We have been told on a number of occasions by people whose opinions we trust that Speed Racer was actually pretty good. Which was surprising, because even though I really wanted to see it, the reviews had convinced me otherwise.
Last night, we learned it was still playing on IMAX and went to check it out for ourselves.
The IMAX theatre here in Toronto (@ John and Richmond) fits close to a thousand people. There were about eight of us when the lights went out. It was like our own personal home IMAX. Pretty awesome.
A lack of audience doesn’t bode so well for the Wachowskis however… which is sad, because you know how - maybe a year ago - you heard rumors about this flick being mind-blowing? They were all true.
The movie was excellent, saturated with colour and movement - the best kind of drug-free head-trip. The plot was easy to follow and entertaining - I didn’t think it felt overly long at all. The races were speedily kinetic and weirdly pneumatic - mesmerizing to watch. The acting was definitely one dimensional, but in a knowing way that perfectly fitted it’s source material - a cartoon. It did all this in a manner that was pretty wholesome and family friendly, so feel free to bring kids along (not too young of course, there is a bit a of implied violence - although no worse than the Home Alone movies). It was like nothing else I’ve ever seen, which is the only reason I can fathom it got such lousy reviews.
It was a great big, larger than life, caricature of the original.
A living, breathing manga.
The way the images evoked the intense world of extreme diagonals, flat characters and dense set-pieces inside Japanese comic books was breathtaking. I could see the black lines dancing at the edges of the actors faces, as though the movie would fall back into ink and newsprint at any moment.
We left the theatre charged up and energized in a way I haven’t felt in a long time - probably since I was a kid and we went to see the big blockbusters and Disney cartoons. I definitely didn’t feel that way when leaving the theatre from Ironman (which I found merely entertaining).
To anyone that is in any way a fan of Japanese art, or art in general, don’t believe Rotten Tomatoes, this movie is a must see (so go see it now if/while you still can).
I almost forgot: this weekend is the Toronto Comic Arts Festival and it’s FREE, and you should come.
I am definitely going on the Saturday, possibly the Friday night if I am given a good reason to (like friends being there). Can’t make it on the Sunday though, which kinda sucks as it’s usually the better day (less crowd=less gawkers and fanboy) but I kinda have to go to the wedding I designed the invitation for… Yeah, that’s definitely something I kinda sorta have to do.
Katie, Joe, Travis I’m totally looking in your direction here… Maybe I’ll even feed you afterwards?
I’m pretty much firmly entrenched in a “Don’t look at me! I’m hiiiiideous!” moment in my life right now.
Don’t worry, it’s more a ugly on the inside that I’m feeling (not that I’m feeling top notch on the outside - but my haircut is growing out pretty cute, and I just got all dolled up for my cousins wedding last week, so my self esteem on that front is at least higher than it is low right now).
It’s mostly just a vast feeling of insecurity about my art skills. And the only reason I feel so insecure about them is because I, quite frankly, don’t feel much like flexing or using them these days.
I mean, look at that handsome man up there in the picture. You see that cute little tee he’s wearing? With the little retro teevee? Yep, that’s all me. I designed the little logo, and ironed it on to a colour co-ordinated shirt. I made it and it’s pretty awesome.
I do good work. Work that impresses people. They tell me so. I mean, we all know that the reason that I quit OCAD had nothing to do with marks (even if most people think it’s crazy to quit something you’re doing well at).
But for the past few months I’ve been having trouble actually doing any.
Work, that is.
I just can’t force myself to sit down and draw right now.
My brain won’t do it even though it also knows I won’t get any better, and indeed will actually start to go downhill in my suckage if I don’t pick up a pen to retain my hand/eye co-ordination (let alone my life drawing/proportion/line control skills).
Worst of all, I’m letting myself be totally intimidated by people who in other times would have simply inspired me.
There are the Team Machos of the world who balance incredible technical skill with mind-blowing creativity and an intensely obscure and mind-boggling sense of humour.
