Gliding through Southwestern Ontario via rail, I have lucked into a complimentary net connexion which has allowed me to finish my work in the early PM. It clears my head and plate for the later evening. Aldershot! ¶ This thought occurred to me last evening: cinema is largely trauma, realised. I don't think that trauma = drama, but in many cinematic instances, it certainly helps. For example, a revenge story is more compelling when lives are on the line as opposed to mere pride. Gambling stories only work when someone loses their Everything and not just their One Thing. I thought, last night, that books were exempt from this grip but the truth is I haven't read enough to know. Seeing Walk The Line had me wondering if real pill poppers would see themselves on screen or not. I suppose this is just a tiny observation about subtlety in storytelling. In Disturbia, the acceptable film I saw a couple of weeks ago, the hero has our sympathies right at the outset: he loses his good-guy father in an accident that he witnesses. Any further actions this character is involved in reminds us to keep this in mind (poor kid). The film is weak, as a direct result from this choice, not just because their choice was obvious. It was just easier. And easier is usually easy to see. This is why the great debate about Commerce vs. Art in film is largely moot. All popular art is sold but not all popular art is easy. Hell, even unpopular "hard" art sells. The idea that these choices are more conservative is something we all agree on. I think even the executives who clearly water down most Hollywood productions would agree to the label of conservatism via focus groups (i.e. they listen to focus groups). The real question is: does conservatism help or hurt the form? This happens in a lot of mainstream media. Is it really a good idea to put celebrities and headlines over all magazine covers? Maybe. But to me it just looks like one missed opportunity after another. Opportunities to carve our new niches, new interest, and as a direct result, new money. Crying "the reader will be confused" is like saying "I'm unsure of my role here." The details of our lives are like fine needlepoint. Easily lost when looking at the dress, but perhaps the defining characteristic of the dress. This stuff matters. It always has, it always will. Care is like fuel for art. ¶ Earlier this week I worked on a Mike Myers illustration that will be in this Saturday's National Post, Toronto section. Which is nice, because I'll be in Toronto.

Labels: Cinema, NationalPost, SitewayWorld, Train

¶ 12:58 PM

It was warm and sunny yesterday as Pauline and I walked to the train station in London. I was asked to sit on a panel in Toronto and we thought it might be fun to make an evening of it. We boarded the 3:49pm train and I immediately began to finish up my preparations. We arrived in a slightly colder Toronto around 6pm and we needed to eat and be at the event by 6:45pm. Amazingly there was, as we had hoped there would be, a great Japanese restaurant near-by! Too rushed to question our luck, we devoured our sushi and plates of complimentary appetizers. This never happens, right? But it actually was perfect. We made it on time to the event and everything went well on the panel. I had to leave early, and was able to finally say those perfect screen-written words, "I have a train to catch." This was true, of course, and Pauline and I booted out of there, made it in great time to Union, and promptly boarded the 10:10pm train to London. We ordered two cans of cold beer and enjoyed our smooth ride back home. I love the train.

Labels: Toronto, Train

¶ 11:00 AM

The fall is in full swing which is just another way of saying that winter is around the corner. I'm sometimes so influenced by old media that require months of development that I think like a fashion editor might: it's already spring 2007. It's not a bad worldview, if you understand what it means. I'm not looking forward to spring or even believing it to actually be spring as much as I am simply acknowledging the speed of life. Time appears variable despite this framework, but I sometimes reduce my anxiety by taking for granted the unnerving speed at which it can sometimes travel (especially as the seasons are concerned). ¶ I've just boarded the VIA train at Union Station in downtown Toronto and my mind is already in the clouds. What would it take for me to do something for VIA in return for unlimited travel coupons? I'd really like that. So I am going to take home my copy of VIA Destinations magazine (on the cover it says: "take me home") and start by contacting them. Failing that I'll come up with a plan B, or something. FYI: the deal with wireless on the VIA train is $8.95 for unlimited usage in one 24-hour period. They have other plans, but that was the simplest one, and the one I chose. ¶ A young man seated in front of me has just tucked into a Harvey's double-burger combination meal with fries and a bottle of Coke (plastic). The smell is actually not as overwhelming as you might imagine. Just don't get me to be so patient when somebody tucks into a couple of stinky tacos from Taco Bell in the cinema. Come on, that's too much! ¶ There's plenty of good news on the illustration front as evidenced in part by some recent work in the National Post and TORO magazine. I've also had the fortunate opportunity to work with Bloomsbury USA for an upcoming book cover, a portrait of David Carter Beane in Advocate magazine, as well as a small Toronto-based company needing some identity help. As is so often the case, I'm of two minds about my career. On the one hand, I'm very pleased that I'm working more and delivering what I think are ever-improving illustrations in a style that I still feel very good about. On the other hand, I wonder what tomorrow holds. What role will portraits play in my future work? What about my growing desire to tell stories? How will the for-hire mesh with the for-sale? I don't know the answer, and I'm not wishing I did. I'm merely posing it and I've got to be honest: it's something I'm curious about. To that end, there's considerable amount of non-freelance projects that are keeping me busy. I'm attempting to relaunch the entire family of Siteway web sites. That's Siteway (here!), Phelts, Tonicville, and a new addition, Coastalmatic. I'm also back on the Final Straw train with a new hook and clearer direction. I don't know it all means, but I've been blessed with some good opportunities and a wonderful working environment in London. I just need to focus on a few choice milestones and really take this thing to another level, the recognition of which won't be noticed until I'm dreaming up the next chapter. ¶ We're pulling into Oakville and the train ride has been so far so great. Cheers Toronto, I'll see you again soon.

Labels: Freelancing, Londontown, SitewayWorld, Toronto, Train

¶ 10:47 AM

Bit of a whirlwind weekend... disorienting actually. I'm currently working from Casa Aird and have been enjoying the downhome feeling of his new abode. So I just updated with this week's illustration, Mr. George Clooney. Hope you like. ¶ This morning I also completed an illustration of Mr. Alex Trebek for tomorrow's National Post, AL3. ¶ I'd write more (as I have more to write) but I rather feel like a cat nap. If I can steal a signal on the VIA tomorrow, I'll post again. If not, when I get back to Londontown for sure.

Labels: FeaturedIllustration, NationalPost, Train, WeekendUpdate

¶ 3:58 PM