After about 4 months of very off-and-on work on my Muse painting, I am nearing completion.
Life has been busy, especially at the old 9-to-5, due to the upcoming AWS and STAFDA trade shows in Chicago and Atlanta, respectively. Since about August, I have usually been too tired to do anything other than eat and take a nap when I get home from work. Shows are shipped, finally, and the stress levels are down a bit, at least for the time being.
In any case, updates on the progress of the Muse project can be seen in slideshow format here (requires Flash plugin). I have more photos in my camera, slideshow will be updated in the next day or two as I continue toward the finish line.
...And I don't even really know what it's about, exactly.
Mostly-genius filmmaker Terry Gilliam has a new movie coming out soon. Watch this trailer and tell me if your mind just completely explodes at the speed of light:
FINALLY, a movie in which Tom Waits plays the Devil. It's pretty much the role he was born to play, a thought that was cemented in my mind after listening to The Black Rider for the first time.
I could write about sixteen thousand paragraphs here about Terry Gilliam's body of work, which is pretty much hit-or-miss: in his case, "hit" equals mind-blowing film genius, and "miss" means it's just not his best work, but still pretty great. "Dr. Parnassus" looks to me like it's getting filed in the "hit" column for sure.
After reading an interesting article on spam email and how it is generated, I decided to Google my email address. I was a bit disturbed to find that one of the search results was a post on some weird Italian pop music discussion board containing an outright theft of one of my favorite design pieces, a CD cover I made for a dear friend a few years ago.
Although I'm a bit annoyed that someone would steal my work without my permission, I realized that in this age of 1s and 0s, "borrowing" someone's digital artwork is only as easy as the artist allows it to be. I have been neglectful of this until now, thinking not only that my work was not popular enough by any stretch of the imagination to be stolen, but also that nobody would have the gall to do such a thing.
Part of me is also somewhat flattered, however. The idea that someone looking for an image to illustrate the phrase "Rainbow in the Dark" stumbled upon my work in a Google search (or whatever) and decided it was a perfect match, well... it's reaffirming in a way. Perhaps theft is an even more sincere form of flattery than imitation.
My solution at the moment strikes me as inelegant but necessary, at least until I find a better one. I plan to watermark all of the work on my site. I hope to achieve this in a manner that is subtle and obvious at the same time. Apologies in advance.
I have a new project underway, one that I'm pretty excited about. Having just received my glorious Adobe Master Collection CS4 package, and subsequently having to add another gigabyte of RAM to my computer because one of the boards died on me, I am completely geared up and rearing to go on my latest brainstorm.
Not being quite the prolific illustrator I had once hoped to be, projects involving the use of my hands and a paintbrush tend to be rare. However, they are almost always something I dive into with passion and enthusiasm, and I always find painting to be an enjoyable and very Zen undertaking.
This latest painting is a tribute to inspiration, and to someone who has been a constant source of ideas, feedback, and collaboration on some of the most important work I've done over the past year. She is my own personal Muse, and a damn good one, responsible for such varied inspirations as an idea for a movie script, comic strips, and input on the redesign of my website, portfolio and resume, and the recently completed trailer for "A Band of Roses". I'm hoping to have this thing done in time for her birthday (Guy Fawkes Day).
Lacking the convenience of posing living human models and costumes for this piece, I've been using Poser as a digital substitute. So far, so good. I intend to finish the poses, lighting, perspective/camera angles and a final render, and bring it into Photoshop to add a decent background and any image adjustments or effects I deem necessary. All of that will merely serve as a reference photo for the final phase, which is to transfer it to canvas and repaint it for a more organic finished piece. As it stands, here's where I'm at (still needs a lot of refinement, especially the lighting):
As for the painting itself, I'm currently leaning toward either oils or acrylics. Acrylic seems more likely, but I must admit my technique in that medium is pretty weak compared to working with oil. Oil is messy and takes forever to dry. I could switch to alkyds, but that would probably mean an investment of money into a completely new and unfamiliar medium, so I think I'll just stick with what I know. If I need it to dry faster, I'll just stick with my old standbys of liquin dryer and varnish.
I have spent the last month or so working in a completely new medium: video. Author Pat McDermott is shouldering a huge amount of the responsibility of promoting the re-release of her novel A Band of Roses, and as her graphic/web designer and marketing consultant, I have offered to try my hand at the trend of creating a video "trailer". Apparently it is a hugely popular marketing tool in the independent publishing world, typically a series of still images panning across the screen or zooming in/out, with accompanying captions to give the gist of the story.