Not too long ago I got to sit in their studio, and sift through their work, and stare at their wall of wacky found art and inappropriate polaroids and pat their twenty three toed feral cat (named Punchy). Tell me that’s not completely overwhelming. And I got invited to come study with a member of the collective for a session or two - but I totally chickened out.
Then there’s all the Hopes, Roses, and Lucys of the world. Incredibly talented and incredibly YOUNG girls- way younger than me even, and they’ve all already graduated from incredible schools and had amazing jobs and/or published work and/or critical acclaim. And they’re girls in a (until very recently) incredibly male dominated industry. Way to rock that boat!
Which says nothing of how much I respect their drawing abilities - the strong, clean, beautiful and very personal images they create. I would give anything to be able to use line the way they do.
Although to be honest, I know I could do the same if I just WORKED at it.
But I let myself get intimidated instead.
In short: I suck!
I kinda knew that it was going to be even harder to motivate myself to work after dropping out of school than it was while was in school, so I could see this coming really (no terms or deadlines to encourage me - not that they ever really did a great job of doing that in the first place).
And I’m in this for the long run, so on the short term I feel like this is a moment in my life I will totally overcome.
But looking at the long term I know I’ve got to WORK to find a solution to this. I can’t just let this moping become my life.
Inspired by this bout of late inclement weather we’ve been having this week (it’s snowing again, as I speak - big, fluffy flakes), I put together a mini-comic. It’s a simple little thing, but it turned out nicely.
You can read it by clicking:here, or on the image up there.
I spent an afternoon at the book store (with a nummy gingerbread latte), and solved some of my confuzlement issues - as per usual, I was on the right track all along.
Since I liked his first book so much, I flipped through, and actually ended up purchasing Making Comics by Scott McCloud.
Yes, it’s a book about making comics - not illustration - of course. But I happen to be very interested in comics, and illustration is really just a single panel comic most of the time. I think there’s a lot they can lend to each other. Illustration is non-sequential-sequential art to comics sequential art, if you will. Ok, that was confusing… point is they have a lot in common.
This book talks about everything I could have hoped for, AND it’s got contemporary examples that I actually recognize this time around (O’Malley, Larson, Ware etc) AND it’s got exercises for me to play around with AND it’s got a meaty bibliography at the back AND it’s exactly as pragmatic and irreverent and practical as I’d like it to be.
I especially like how helpful it is when it comes to talking about depicting the things that readers/viewers/the audience picks up on, and needs to be drawn in to an image, or story. It seems to be based on some solid psychology/evidence of what has worked throughout comics history. That’s going to be really helpful, whether I’m illustrating or comicing (And I plan to do both, actually).
I think the only reason I don’t see it recommended everywhere, is that it’s really new - 2006 publishing date, to be specific.
However, I also really appreciated the pointing in the direction of Ed Emberly. His stuff is adorable, and awesome and soooo much fun - I’m probably gonna order some real soon (they only had one book, and it’s cheaper online). He’s gonna be a good distraction and reminder that I don’t always need to complicate things unnecessarily. Simple is definitely best a lot of the time. So thanks for that, Travis.
I am researching books right now. Books of the instructional, non-fictional variety, to be specific. Books in lieu of art school (as previously discussed).
I recall reading Brian Lee O’Malley at some point say how awesome Understanding Comics is (which is a very well respected compendium of basic comic knowledge - done up, rather inspiredly, in comic book format), so I grabbed a copy at the Beguiling this weekend.
It came highly reccomended, and it remains highly reccomended. Good stuff there indeed. Some of the references are getting a little old, but for the most part Mr. Scott McCloud sticks to the classics (Herge, Spiegelman, Tezuka, Marvel) and they hold up excellently.
But now that I understand “sequential art” I feel the urge to sharpen my drawing skills, drastically. So I look to yet more books of the non-fiction variety. Unfortunately, it seems most instructional art books are not terribly advanced, not terribly sexy, and worst of all: pretty hippy-dippy-new-agey at times. Ick.
