daley (Shiny Pliers) recently participated in the My Petite Bourgeois Revolution art show at Northern Contemporary Gallery in Toronto.
His work is graphic, joyfully colorful and narrative. He's making a modern Canadian pictogram language through illustration, Saul Bass crossed with Tetris. Yes, he does both comics and great infographics.
I caught up with him after the show and peppered him with questions:
1) What's top of mind when your create? Composition, concept, craft, anatomy, color? What aspect fascinates you most?
Concept is what usually comes first and I flesh it out from there. Everything else comes with a certain amount of fine tuning and trial and error. I kind of love seeing how things come together and how the end result might differ from what I originally envisioned or sketched.
2) What kind of work do you usually do? Commercial, editorial, advertising, fashion, fine art?
My work is usually of the editorial/commercial variety.
2) Why did you chose the First World Problem you did?
I chose "Short Turn" because short turning or rerouted street cars have been the bane of my existence since moving to the East End. Since most events I partake in happen in either the West End or City core, there's nothing more frustrating than having to get off a streetcar while partway through a long trip home and waiting for the next one to show up or to have to deal with shuttle buses.
4) What statement do you want to make with your work?
That all Kaiju is awesome and worthy of love.
5) We often build on the backs of giants. I know I try to, and I've been influenced by the Constructivists, Symbolists, and Bauhaus. What artists and / or art movements inform / inspire your work?
My main inspiration over the past decade has been mid-20th century illustration and design, particularly the work of James Flora or Mary Blair. I’m also heavily influenced by the playful mayhem of the Dadaists and the aesthetic of Eiji Tsuburaya’s incredible monster designs in Godzilla movies and Ultraman episodes.
6) If you could cross the world to see the work of one compelling creator and visit their studio (anytime, anyplace), which one would you chose? French children’s book illustrator, Olivier Douzou.
7) Any advice for new artists, starting out in today's market?
Keep having fun. Getting started is frustrating and it may take ages to get to a point where you’re professionally satisfied, but that’s all part of the struggle.
8) What are you working on now? What’s your next big challenge?
I’m presently plugging away at a Kaiju design a day for “Kaijuly 2017” which I’m showcasing on my tumblr page and on Instagram.
Find me online at www.shinypliers.com
His work is graphic, joyfully colorful and narrative. He's making a modern Canadian pictogram language through illustration, Saul Bass crossed with Tetris. Yes, he does both comics and great infographics.
I caught up with him after the show and peppered him with questions:
1) What's top of mind when your create? Composition, concept, craft, anatomy, color? What aspect fascinates you most?
Concept is what usually comes first and I flesh it out from there. Everything else comes with a certain amount of fine tuning and trial and error. I kind of love seeing how things come together and how the end result might differ from what I originally envisioned or sketched.
2) What kind of work do you usually do? Commercial, editorial, advertising, fashion, fine art?
My work is usually of the editorial/commercial variety.
2) Why did you chose the First World Problem you did?
I chose "Short Turn" because short turning or rerouted street cars have been the bane of my existence since moving to the East End. Since most events I partake in happen in either the West End or City core, there's nothing more frustrating than having to get off a streetcar while partway through a long trip home and waiting for the next one to show up or to have to deal with shuttle buses.
4) What statement do you want to make with your work?
That all Kaiju is awesome and worthy of love.
5) We often build on the backs of giants. I know I try to, and I've been influenced by the Constructivists, Symbolists, and Bauhaus. What artists and / or art movements inform / inspire your work?
My main inspiration over the past decade has been mid-20th century illustration and design, particularly the work of James Flora or Mary Blair. I’m also heavily influenced by the playful mayhem of the Dadaists and the aesthetic of Eiji Tsuburaya’s incredible monster designs in Godzilla movies and Ultraman episodes.
6) If you could cross the world to see the work of one compelling creator and visit their studio (anytime, anyplace), which one would you chose? French children’s book illustrator, Olivier Douzou.
7) Any advice for new artists, starting out in today's market?
Keep having fun. Getting started is frustrating and it may take ages to get to a point where you’re professionally satisfied, but that’s all part of the struggle.
8) What are you working on now? What’s your next big challenge?
I’m presently plugging away at a Kaiju design a day for “Kaijuly 2017” which I’m showcasing on my tumblr page and on Instagram.
Find me online at www.shinypliers.com
Thursday, 13 July 2017
My Petite Bourgeois Revolution: Robert John Paterson
My Petite Bourgeois Revolution was held at Northern Contemporary Gallery in Toronto in May. We had a fantastic selection of artists for the show, including the inimitable Robert John Paterson.
His work is Constructivist design savvy crossed with Pop-Art fun, driven by sharp wit. And perhaps the ghost of the legendary Saul Bass.
I asked him some questions about his work, the show, and the future:
1) What's top of mind when your create? Composition, concept, craft, anatomy, color? What aspect fascinates you most?
Concept is always first and foremost. I lean more design than fine art, if something isn't done for a reason I really have a hard time investing. I feel the idea should be whats on display, and my illustration is more or less the vehicle to communicate it. When the illustration looks pretty that's a win win, but to me if the concept doesn't work no amount of polish can save it.
