Akilologos

What hit me first - even before the crawling chill making its way through the clothing layers since stopping, hit me - was the distinct memory: “I’ve been here before.”

Déjà vu? No, not at all.

I had been there. In the exact spot. It was December 1958 and in a light snow, with a very crisp chill in the air. Only then my feet were a size 6 boys and freezing like exposed chicken knuckles! At least now, my feet weren’t freezing. But the blood laced adrenalin jitters were still there. And I loved it.

As I look down at the single ruffed grouse posing in ‘la mort avec l’honneur’ alongside my dad’s old double-barrel shotgun, resting in the skiff of snow, I am launched back in time to my first grouse hunt on that cold December day in ‘58.

Dad came into my room well before light to wake me. But he didn’t need to, I’d hardly slept all night. He barely got the door opened with I popped out of bed like the 20 gauge shells from dads old side-by-side. “Well, aren’t we perky?” He said with a big grin forming around the deep cleft in his chin. “Breakfast in 15. See you in the kitchen.” “Yes sir. Be right there.”, I replied, while jumping into my clothes.

A few splashes of water on my face, brushed teeth and a token stroke of the comb and I was good-to-go.

Mom was just finishing the pancakes, oatmeal, cold raw milk and coffee when I slid into my chair.

“Say bud. ‘Spose we could get this ‘early rise and ready quick action to become a regular part of your morning ritual? Hmm?”, she said, smiling in front the more serious suggestion.

I knew I was busted. So I tossed back a bit of humor hoping to get unhooked. “Well, I guess I could, if there was a hunting or fishing trip connected.” I attempted to slide that slick sales job by with a ‘cute kid grin’. I lost. Oh, well, who cared. I was heading out to hunt with dad.

Breakfast is never better than those taken just before you head out afield or to the water with dad. Odd, the viewfinder on the camera fogged up just as I remembered that bit of history. As I waited for the fog to clear, I remembered the few moments before that first grouse bust out of the cover.

When I went with dad in the field and there was a gun present, I quartered dad on his left side like a shadow. Dad stood between 6′1″ and 6′2″ tall in a lean 175 lb. frame of all muscle and sinew. Grandpa, his dad, always told him - and me and my brother - that what we needed most was…’seasoning’. This was Grandpa’s way of telling you to get back to work and toughen up. I don’t believe Grandpa was much into fun. He was too busy being a drill sargent in practice. As a result of many years of conditioning, dad was not easy to keep up with. But when we hunted in the woods, he was a lot easier to shadow. I was eager and he slowed down a bit. He enjoyed being in the woods and didn’t want to loose any time of it. A great combo that worked to keep me from a constant, “Hey, keep up!” reminder.

I really enjoyed those times. Even more so now the older I get. Well, of all things, that eyepiece keeps fogging up. Gotta wait for it to clear again.

Old Suzi, dad’s 10 year old Brittany spaniel, pushed ahead of us at a comfortable distance with her nose to the ground and one eye in the trees. She knew those birds sat in trees and she wasn’t about to let one get by her. It didn’t happen often either.

I was a chatter box as a kid, but I knew to keep my comments, questions and musings to myself once we hit the trail. If I had a serious question, when I could get dad’s attention, he’d gladly answer it. But I just knew that I really didn’t want to over-use my ‘field access’. So I learned to compartmentalize the questions and formulate them into as few as I could later on. A valuable lesson as I learned later on in life.

As I was doing some of this ‘formulation’, meaning I wasn’t paying attention, dad pulled up in an abrupt stop. Yep! I ran right into his left hip pocket. He didn’t move but I bounced off. Dad looked over his shoulder with his finger to his lips, then reached down an helped me up. We had no sooner gotten regrouped when the grouse blasted from the bushes!

That bird scared the holy bejeebers outta me! That’s for sure. But dad, he just went into one of the prettiest ballet’s I’d ever witnessed to then … and possibly since.

The grouse quartered left, dad was in full sight, swing and follow-through when he squeezed off the left barrel. I just happened to be in the perfect line to see the entire scene. Dad, in swing, squeeze of trigger, flight and crumple of the grouse and Suzi in her trademark, hindleg hop-n-point! Just before dad would shoot, she’d look more like Trigger under Roy Rogers than a Brittany on point.