Here are some of the one’s I’ve seen most recommended, and the reasons I haven’t brought myself to purchase them yet:
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Drawing on the Right Side
From what I’ve heard this book steals most of what’s good about it from another, better book, and the rest is bad science - right brain/left brain drivel that was largely disproved years ago. I hate faux-science. I hate it when laymen, without following any actual scientific method or process come up with lame, simplistic theories and expound them for undiscerning housewives. This is why I don’t care for carb-free diets, or self help books.
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The Natural Way to Draw
This is apparently the much better and much more thorough workbook that the “Right Side” one took most of it’s exercises from. It’s apparently a classic, and and largely outlines the traditional method of learning to draw - the one most of us who’ve ever taken an art class have already been taught. The problem here, of course, is that in the 9 plus years of art training my little brain has experienced, I’ve likely worked my way through most of the stuff multiple times already. Grids? Blind contour drawings? No thanks. I had my fill in the ninth grade.
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The Artist’s Way to Spiritual Creativity
This book is definitely one of the ‘hippy-dippy-new-agey’ ones. It’s even got the word “spiritual” in the title. I’m far too pragmatic for that sort of thing, I’m afraid. I just end up mocking it whenever I skim it at the bookstore.
Besides, it’s really a writing guide. And I write fine, and quite prolifically. I even have a pretty strong and definite literary voice.
And of course, I am an illustrator (who sometimes writes) not a writer. I understand that it might help me ‘embrace my creative side’ and every-time I decide “no way, not for me,” internally, I find myself looking at it again just to see why so many people highly recommend it… But the same people who recommend it also like Sark a whole lot. And I’m not a fan. She’s like a middle age women’s answer to R. Crumb (who I’m not a fan of either. But I respect Crumb more. At least he’s a bit more irreverent).
Basically, I just wish there was something along the lines of this book that would allow me to keep my street cred (”The Indie Way to Being Cool,” maybe…? Yes…? No…?).
But above all else, this book DOES NOT teach you how to draw good. It doesn’t teach you to draw, at all. It’s not, actually a drawing manual. So all this is moot. Nope. No good.
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Creative License
Again, this one is a bit too self-helpy for my liking… and a bit unfounded… and too inspirational: You can do it! Hang in there!. With some (as in very limited) drawing advice thrown in.
I like Danny Gregory, I really do, he’s a nice guy and a good illustrator, and a great blogger - but I’ve read a good chunk of his blog, and I’m not sure there’s much in this book I couldn’t glean from the blog itself. Or that there’s much left for me to learn from him in general.
From reading his blog, I’ve found that he doesn’t seem terribly open to change or advancement in style or technique. I’ve often read him railing against those who would dare to tell him that he could improve himself in one way or another. And I just don’t think that’s the attitude I want right now.
I’m a highly critical person. I beleive in constructive criticism. I thrive on lots of in depth discussion and nit-picking. I mean, my boyfriend reviews Sorkin on Ain’t it cool, for goodness sake. Besides, there seems to be far too much discussion of WHY to draw, and not nearly enough on HOW to draw, and that’s what I’m really aiming for. More instructional, less inspirational.
So, anyone out there got any better ideas?
Or am I just being a stubborn, snobby, stick-in-the-mud?
(All in all, I think for now it seems like lots more life drawing is the way to go.)
The other day was Liam’s birthday.
I made him a crispy panchetta covered roast chicken, with a balsamic rosemary and shallot reduction, served on a bed of roasted cherry tomatoes, garlic, potatoes and red peppers.
It was as good as it sounds, and pretty as a picture. But then my camera stopped working. So I do not actually have any pictures.
I also got him a 1975, hardcover, first edition copy of: this. Stan Lee’s commentary is hilarious.
Then we headed out to see some sketch comedy at the Rivoli, specifically the fabulouso Imponderables who, (just like OK Go) we discovered years, and years, and years ago, pretty much before anybody else, so there.
And I would be remiss not to mention that Mr. Liam now has a fully fledged blog and website - even though it’s not finished yet, and there’s nothing really on it.
It can be found: here
(originally published in the January 17, 2006 issue of the Brock Press )
Today I was contacted about filling some space with a column. My job around here used to be to take pictures of people in cute outfits, dispense fashion advice and colour in pictures in Photoshop. It was a pretty sweet gig, but I’ve moved on, and fresh young people have taken my place.
