The City of Gears Kids Comics and Cartoons

HEY APATHY! THE SERIES STARRING

Robots, Monsters, Superheroes and the City of Gears! A group of artists and musicians battle strange technological terrors in the City of Gears! I spent a few hours this evening working on these character studies for the imaginary television series. I did a quick concept sketch for this before Christmas and promised myself that I would work it up a bit after New Years. Well it’s already the sixth of January and I hadn’t found anytime for this yet, which resulted in a guilty little nagging voice acting out as a constant subconscious reminder of my unfulfilled commitment. I finally caved, boiled up some coffee a made the time I’d committed to, to work on the pitch. I made drawings of 5 of the 7 team members and did a lot of meditative orginazation of their origins and the story,. Anyways I’ve got some commission work, and appointments to do deal with tomorrow and I am so close to finishing a scene in the animation that I’ll probably won’t get to finish this roster ( and all the villains) until early next week.

Here’s a quick breakdown of the kids comic book characters shown above

1) Instructor Howie- art teacher, zen master

2) Timmy- young artist, tablet can project 4-dimensional avatars the Timmy draws on the screen

3) Argenta- computer witch can communicate and gets along with any electronic/digital/ artificial intelligence. In the City of Gears everything from the sewer system to the skyscrapers is automated, giving Argenta abilities surpassing the greatest of history’s sorcerers.

4) The Robot- a strange computer chip is corrupting peaceful robots. When Argenta discovers and removes the chip the Robot tells her that it not only had the device made him do bad things, it also made him feel bad. Thankful for his freedom the Robot re-programmed himself to join and protect Argenta and her friends.

5) The Flutist Gale- music instructor and majestic flutist whose notes conjure nature and whose music battles the machines….

That’s it for now, damn it 3:49 am and I have to be a train station tomorrow by 9! Good night. HEY APATHY! FREE WEBCOMICS

Surreal Artist FACES and BODIES

HEY APATHY! Surreal Artist Ink Drawings

Introducing the HEY APATHY! surreal “Face” pen and ink drawings, a series of disproportionate silhouetted metamorphosis’ depicting the transformation of man to machine and the telepathic ramifications of our artificial millennia. The images illustrate a strange comparison between the human psyche, the running teleplay behind ours eyes, and its detached relationship to our mechanical bodies of flesh and bone. The ballooned portraits reveal a dark omnipotent force meddled with an array of simultaneously emotional and technological features. The astral interpretations manifest themselves as large bleak forms hovering above and beyond the small vessels from which they originated. These separated bodies, though somewhat autonomous, perpetuate routine existence by means of mundane mannerisms and meaningless interactions with miniature electronic devices. “Faces” is an all new attempt to expose the modern man as neurological cyborg, who, though devoid of actual robotic body parts, exists entirely amidst a virtual construct.

NOTES ON MAKING THE INK DRAWINGS

These abnormal drawings of people represent the first body of fine artwork illustrations that I have worked on in over two years. The “Faces” are being produced through a creative process I tend to refer to as a “formula series” in which a restricted set of visual symbols, material, and techniques are repeatedly examined in order to develop a cohesive set of images. This is probably the most traditional approach to creating gallery works and one I used extensively from 2000-2008 prior to my increasing interest in comics and animation. There are several advantages as well as disadvantages to the “formula” approach as it offers an invaluable means of artistic exploration but often results in creative limitations and ultimately the commercial entrapment of the participating artist.

For the better portion of my career, leading up to the end of 2008, I utilized the aforementioned “formula” method to develop a series of large gallery installations. At that time I would decide on a particular theme, format, drawing tool and technique and proceed to experiment with multiple variations in a singular style. A good example of this can be seen in my 2004 works, “HARD RAIN”. In this collection I developed an unusual comic borders made of scratchy shapes, weird buildings, and ominous orifices. Within the strange borders I would then drawing little scenes of solitary chaos. The entire series featured over 300 illustrations all done using the same drawing technique, a large pen for borders and perpetually smaller pens for the comics themselves. By using a single approach I was able to masterfully explore all the possibilities of this particular visual vocabulary and eventually obtain a sort of meditative state while creating the works. Once the formula is achieved the artist no longer needs to struggle with his/her materials but may concentrate more fully on the ideas, messages and symbolic aspects instead. This meditative state of experimentation proves especially valuable when the formula involves minimal technical maneuvers and rapid production.