The only problem is, many of these trailers aren't really very well done. I have watched several, and been disappointed (and occasionally embarrassed) by the lack of finesse, subtlety, pacing, and dramatic formula they tend to exhibit, making some of them seem more like PowerPoint presentations than marketing pieces. There are a few I've seen that are outright embarassing, and seem to have been composed with a sledgehammer and a shoehorn.
One in particular tells the story of a psychic of some kind who is on vacation. Slow, lilting music, scenes of stucco neighborhoods slowly panning by... and then, at about 1:00, scenes of lightning, zombies (using images from Resident Evil and other video games) and demons flash by on the screen accompanied by terrifying loud music. This goes on for maybe 5 seconds, and then abruptly returns to the previous music and pacing. No transition or even editing of the soundtrack. It was as if the zombie scene came from another trailer completely and was ham-fistedly pasted over the original piece.
I mean no disrespect to the creator of said trailer, but I do feel justified in offering some very frank and objective criticism when I see something like this. I suppose it's a side-effect of having the no-holds-barred Murray Tinkelman as my college professor, a guy who would just as soon throw a chair or tell you to get the hell out of his class than explain to you why what you did was wrong. Man, I miss that guy.
In any case, yes, there are elements of these trailers that are well-done, and I do like some of the photo choices that are vague and archetypal enough in nature to intrigue the viewer. Others are oddly out of place, too specific, and seem to completely kill the atmosphere of the overall piece. It's a book, after all. You can't show the viewer what the character is supposed to look like based on some available stock photography. I consider it far better to leave things as vague as possible and let the reader's imagination paint in the details.
The general problem with many of these efforts is one of presentation, and craftsmanship. It's entirely possible that the book the trailer advertises is a great one. But that will never matter if the marketing is no good. I consider myself lucky to have a formal education in art, design, and illustration, as I feel the concepts I learned over the years apply to this type of project just as they would a painting. I try to be conscious of the importance of the work as a whole, not just a string of "cool ideas" laid end to end, but a complete composition.
With that in mind, I took this project on, my goal from the start being to attempt to use the conventions of existing book trailer "culture", but present the finished piece in a way that was more dramatically relevant to a trailer you'd see for a big-budget film. I dusted off a 2-year-old copy of Adobe AfterEffects that I had been meaning to immerse myself in for some time, and a couple of textbooks I had bought when I planned on learning AfterEffects a while back (that never really materialized). I dove in, learned the basics, and progressed from a bumbling hack to a fairly competent craftsman within a week or so.
The trailer project is still in the draft stage, although not much remains before it's completed. I'm very excited to add this piece to my portfolio, and the skills of video compositing and animation to my general repetoire. You can see the current work-in-progress here.
More on this as I near completion. I have already added some live-action video and filled in the missing 15-second gap towards the end with the remainder of the captions, which Ms. McDermott and I ironed out to perfection over the weekend. I'm currently having a teeny bit of trouble getting a render of the most recent version completed (something wrong with the way AE is processing the soundtrack source file), but I'll continue to update the WIP link as changes are made.
Oh, and I forgot to mention... working on these may be a bit tedious, but it's fun.
I have just returned from a quite enjoyable Columbus Day Weekend in the Berkshires. Becky and I spent a few days driving around, swimming, eating, exploring, and just "getting away from it all". Our modest sightseeing adventures included a pleasant hour or two in the amazing Norman Rockwell Museum in Stockbridge, where I was reminded of what may be Rockwell's most touching and familiar works, the illustrations for the Four Freedoms put forth by Roosevelt during World War Two.
I found a site detailing the Freedoms, the essays on each one published in the Saturday Evening Post (as part of a massive and hugely successful campaign for Government War Bonds), and most importantly, Roosevelt's elegant definitions of each. While not explicitly stated in our Constitution, these Freedoms are more of a moral imperative for humankind than any freedom that can be granted by the words of legislative documents.
In the future days which we seek to make secure, we look forward to a world founded upon four essential human freedoms.
The first is freedom of speech and expression -- everywhere in the world.
The second is freedom of every person to worship God in his own way -- everywhere in the world.
