Showing posts with label Black Unicorn. Show all posts
Showing posts with label Black Unicorn. Show all posts

Jun 1, 2011

If you go out in the woods today ......






Well if you have been kind enough to look at my work in the past you might find a few archetypes popping up. There's elves and cats and ravens and butterflies, little girls and little boys and witches and dwarves and dragons and.... hold on, I just mentioned a whole kit and kaboodle of things that weren't archetypes.

Let me start again.









It's a well known fact that in every fully grown man there is a little boy just trying to 'scape. It's also well known that we 'fully grown' men supress the inner boy so that we can look tough and strong and manly.

 If we don't look tough and strong and manly then 'bad things' will happen to us. On the beach we might have sand kicked in our faces, on the street we might get mugged, and in restaurants we might be given kitsch ... or, worse still, even quiche.

So this is me of course. I am slightly different. The skull is the fully grown man  that the little boy is supressing. :)


























But seriously, this image is an experiment for me. The second last image is a photograph that I used as the base for the work. It's somethig I have never done before. It felt like cheating but it was a wonderful exercise in camoflage. The last image is part of the wip.

Thank you for looking, thank you to everyone who commented on my last work and also thank you to everyone who visited Bob and The Siggy from my last post! I hoped you enjoyed visiting their work.

See you! :)

May 1, 2011

Cinquième leçon: Où est le cochon?












When I was a kid at school, for some unearthly reason, I signed up to study French for four years.

For Australian school boys with strong Ocker accents in the 70's, studying French was an 'interesting' experience - to say the least.

Without French movies available on television, and having no 'real' French people to emulate,  none of us had any idea what a French person was supposed to sound like - and so, instead of practicing rolling our 'r's we spent most of our French class time drawing surfboards - de planches de surf.

Consequently, at the end of four years study, we weren't exactly fluent. I guess the best way to sum up our 'intimidating' grasp of  French is to describe our French teacher's face as he listened to our final Oral exams.

Our French teacher's name was Mr Pierre d'Gorgonzola. He was a Francophile genetically and emotionally. He believed in whistling La Marseillaise while walking both up an down the school corriodors, while doing playground duties and, I have heard from a good source, while visting the rest room with a certain Miss Gerdenhymen.

Apart from his musical tastes and a box shaped head of  Asterxyian red hair, Mr d'Gorgonzola possessed a robust French nose.

And what a nose! Even to an Anglophile like myself, it was a magnificent nose (un nez magnifique!).  It was a nose that had all the jutting pride of the Eiffel Tower, the phallic elegance of the Concorde jet, and the curves of a Renoir nude - curved as it was in the exact contour of the interior of a glass of  Châteauneuf-du-Pape (Shat-toe-newf-de pahp -  go on, say it.)






Even with that Nez Magnifique decorating his la tête en forme de boîte, to recall his facial expressions as he listened to our final examinations, causes me shame even now.

The day of our oral French exams was a lovely spring day. They were held at exactly two in the afternoon; the wind was blowing westerly giving us a clear blue sky. The soft sunlight came through the big bank of windows on the Eastern wall of the classroom and lit up fairy rings of chalk dust that climbed the light shafts.

There were 36 boys in my class.

In alphabetical order, starting with Alan Appleby, (who had a small tic in his right eye when he was nervous) we each stood and read our chosen passage en français..

Even with his tic, Appelby wasn't too bad. But Appleby's accent wasn't quite right, and as he listened, d'Gorgonzola stuck his chin firmly against his bright pink Paisley tie - as if he were trying not to burst out laughing. When Appelby was finished d'Gorgonzola blew a raspberry of relief through his rubbery lips and said:

 'Pas mal. Qui est le prochain? Faites vite!"









The next boy was  Brian Atticuscolarus - a fat Greek kid with a lisp. We called Brian, 'Brain' - because he wasn't. 'Brain', as expected, waded through his French passage with all the grace of a deaf, one legged man with Parkinson's disease doing a three quarter waltz.

I think with 'Brain', Mr d'Gorgonzola, began to show the first signs of strain.

To give him credit, d'Gorgonzola twisted his chin toward his shoulder, and attempted to leave it there. But was ultimately unsuccesful, and a small giggle escaped his lips, and he had to cover his mouth with his hand.

With each boy, the readings grew worse, and d'Gorgonzola lost his giggle and started to gnaw on the end of his Bic biro (le Bic). With some readings a few students laughed aloud.

Thankfully d'Gorgonzola had his eyes squeezed shut when we got to the 'F's. So when it came to my turn I didn't get to see his look of disbelief.