2) What kind of work do you usually do? Commercial, editorial, advertising, fashion, fine art?
I feel like I'm a mix of editorial and advertising. I do a lot of film and band posters, as well as magazine and online editorial work. I did my first book cover earlier this year and I loved it, to me its was pretty much a combination of those two fields. Concept heavy but still had to be bold and attention grabbing.
2) Why did you chose the First World Problem you did?
Mine was critique of the snacking habits of the first world, I wouldn't say its unique to the privileged because many lower income families have a similar if not worse sugar and super sized portion based diets. My piece was a diptych with a hand too big too fit into a Pringles can on one side, and a cookie too big to fit in the glass of milk on the other.
3) The rise of an oligarchical elite that threatens to undermine free, flat, fair markets and establish a new feudalism is a concern for many. What real issue are you most concerned about in the world today? What fires your jets and gets your blood pressure up?
Diet is a very scary issue to me. Its so easy to eat conveniently and the long term side effects of many harmful ingredients and food preparation practices are soooo long term most people (even experts) have no idea how we will be effected later in life.
4) What statement do you want to make with your work?
Statement is a tricky word. It sounds so defined and ridged. I'm more of a have you thought about this kind of person. People can be so strict in their politics, religion, opinions and criticisms. I don't make things to change anyone's mind or get everyone to think like me. More of a hey did you notice this or thought about this side of a subject approach.
5) We often build on the backs of giants. I know I try to, and I've been influenced by the Constructivists, Symbolists, and Bauhaus. What artists and / or art movements inform / inspire your work?
Big fan of 1960s Graphic Design, heavily influenced by Sal Bass and Milton Glaser.
6) If you could cross the world to see the work of one compelling creator and visit their studio (anytime, anyplace), which one would you chose?
No one specific but I would like to spend time in Europe and study typesetting and printmaking with more traditional tools and masters. I screen print my work here in Toronto, but other than pulling the screen my process is computer heavy. Would love to learn and work more traditionally.
7) Any advice for new artists, starting out in today's market?
Networking. Build relationships with people outside the digital world. Instagram popular doesnt always mean real world popular. Go to shows and make friends, build a scene rather than a following.
8) What are you working on now? What’s your next big challenge?
No big plan, lots of little ones. Working with some bands and short commissions. I feel like lots of smaller steps are more beneficial for me to keep getting experience and developing my illustrative voice rather than a few big ones each year.
His work is Constructivist design savvy crossed with Pop-Art fun, driven by sharp wit. And perhaps the ghost of the legendary Saul Bass.
Concept is always first and foremost. I lean more design than fine art, if something isn't done for a reason I really have a hard time investing. I feel the idea should be whats on display, and my illustration is more or less the vehicle to communicate it. When the illustration looks pretty that's a win win, but to me if the concept doesn't work no amount of polish can save it.
2) What kind of work do you usually do? Commercial, editorial, advertising, fashion, fine art?
I feel like I'm a mix of editorial and advertising. I do a lot of film and band posters, as well as magazine and online editorial work. I did my first book cover earlier this year and I loved it, to me its was pretty much a combination of those two fields. Concept heavy but still had to be bold and attention grabbing.
2) Why did you chose the First World Problem you did?
Mine was critique of the snacking habits of the first world, I wouldn't say its unique to the privileged because many lower income families have a similar if not worse sugar and super sized portion based diets. My piece was a diptych with a hand too big too fit into a Pringles can on one side, and a cookie too big to fit in the glass of milk on the other.
3) The rise of an oligarchical elite that threatens to undermine free, flat, fair markets and establish a new feudalism is a concern for many. What real issue are you most concerned about in the world today? What fires your jets and gets your blood pressure up?Diet is a very scary issue to me. Its so easy to eat conveniently and the long term side effects of many harmful ingredients and food preparation practices are soooo long term most people (even experts) have no idea how we will be effected later in life.
4) What statement do you want to make with your work?
Statement is a tricky word. It sounds so defined and ridged. I'm more of a have you thought about this kind of person. People can be so strict in their politics, religion, opinions and criticisms. I don't make things to change anyone's mind or get everyone to think like me. More of a hey did you notice this or thought about this side of a subject approach.
5) We often build on the backs of giants. I know I try to, and I've been influenced by the Constructivists, Symbolists, and Bauhaus. What artists and / or art movements inform / inspire your work?
Big fan of 1960s Graphic Design, heavily influenced by Sal Bass and Milton Glaser.
6) If you could cross the world to see the work of one compelling creator and visit their studio (anytime, anyplace), which one would you chose?
No one specific but I would like to spend time in Europe and study typesetting and printmaking with more traditional tools and masters. I screen print my work here in Toronto, but other than pulling the screen my process is computer heavy. Would love to learn and work more traditionally.
7) Any advice for new artists, starting out in today's market?
Networking. Build relationships with people outside the digital world. Instagram popular doesnt always mean real world popular. Go to shows and make friends, build a scene rather than a following.
8) What are you working on now? What’s your next big challenge?
No big plan, lots of little ones. Working with some bands and short commissions. I feel like lots of smaller steps are more beneficial for me to keep getting experience and developing my illustrative voice rather than a few big ones each year.
Subscribe to:
Posts (Atom)