The third is freedom from want, which, translated into world terms, means economic understandings which will secure to every nation a healthy peacetime life for its inhabitants -- everywhere in the world.
The fourth is freedom from fear, which, translated into world terms, means a world-wide reduction of armaments to such a point and in such a thorough fashion that no nation will be in a position to commit an act of physical aggression against any neighbor -- anywhere in the world.
That is no vision of a distant millennium. It is a definite basis for a kind of world attainable in our own time and generation. That kind of world is the very antithesis of the so-called "new order" of tyranny which the dictators seek to create with the crash of a bomb.
- Franklin Delano Roosevelt, excerpted from the Annual Message to the Congress, January 6, 1941
After seeing these paintings once again in person, I was struck by their universality, and the unvarnished, straightforward way in which each relates its specific Freedom to the viewer.
Coming from a former American President, one would think that each of these Freedoms, which inspired such iconic paintings that seem to represent the liberties and values Americans hold dear, would be first and foremost granted in the nation that identified them as necessities. However, almost 70 years later, Roosevelt's vision of what might be achieved in his own "time and generation" have been eroded so gradually and subtly, that they seem to be in danger of extinction both in America and "everywhere in the world," disappearing not with a bang, but a whimper. Granted, there are certainly those among us who recognize these erosions, and aim to halt and hopefully reverse them. Unfortunately, these groups and individuals seem to be a minority these days -- not a minority in their goals, but in the mere consciousness of the need for change.
1. Freedom of Speech and Expression (Everywhere in the World): There are a brave few who still exercise this Freedom at their own peril. Today, we live under an administration that will not tolerate dissent, and intentionally isolates itself from criticism to create a perception of infallibility, inscrutability, and a clear disregard for the will of its citizens. Protest and assembly, one of our very first Constitutional Rights, is now confined to "Free Speech Zones", which are nothing more than glorified cages to protect our leaders from dissent or displeasure. Our news organizations, once trusted to deliver the truth and to expose the lies and machinations of governments around the world, are now corporate conglomerates with close ties and allegiances to political groups. The news and information we receive, mere steps away from outright propaganda, is now carefully crafted and engineered to keep us loyal, afraid, unquestioning, and woefully uninformed.
2. Freedom of Worship (Everywhere in the World): Today, everywhere in the world, religious groups are being persecuted, demonized, murdered, displaced, tortured, and oppressed. Our own government has used religion as a crowbar to draw moral distinctions between ourselves and our enemies. Our Presidential candidates are publicly hoping that we end up with a "Christian President", while fundamentalist Christian groups are gaining more and more political influence with each election cycle. Recently, a Muslim Congressman was sworn in by placing his hand on a copy of the Koran, and not the Christian Bible, causing a wave of controversy and intolerance, due to preconceived notions tying the Muslim faith with extremist terrorism and political ideology. In a direct and flagrant affront to the vision of our Founding Fathers, religion and politics have become so intertwined, that they are almost synonymous.
3. Freedom From Want (Everywhere in the World): In our world right now, 2 percent of the adult population possess over 50 percent of the world's wealth and assets, while the poorest 50 percent possess only 1 percent of this wealth according to a recent UN study. This may be a difficult set of statistics to imagine, (more on visualizing statistics here), but in terms of a representative analogy, consider this: If the entire population of Earth was represented by a group of 10 people, and the group was given 100 dollars to represent all the wealth of the world, the equivalent distribution would result in ONE PERSON posessing 99 of the 100 dollars, while the remaining 1 dollar would be SHARED by the remaining 9 people in the group.
There is almost certainly going to be disparity in wealth, class, and prosperity at any given moment, but the gap continues to widen. Millions of families and children of our own nation are without healthcare and/or living in poverty. If we are all entitled to Freedom From Want, it would seem that we are a long way from accomplishing it.
4. Freedom From Fear: Fear is the driving force behind many of our every day decisions and actions. Fear of poverty, fear of crime, theft, loss, fear of death and injury, fear of our overall loss of security. We are constantly being reminded that "September 11th Changed Everything". We are constantly reminded that dangerous enemies wish to destroy us and our way of life, and that war is the solution to any number of continually-redefined problems in our world. Fear is the primary tool of a government that wishes to control us, be it the current administration, or any totalitarian, fascist, despotic, or dictatorial government in the entire history of human civilization.