But that doesn’t mean I don’t have anything left to say to the students of this university.
I am here to talk to you about the merits of a little place called Portland, Oregon, and why we should be so lucky as to live there someday.
At first glance Portland doesn’t seem like it has a lot to offer.
But that’s like saying Alice’s rabbit hole looks like just a hole in the ground.
Then you fall into it.
(more…)
There’s just so much awesomness going around, I don’t know how I’m even gonna fit it all in.
My little trip home ended up being more of a mini-vacation (which is exactly what I’ve been craving).
It all started out with TCAF which was a whole big-bundle-of-perfectness. I have come home bursting with enthusiasm and ideas.
More than that, I feel a little more comfortable with my own burgeoning identity as a illustrator and artist. It made it all seem real to me. After all, here was a couple hundred people under a tent who were completely normal, real, human beings who are committed and enthusiastic artists. More than that, they are (mostly) not gigantic nerds and are incredibly friendly to boot.
I was of worried about it all being insular and overtaken by your typical Comic-Con types. Instead it turned out to be a real festival, a fairly small community gathering of artists - exactly what I was hoping for. It felt as though, if you were there, and an artist, then you automatically became part of the community. No velvet ropes. No ridiculous line-ups. No obsessed fans. Which was pretty cool considering such graphic novel illuminati as Kid Koala, Seth and Chester Brown were just wandering around, chatting with people.
My absolute favourite thing ever though, was that when you bought something from an artist, they didn’t just sign it, they drew a little something for you. I loved being able to actually see the work happening, watch how all these incredibly talented people do it, what their techniques are. I will scan some of them in at a later date, because they are incredible to see.
I bought stacks of books and got introduced to and intrigued by many others, and I went to a bunch of fun and informative workshops and panels. I also had a few good talks with excellent people but, the two best talks I had were with Darwyn Cooke and Matt Forsythe.
I got there early on the second day so Matt invited me to sit down at his booth and we chatted a bit about comics and things ( although I regret being too intrigued by the mysterious man behind the web-log, instead of asking him more about his technique and inspiration).
Darwyn is an incredibly nice guy, and thankfully a charismatic speaker which is definitely a bonus when you go hear someone speak. I got to tell him how much I loved Salina’s Big Score, and his work in general. We chatted about art, graphic design, and storytelling. He told me that it brings him hope to know that (fairly) normal girls are reading and appreciating his comics. Overall he was really enthusiastic about getting women involved in the whole comic business. Which is terribly heartening for a girl to hear. Especially from the man who brought Catwoman back from the dead (before Halle Berry killed her again).
Overall, the festival was bursting with creativity, and I think I’m still a little too overwhelmed by it all. I know that it gave me enough inspiration to ride on for a month or two at least. Possibly a year. Possibly until exactly next year when I get to go back.
The cat has a habit of waking us up at half hour intervals in the morning. If we have to get up at 8, it’s a good thing. If we get to sleep in, we end up threatening her with death. Poor thing just gets lonely and wants to play. So I’m up.
I did not entirely enjoy Sin City when I went to see it the other day. I felt it could have been stylized even more than it was. Especially the ucky violent parts. They weren’t exactly realistic - especially not when the blood was colours other than red - but they weren’t exactly obviously fake. They were just kind of… b-movie.
In the comic book the violent scenes were all silhouette, and were almost kind of beautiful - all spidery, dripping cutout’s of light - practically lace work. It took some of the hard edge of what was actually going on in the images off my mind and let me enjoy the dark yet intriguing sensibilities of the Sin City world.
But I’m not sure what I expected from a movie that involved that Tarantino fellow.
I just loved Sky Captain and the World of Tomorrow so much, I had high hopes for another high-camp, all CG, graphic-styled, movie.
I’ve come to the conclusion that the only gory movie I can truly appreciate is Evil Dead - talk about high camp and stylized. Bless Sam Raimi. He knows where to draw the comic book line.
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