This manner of artistic processes proved especially useful during my live street art performances as I had little worry about my materials or approach and could give my full attention to interpreting the audience and determining the imagery accordingly. However it was also while working the streets that the formula style started to reveal several limitations. Starting from very simplistic visuals, each year I seemed to add more and more element to my drawings. This ultimately led to single bodies of work exploring multiple themes, characters, and narrations as opposed to one unified symbology. As time passed I started to bore with repetitious drawings and really wanted to produce work that moved through images, processes and concepts quickly rather than extensive studies of a particular theme.

At the end of 2008 I decided to forsake gallery style works and the “formula” method altogether in favor of producing comic books. Here I could weave my way in and out of themes, techniques and parables much faster as a comics page takes far less time to make than a large scale drawing. The comics also offered varied formats allowing for offshoots or impulsive changes in the creation that would not work well in a series of drawings. The comic can flash-black, change scenes or even intrude upon one another permitting, even necessitating the use of different techniques and approaches. In gallery works, the commercial representative tends to request a collection of replicated works at a marketable size and often similar to previously saleable images by the artist. This method of presentation can present infinite restrictions towards the artist’s whim and ability to progress.

Circumstances, mostly financial, put a hold on my intended devotion to comics and graphic novels last year as I was awarded some grant money to work on animations. In many ways this new direction appeared even more hampering than creating formula works as animation is the most repetitive and tedious of all artistic processes. Not only do cartoons require thousands of duplicate drawings but the production can leave ab artist working for weeks at a single scene of concept. Basically this turned out to be the exact opposite from what I’d planned for myself, nevertheless the opportunity to animate is certainly a rewarding one.

So it stood that I was trapped in one of the most extensive “formula” works of my life when all I wanted to do was dance through a barrage of surreal vignettes and strange dreamscapes. Well subconsciously all these creative desires started swelling and without realizing it I found my self, between hours at the animation stand, writing stories, sneaking in a weekly webcomic, and finally working on a new series of ink drawings. All of these little asides occurred naturally, without intent, and likely a result of the undeniable urge permeating throughout my existence.

I just started these new artworks a few days ago but was able to jump right into the meditative state, drawing freely and fluidly. I’m using two nib pens and a brush for flat washes. The works consist of a large tribal portrait and a small modern figure drawing. That pretty much the formula. The work seems far less restrictive after working in animation and the little non-formula-formula, in which one images is repeated and the other open-ended, allows for endless investigations. At any rate I plan to use this technique in small batches, 20 drawings maximum before attempting another new style. Though I’d grown weary of this way of drawing, I have found it useful again primarily because these quick studies can be produced with little set-up or effort and let me play around a bit after long hours of rigid animation work. Everything else I’m doing right now requires so much attention that whipping off a few creepy ink stains at the end of the day is proving rather relaxing and possibly even therapeutic. VISIT HEY APATHY!

HEY APATHY! The Inkmobile

Alternative Comics The Inkmobile

A little internet fun with the folks at Whitechapel.The truck was made by Mr Fred G. and posted with a blank side panel for left for the rest of us online arts people to fill in. I prefer interacting with real people but really enjoy some of the online communities, especially in the winter when there aren't many people wandering around.  Here's another one for the whitechapel remake contests ( it's just for fun no prizes except conversation).

13 Stories, Forbidden Tales of the impending Apocalypse

HEY APATHY! Alternative Comics

In even the most pessimistic of tales, therein lies the brilliance of hope. For the act of putting pen unto paper is expressively optimistic, presenting others an opportunity to grow. That being said, I made a goal for myself to create 13 short illustrated stories before this upcoming New Year. I’d no real intention towards developing such nasty and hopeless fables as I did, in fact I’d no inclination towards writing anything at all,  it just sort of happened. Having abandoned street art performances as a means of promotion/communication in favor of working online and with arts councils & committees, I discovered a sudden and urgent dependency on the written word (stumbling through these poorly conveyed thoughts it’s a wonder I’ve survived this long!).