We are not free from fear-- quite the opposite. Fear is spoon-fed to us every single day, be it fear of global terrorism, or fear of dying in a car accident. Fear of killer bees, sewer explosions, drowning children, accidental fires, exploding iPods, airplane crashes, power outages, rabid dogs, sexual predators, and home invasions can be found on any nightly newscast, any day of the week.
Fear of being unnattractive makes us buy beauty products and diet pills, fear of appearing unsuccessful influences us to buy extravagant homes and luxury cars. Fear of not being loved by our children convinces us to buy them toys, vacations, and expensive birthday bashes. For centuries, fear has been the single most exploited and useful emotion of humanity. Roosevelt's narrow definition of fear as it applies to military conflict is only the tip of the iceberg when it comes to the amazing array of fears that we must hope to someday be rid of. However, 70 years after Roosevelt's proclamation, we are no closer to shedding the fear of physical aggression in terms of the reduction of armed conflict and a continuing struggle for permanent world peace.
I am proud to be an American that embraces a vision of these Four Freedoms. I sincerely hope that within my own lifetime, I will witness--perhaps even participate in--a common effort to move mankind closer to achieving these goals. I thank Norman Rockwell for reminding me of the true America-- one that embraces our differences, not discourages them. One that promotes peace, goodwill, and prosperity, instead of the fruitless and unconscienable war that will surely define my generation.
I came across an amazing photographic artist by the name of Chris Jordan. I cannot even begin to fathom how he creates his pieces, or how many dozens of hours of work went into each one, but they are truly amazing.
Jordan's apparent hope is to give us some concrete idea of what the statistical numbers we hear all the time are really about. For example, when you hear that 1.5 BILLION dollars a week are being spent by our government to fund the war in Iraq, sure it sounds like a lot of money. But really, you have NO IDEA how to process such a staggering quantity of ANYTHING. You have never seen a billion of anything in your entire life, with the possible exception of blades of grass in a field, grains of sand, and the like. Have you ever seen 2 million soda cans, 8 million toothpicks, or 426,000 cell phones? Nope. So, go check it out right now.
Chris Jordan has taken upon himself the task of translating these almost-meaningless numbers and statistics into tangible, concrete representations, usually laced with acid irony. His finished pieces are enormous wall murals and triptychs, which, as Jordan explains on his website, really should be seen in person for the full measure of impact and appreciation (mostly due to their staggering sizes).
Above: 426,000 Cell Phones. The actual piece is about 250 times larger than this (60 x 100 FEET)
Anyway, this stuff is interesting and highly relevant, especially if you happen to be a statistician, accountant, or anyone else dealing with huge numbers. Go check it out.
When I was at SU, I had a comic strip in the Daily Orange that ran two days a week, called "Welcome To My World". It was poorly drawn, but I was more focused on the humor at the time. Probably my biggest inspiration at the time (1998-2000) was a little strip from Canada called Space Moose. If you've never seen it, there's really no way to do it justice with a simple explanation (warning - it's NOT for kids.)
In recent months, I've been considering starting up a new series of comic strips, because at least once a day I have an idea that I think would be pretty funny. The only problem is, there are already so many strips out there on the Web that are amazing and hilarious, that it's actually kind of discouraging. I'm fairly certain that nothing I can come up with will ever be as good as some of the genius I've seen out there. I'm sure you have felt the same way about something before, be it music, art, writing, or whatever.
Anyway, I still may end up doing a strip if I can force myself to work hard enough on it. But for now, I thought I'd share a few of my favorites with you. If you're planning to read any of these while you're at work, at church, or while someone is taking a nap in the other room, I strongly advise against it, because it's guaranteed that some of these will make you laugh WAY out loud. Check it:
"Get Your War On" - A highly political strip that I assume evolved from the author's prior series, "My New Filing Technique is Unstoppable". Both are absolutely insane and fantastic commentaries on the state of business, world politics, and clip art.
"The Perry Bible Fellowship" - Hilarious and disturbing at the same time. The author is an SU grad (just like me!) who used to have a strip in the Daily Orange (just like me!). One way in which he is not just like me is that his comics are an equal blend of witty dark humor and fantastic craftsmanship.
Excellent. I love when you show me stuff from "The Perry Bible Fellowship". I never remembered what it was called to read it myself. Done and done.
— By Rebecca, on
January 22, 2007 10:42 PM
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