Now let me say, as an aside, that most of the boys in my class were, err..... slightly 'abnormal'. Looking back on my school days I think I can sat that with all honesty.

Abnormal, that is, apart from myself  of course.








Yet it was still with some trepidation that I stood and grasped my foolscap sized morceau de papier. In fact I didn't do too badlly for the first few sentences - which were about the rabid mating habits of  the southern albino wombat (vombatus ursinis albinonus fornicatus).

But then I felt a slight weight on my right cheek and realised that my ocular prosthesis had started to droop a little. I began to worry it might fall on the desk and roll under Applethwait's chair - as it had the previous summer. It always happened when I held my head at an angle, and I should have known better. Of course I'd like to blame Oscar, my prosthetist, but he had warned me not to overdo it. 

Be that as it may, I  had to stop reading for a moment to poke the thing back into its socket. And as I did, d'Gorgonzola's own eyes sprang open. He took one look at what I was doing, his face paled so that he looked as though me might faire de grande vomit and he said:  Oh asseyez-vous Finnie!

And so I did, vowing to wear an eye patch with a picture of the Queen stuck on it if I ever managed to sit another French oral exam.










Things grew worse before they grew better. At boy number 19, Beaux Bingstorphett, whose entire front row of teeth had been knocked out in a fight the week before, d'Gorgonzola's nose begain to quiver, and his pained eyes dropped to the long list of students on the table before him.

But relief was a long way away, and as we approached the last ten students of the class - coincidently those with the most horrible French accents-  d'Gorgonzolas eyes grew wider and wider, till they were those of a man being forced to listen to a  a cat's entrails being turned into violin strings - while they were still attached to the original cat.

And, without one word of a lie, that face is the d'Gorgonzola face  that has stuck with me to this very day. 










Okay, okay, well that's my confession for the day. But to be utterly truthful, I must say that French, in some ways, has stood me in good stead over my adult life.

When, for example, I am visiting my beloved dentist, I often mentally block the view up his gros nez by reciteing simple French. It's a type of meditation without having to say 'ohhmmmm' - that being impossible with another mans fist and forearm shoved all the way down your throat.

My meditative recitals go something like this:

Où sont les livres de l'enfant?
Les livres de l'enfant sont sur ​​la table.

Where are the books of the boy?
The books of the boy are on the table.

Où est la fille de l'actrice?
Elle est derrière l'église avec les trois fils du boulanger.

Where is the daughter of the actrice?
She is behind the church with the three sons of the baker.

Les cinq vaches noires sont dans la chambre à coucher avec la femme du dentiste.
Mais où est M le dentiste?
Le dentiste est écrit au tableau au cours des près de la fenêtre près du livre de l'enfant sous la table.

The five black cows are in the bedroom with the wife of the dentist.
But where is the dentist?
The dentist is writing on the blackboard over the near the window near the book of the boy under the table.

Je voudrais une table pour deux s'il vous plaît. Avec une salle de bain privée.
Combien de présidents souhaitez-vous dans votre salle de bain privée?
Trois s'il vous plaît.

I would like a table for two please. With a private bathroom.
How many presidents do you want in your bathroom?
Three please.










Oh, about the images?

Ahh you see, once upon a time there were three adventurers - all childhood freinds. The names of the adventurers were Hansel and Gretel and Brian.

One day they came to a huge old gate, with fancy  gold lettering on the gate posts that said "Enter at Your Own Risk."

Brian, being brave, yet stupid, didn't take any notice of the signs. 

When Hansel and Gretel had caught up (they had had a restroom stop) it was too late. For poor Brian had opened the gate and been immediately turned into a pig.

He is a pig, even to this day. He is very popular for doing talking pig commercials on daytime television.

 I guess there is a lesson there.

Thank you for looking. The French is courtesy of google gahgah. So don't blame me if you go to France and ask for a bathroom with three Presidents in it and they give you a bathroom with only one.  :)




.

Feb 6, 2011

Fairies and Dwarves and Cheese Breathing Monsters








Well  as soon as I read this weeks Illustration Friday prompt "Reversal", my mind (of course)  immediately jumped to the concept of Critical Flicker Fusion Frequency.

And I can understand that most people probably thought of the same thing - so if I visit a dozen other blogs and find that most artists have illustrated Critical Flicker Fusion Frequency for their IF topic - then I won't be in the  least offended - dissapointed, but not offended.