At first this meant endless hours of essay writings attempting to explain myself and persuade investors or patrons to give me money. That got boring but I knew my writing needed a lot of work so I started making things up. I decided to practice writing the same way tht I approach the development of visual artworks and decided on a series of 13 stories which, theoretically, could be compiled as a print publication. The process then involved a lot of sketching, unedited writing done directly in this blog. After a while some of the stories sort of stuck with me so I’d proceed to do drawings and prepare them for the “online book”. I went through a number of my drafts this evening and think I’ve all the shorts sorted now. Very early this January I’m going to take a few days to edit the h—l out of them and post all the work in it’s intended  format. Inspired by the prospects of completing this little experiment I laid down a quick pen and ink illuminated text drawing and a couple of weird faces (above). The rest of my day was spent working on animation stills and thinking about the “City of Gears” cartoon show pitch.
Here's an index/blurbs of the 13 stories:

1) SEEDS A commercial traveler searches the world over for new and marketable anomalies. His investigation eventually leads to a tribal village hidden deep within the jungles of Africa. Here he learns of secret vegetations capable of unimaginable feats. The discovery may prove enormously profitable, but can these surreal vines be safely transplanted back in the City of Gears?


2) THE ELEVATED CITY A sociological imperative to exist beyond earths’s capabilities has driven the soil barren and left the air void and toxically malodorous. In our infinite brilliance, man has moved upwards, away from his mess, developing a new architecture sprawling heaven bound. Levels upon levels of strange apartment communities annihilate the skyline as the sun fades into myth and nature is a forgotten word.

3) A TALE OF TWO TREES As the all encompassing MAKINGLIFEPERFECT Corp. reaches new scientific heights, useless and manipulatively destructive lifestyles rein supreme. However the industrial success has attracted unexpected enemies. Hear the cries of nature for two trees have assimilated a mechanical foliage battle armor in order to survive these terrifying technological times!

4) A SHOPPING SPREE NIGHTMARE A Surreal shopping spree incites strange nightmare visions of an amorphous globular macroverse. Enthusiatically overwhelmed, an unsuspecting shopper engaged in a world of unobtainable satisfactions becomes psychically imprisoned in a sanatorium padded with buyer's remorse!

5) BRIDE OF THE WORKHORSE An unusually surreal comics adventure involving a genetically modified centaur romancing a artificially ameliorated runway model. Can the fated love affair consummate or will mechanical deviations consume the once illuminated passion? Another strange and unrealistic interpretation of the way things actually are.

6) SHADOWS A young artist experimenting with shadow and light accidentally unleashes insidious creatures of the night. Are these nightmarish forms a merely imaginary brushstrokes or has the painter depicted something far worse?


7) THE AMORPHOUS GLOB MACROVERSE An apparently insignificant opaque puddle spilt in the night malignantly mutates proceeding to commit horrific telepathic invasions. The irregular and intrusive messages sent from the glob, reveal the most damnable and unforgettable of all unwanted insights, agonies and revealing reflections.

8) FASHION SHOW NIGHTMARE A Fashion shoot turns monster as the latest trends reveal mutilated depravity, terrifying trims, and people turned inside out. A step by step must read for all young upstarts entering the fashion business!


9) DIARIES OF A DEAD MAN An excerpt from an anonymous diarist regarding an extraordinary and hallucinogenic experience as a devout atheist witnesses firsthand the power of the almighty. A frightening account of religious awakening and the prowess of true faith.

10) NOTHING MATTERS An aging litterateur reaches an inexplicable enlightenment through a life time of meditative studies. Having finally read all there is to read and written his dissertations, the man becomes ill and for the first time, realizes how lonely it actually is inside the old and extravagant library.

11) THE BRAIN WORM THING Following an exclusive invitation a skeptical consumer attend the unveiling of an intriguing new digital breakthrough. The MAKING TECH PERFECT company is introducing the worlds smallest, most advanced and intelligent, virtual serfing technology. But will this new device impress our disgruntled protagonist or simply turn out to be another scam.

12) ANDROID MAN In the span of a few short weeks a successful landscape painter finds his business and his life going digital. With the aid of modern computers the artist rises to fame and fortune discovering, piece by piece, that he no longer needs his paints or even the landscapes he once rendered.

13) AFTER THE HARVEST Surreal Aliens invade earth only to question whether or not our planet is fit for assimilation! What will these beings make of mankind and what are their diabolical plans for earth’s future? Beware, these extraterrestrial vegetations having been plotting for millennia from way-outer space to the skyscraper skylines of our monstrous metropolis!

Just made this as a personal checklist but it's kind of interesting so why not share. I didn't actually "finish" all these but I do have at least solid 1st drafts and artwork  for every one. A few of them have been polished but I am happy that I got 13 of them done, I've had so many more important ( less amusing/ more lucrative) things to do over the past 10 months. Lot's of editing and more than likely a few new fables before I try to put the whole thing together proper like. See more work Heyapathy!

The City of Gears Kids Comics Online

HEY APATHY! Comics Online!

Maybe today was one for dreaming, but something about the holiday season, and in particular my 2year old nephew, has got me thinking a little more about comics for kids. As a public performer I have been interested in communicating to both the intellectual and younger viewers. Prior to my street and festival interventions, the artwork had a tendency towards a bleakness and horror much more nihilistic than the playful monstrosities I draw today. The last time I made something that was really geared towards younger audiences would have to be HEY APATHY! Book Two. While Book One, using superhero type imagery to tell a silent and symbolic parable, is vary borderline and can likely be appreciated by all audiences, Book Two was modeled after kid’s comics and cartoons. This sort of story telling might alienate “artsy” audiences (one artbook publisher laughed at me for making kid’s books) but they are not nearly as interesting or exciting as kids are anyways.

A little time before making the Samurai Comic (Book 2), I scripted and sketched out a children’s book entitled “The Sound of the City” based on one of my ink drawings of the same name. Although I haven’t gotten around to working on it yet, the script keeps making its way to the top of my pile of things to do and is really tempting. I think this book will happen soon.

Yesterday I did some drawings for my nephew. He likes to tell me what the pictures are,” Fish! Truck! Mommy!” and so on. It is really fun. These scribbles got me thinking and I decided to give a quick whirl at designing a “HEY APATHY!” kids cartoon. I did the sketch (above) in about a half an hour during which time I pretty much sorted out all the details. To make a long story short, these superheroes are basically vigilante law enforcement in the over-industrialized imaginary City of Gears. The city is on the brink of annihilation, though the denizens don’t realize it and the team has to fight various evils villains trying to destroy the metropolis. Sounds dull I know, but I was inclined to approach this as though it were a real show. This means within a set of rules and formulae. The fun will be in the symbolic narratives which I are festering in my sick mind.

The team consists of two kids, an artist and a book-worm computer whiz, a superhero, the old wise one, a female adult with musical magic, Audu & Jungle Cat (from Book Two). They have a giant robot which, once a diabolical business drone, has been reprogrammed for the better of mankind. The Robot is a key representation of the necessity to use, and not combat, technology despite all the inappropriate programming. The MachineHead corporate villain is continually trying to over-do consumption frequently threatening the well being of the city. Lastly the heroes know that they can not disturb the flow of the city for fear of chaos and must work entirely in secret. Blah Blah. Anyways I’m having fun with this today. I think I’ll flesh it out with some more drawings the next time I have free time. I think it would be cool ( and likely wise) to have a whole television series worked out. You never know when  opportunity might arrive and more importantly this is  just something I always wanted to do. READ WEBCOMICS!