Of course I, like most people,  jumped on the concept of CFFF (the standard abbreviation for Critical Flicker Fusion Frequency) to illustrate "Reversal" because CFFF is one of the adaptations that humans have developed to help us survive in the wild.

More specifically, CFFF not only helps us catch things like rabbits and worms - it stops us being eaten.

But how does it do that? (You see, even though I don't have a spell checker and can't type for chips, I try to end each paragraph with a question to encourage you to keep reading).






To be honest, now we are halfway into this post, I should also admit  that  CFFF does not only stop you getting eaten - you can also use it as a conversation filler. Just like I am now.

You see, CFFF, like lots of other seemingly boring concepts, has more than one use.

For example: in the middle of your next dinner party when there is one of those embaressing lulls in the conversation where every one suddenly stops talking at the same time, and then stares vacuously into the billowing convection current depths of their Salmon Soup waiting for someone else to take up the metaphorical conversational ball .... well with the concept of  Critical Flicker Fusion Frequency firmly under your belt, that person who takes up the ball can be you.

No questions asked.








So it doesn't matter which one of your dinner guests has been discovered having an affair with another dinner guest's wife, daughter, mother-in-law etc, you'll soon have them transfixed with spondules of giggleing joyful gaggling laughter once you introduce them to the miraculous concept of CFFF.


But why is CFFF so interesting, and how, exactly, does it stop you getting eaten?







CFFF  is all about the human eye, which is why it's so important for artists, hunters and human beings in general. (Next week I'll give you Mach bands and the concept of temporal and spatial summation to jolly your guests with.)

 So if your mind has already started to wander, it's now time to pay attention.









You see, in the human eye there are basically two types of photoreceptors - rods and cones.  Though rods are great for vison in low light, you can't see colour with them and they have lower resolution than the cones.

Cones are great for detail. You use the cones of your eye in the centre of your  vision so you can read, watch television, or spy on your neighbours' teenage pot smoking children.

On the other hand you use the rods for your periphereal vision.

And that's where CFFF comes in.








Basically Critical Flicker Fusion Frequency is (from Wiki) : "the frequency at which an intermittent light stimulus appears to be completely steady to the observer. Flicker fusion threshold is related to persistence of vision."

So....  have you ever noticed that a flourescent light will flicker in the corner of your eye and drive you nuts? Or the same with old fashioned Televisions?

But when you look at it directly, there is no flicker at all?

Well that's because of the CFFF! How exciting is that eh?






Well, it even gets better.

The reason you see the flicker in the corner of your eye and not in the centre is because the CFFF in your peripheral vision is lower than your central vision. That means you need a higher frame rate (flicker rate) for the light to be seen as non flickering in your peripheral vision.

So although the rods in this area are low resolution, they make up for this by being able to see movement much better than the central of your vision. They will pick up a quick movement in your side vison because of their higher CFFF (or was it their lower CFFF?).

Now isn't that wonderful? Can you picture in your minds eye your otherwise moribund dinner  guests wriggling with excitement over their lime sorbets as you regail them with this titbit of data!

But wait. There's more!







So why is a higher peripheral CFFF a handy thing?

Well, basically it means that you can see a small movement out of the corner of your eye.

That means  CFFF helps you see small edible animals (worms, rabbits, guinea pigs, dragon flies) when they are not directly in front of you.
But the other thing was with this wonderfully interesting and endlessly fascinating visual phenomena, is that, with CFFF human's can also pick up, in their peripheral vision, the rapid movement of mean things with sharp long teeth - mean things like lions, tigers, wooly mammoths and 'no name' brand monsters.


And that brings us directly to the IF prompt.

Reversal - in that, in the time you have been reading this post, the hunters in my images, have become the hunted.


Obviously they need to train up their CFFF a little more.










Did you know that Hercules Poirot is on at 8.30 PM Sunday Nights here in Oz?
He'll be on in another twelve minutes.
Which is a bummer.
Because I still had to tell you about the Blue Fairy, how she also fits into this week's theme.

Oh well. Maybe I can work the Blue Fairy in with Mach Bands, and Temporal and Spatial Summation - the subject of next week's potentially rivetting and award winning post..... :)

Please click the images for BIG.

As always my apologies for raving on. I just needed some text to separate the images. Otherwise they look too crowded.

(Don't forget to have that dinner party next Saturday night. Invite lots of boring people so you can practice all the new techniques you learnt here today.)






 


Feb 25, 2010

The Return of The Black Unicorn







Thanks to the talented artist Mita  of "Illustration Poetry" for suggesting the Black Unicorn yesterday. Sorry it took so long! Please click either image for big.