Comic Drawings for Kids

HEY APATHY! COMICS ONLINE

Another busy day at the animation stand. Strange week this is leading up to the holidays. I’ve had a bit of human things to do, such as brunch with the family, some gift making and a small amount of shopping. The drawings posted here are for my 2 year old nephew Darroch.  He get’s a kick out of identifying the things in the pictures. These will get cut out and scattered throughout his gifts. Nevertheless I maintained a solid work schedule and should get a lot more done before I start touring dinner parties for the festive season. So far I made 110 animation stills as well as  a bit of drawing done with the goal of making it to 150 and finishing the weekly webcomic before Christmas. Otherwise the primordial vascular and clawed limbs protruding from beneath my bed at night have not been able to find me when I am under the covers and I think the cat has figured out a way to get rid of them. Life is good. VISIT HEY APATHY.COM

Metropolis Animation Drawings

ALTERNATIVE COMICS Animations

The City is a giant gear spiraling infinitely around and around. At least that’s how it feels today. I’ve been working on an animation sequence involving the symbolic city of gears. This was probably one of the first uninterrupted studio sessions I’ve had in a while. There always seems to be something else to take care of. I took full advantage of the open schedule and have been producing frames rapidly pace since noon. After this short interlude for eating and typing, I’ll put in a few more hours before calling it quits. If I’m lucky I might get 10 frames done. (That equals less than 1 second of film) Each frame is almost exactly like the previous. The image depicts the metropolis rolling around in a gear like formation. The process involves two basic steps, a brief under drawing and a final rendering. This means that after I drawing the whole thing once, I actually have to go back a re-draw it all again. The short loop is going to take at least 200 frames to complete but I am just stubborn enough to enjoy the doing this kind of work.

In fact I more than enjoy the work and have become a bit obsessive about the films. It takes so long to draw a single idea that the ordeal is simultaneously meditative and exhilarating. The animation itself requires immense attention, single ideas remain prominent (almost static) for extended periods of time, yet I can barely think about anything else. I’ve come to this sort of slowed down thought process based around movements equaling 1/22 of a second while attempting to physically transcribe these movements as quickly as possible. Meanwhile my conscious attention remains focused on the gear, each building and how they are going to move in the next few 1/22ths of a second and where they need to be 2 or 8 seconds from now. Occasionally I flash to future scenes or other stories, though through necessity, I rein in those wandering thoughts and drive them  swiftly back to the gear. Sounds all fragmented and crazy, it feels like that a bit too, however when the damned thing starts breathing… well that’s something I can hardly wait to see.

FREE WEEKLY WEBCOMICS



ALTERNATIVE COMICS New WEBCOMIC

HEY APATHY! Surreal Webcomic

This is page 2 of the new Surreal Webcomic I'm making over at HEYAPATHY. The series is set out as a bunch of one page weeklies that sift in and out of a bizarre and terrifying larger story arc. New oneiric experiments  every Friday ( or early Saturday Night).   

Alternative Comics GERM WARFARE

HEY APATHY  SURREAL COMICS

As I mentioned a few weeks ago, the quality of my blog posts have been directly related to our strange Torontonian weather. During the summer heat wave I found it difficult to spend time at the computer but got inspired again as the temperatures cooled to a reasonably wam level. However since that time things have been topsy turvey and the temperatures fluctuated between a hot humid forty and a cold wet 25 several times during the course of one week. And like this journal, I was heavily affected by the weather. I have been so sick, fevers, coughs, conjestion, joint pains, you name it. This is the first time I've brought the fever down enough to actually type something. Damn it's tormenting to be ill when there is so much work to be done. New Surreal webcomic post tomorrow regardless of my health.  

alternative Comics Surreal Nightmares of a technological nature

HEY APATHY! SURREAL COMICS

Oh how sad a day it was when on this, Friday the 20th of August 2010, the heat finally broke. For weeks now the city has been sweltering under a blazing sun and suffocating humidity. The effects of the climate on my own little existence have been vast and varied as my studio apartment has been less than tolerable during the hot season. Despite air-conditioning, several fans and attempts at an open window, this top floor lodging refuses to resist the extreme temperatures which were amassing outside. In fact on numerous occasions I nearly passed out at the keyboard, dripped sweat over animation stills, or simply gave up and had a nap. For the most part however, I resigned to developing a work schedule accordingly so as to remain productive throughout this summer spell.

As a street artist’s I paid particularly acute attention to the weather. Alas the livelihood of a busker or vendor depends on the sun. Shoppers are like weeds, if the conditions are right their bags just grow and grow. I’ll never forget the time one of my prints went into a London tourist’s large plastic bag which had two other items in it; Frank Zappa’s Orchestral Hit’s and a Spider-Man comic. What an honour to join such magnificent purchases (there is no escape). At any rate as I worked the streets for five consecutive seasons, I became quite familiar with our city’s weather patterns. Each year, between 2004-2008, Toronto would suffer a brief humidity strike reaching temperatures in above 40C heavily influenced by humidity. These waves always lasted for about two weeks before a more reasonable climate would settle in. Oddly enough this summer set out in a common fashion, only at the end of the two week duration always haunted by the heat wave, we saw little relief. I can estimate that the wave started around July 10, and only let up in the past couple of days based on my journal entries. Since the city and my studio heated up I have had absolutely no desire to write and can trace the forced paragraphs back to the aforementioned date. Not to say that the writings are any worse ( how could they be) than those written before the humidity, but they are shorter, generally technical and inspired by commitment rather than by muse. This entry marks the first time I’ve gotten an “urge” to actually do this in quite a while.

Like the disturbance of my daily journal, the heat has also dictated my drawing schedule over the past few weeks. In order to maintain a comfortable work environment I’ve had to rearrange my practice, location, and hour operation. During the day I retreat to a shady spot in the park were I read and sketch. Unfortunately the animation cannot be produced in an uncontrolled setting and I’ve had to limit my daytime drawings to short comics and small pieces for the website ( the ones posted hear over the past couple of months). Though nothing could be more pleasant than an afternoon in the park doodling, I often got frustrated by the limitations of the park process but could not bare the hellish studio. This problem was solved simply by rearranging my molecular structure and forcing my self onto an unusual sleeping schedule. After the park I tend to sleep a few hours off before dark. Then went the cooler night arrives I brew a fresh pot and hit the animation stand. These late hour have proved immensely productive but physically draining often putting me out of commission during the day. During those exhausted hours following a hard night’s work, I’d take to reading in the park as opposed to drawing. The days have had a tendency to work like this, 10 am rise, 11-5 sketch or read outdoor, sleep until 8 and work in studio from 9-4am. Weird? Yes I feel a little weird and sleepless but I’ve conditioned my self well and have been extremely productive.

So after all this complaining and inconvenience why, might you ask, would I mark the end of the heat as a sad day? Well, I suppose I’m really enjoying the freedom to work, read, sit outside, and create. So I’ve had to risk my health and compromise the work a little, summer air is fleeting and not to be taken lightly. The park weather will be gone soon and so will the money. Everything is about money. I made mine in the spring and soon I’ll have to make some more. Life is very different as a legitimate professional than it was on the streets. Sure I get up 50 time as much for some of the work but the money comes in distanced chunks as opposed to a steady flow. The streets were very reliable and constant, as long as the weather held. I guess the big difference between the two techniques of marketing could be defined by a sort of “putting your eggs in one basket” analogy. The streets offer multiple chances at reasonable rewards, if one day is bad you get to try again on the next one. Doing shows, on the other hand, often brings in much greater rewards although if a presentation fails, it could be months until the next one. As silly as it seems I spend far too much time selling and budgeting that sometimes I think it’s a wonder I get anything done. Stronger men than I would have choked and gotten a job along time ago, but I’m way to stupid to do that. Besides the shows always go well and I don’t stress nearly as much as I used to (flashback in my mind to me sitting on Queen Street selling drawings on a cold February morning 4 years ago) . On that note I’ll be performing / exhibiting at the Scotia Bank Busker’s Festival from the 27-29. I’ve never done the show before but am aware of it’s reputation and expect an amazing festival. Did anyone actually read this whole thing? Well I’m sorry if you put yourself through all that, I suppose I’ve been collecting a lot of ramblings behind my eyes and I’ll try to make a regular effort of typing again so this doesn’t happen again.

Oh yeah the drawing is a new illustration for the Amorphous Glob Macroverse, one of 13 stories I am  making as a part of the new HEY APATHY! Surreal Comics.