Like it all happened seconds ago, I can still hear the sounds of the rustling leaves, the drum of the grouse’s wings, dads wool clothing rotating on his body, his feet making a bit of a rotation-friction squeak, then the click of the hammer - then the entire world was encompassed in the blast! Man! for a 20 gauge shotgun, that gun could really make noise.

Well dogged! The viewfinder fogged up again. At this rate, I’ll never get this thing photographed.

You know, I was surprised, when even through the racket, I never took my eye off that grouse. In mid flight, one moment it was heading out of sight, then it just crumpled and fell in a rocketing arc, hit the ground and scooted in and under the leaves. Before we could flinch, Suzi was already on the bird, mouthed it and was in return. I remember it was smaller than I’d thought. Beautiful. Soft. Limp. No longer flying. It was dead.

I had a sudden pang of conscience. I looked up at dad and asked, “Did we have to kill it?”

Dad looked back, put his hand on my shoulder and said, “No son, we didn’t have to kill it. But we chose to. That one idea is the most important thing to learn about hunting. When you decide to take an animal’s life, that decision will be a permanent choice. One that you can’t undo. You cannot take back that decision. It is a natural part of life; taking an animal’s life. But we must always do so being fully aware of the results of our decision. Something will die because of our choice. Never take that responsibility lightly. That’s a big lesson for a little guy. But I believe you’ll understand. If not now, then in time. Are you OK?”

I looked at him and then at the dead bird on the ground at his feet. It sure was pretty. I looked back up at him to say something about how ‘pretty’ the bird was. I remember noticing his eyes looked… ‘moist’. I started to ask him, but he just smiled that wonderful smile that only my dad could give and said, “After all these years, I still take the responsibility seriously. Always remember that.”

The camera lens fogged up again. Must be the cold.

Memories are like that. I’ve never forgotten it. I pray I never do.

View the print, Ruff Double Memory and the details for ordering a print.

Prolog
Ma Pek, was my first attempt at melding artistic image rendering and prose into a single displayable entity. This post is provided as a discussion of the process behind Ma Pek.

Ma Pek was produced in the reverse order of how I currently construct the Akilologos art. Personally, I prefer my current process, where I create the image, then write the story. The result for both pieces of art just seems -feels- more genuine and real. Yet, I still enjoy Ma Pek. I may revisit it one day with another image and story - or perhaps a replacement image; there are so many in the story.

But the ultimate test of merit still resides with you; the reader.

Enjoy.

The Image

“Low Tide” originally came from several different images; photographs, brochures … even a calendar. The concept for the image took place while writing the short story, “Ma Pek”. In the story an old fisherman, named Phillipe. Phillipe’s character is mirrored by his lifelong fishing partner, a red boat named, Ma Pek. I could see the image of the boat and its resting partners on the shoreline, fading in the paint bleaching sun, while being the gallery for the moored boats of the “fleet” of today. Though I am an illustrator, by the time I get started I’ve lost interest and the mental image begins to fade faster than the paint on those boats in the tropical sun.

So, a quandry. What to do?

The Answer

The answer is simple, Find images that match what I “see” and use them to build the image. But, how do I do this and what do I do with them? Digitzed images. Either digital photographs or scanned images. Once digitized I can redraw, reform, recolor, enhance color, add-to or take-from the forms to create the image I envisioned.

For some crazy reason I am not distracted nor do I loose the vision though this process. In fact the image takes on a life of its own … sort of like the pictures of Marty’s family in the movie, Back To The Future. Bit instead of fading, my visionary images become crystal clear with each stroke, effect or abstraction added.

The Result

As the image grows, it takes on its own character. That character feeds the rest of the image and the creation process itself. The reward is the final image fulfills the concept and the initial vision. It also allows the reader an ability to view, with me, what I was - in a sense - privately seeing in my own minds’ eye.

The Example

In this example the various areas of the image are labeled to show their separate sources and how they all fit together to build the final visualized image.

Some Pointers

There are a couple of areas I would like to expand on a bit so the reader does not get the wrong impression of either the method or the difficulty in producing an image of this type.

#1 The origin

Each of the “parts” … all items used in making this image have been sufficiently restructured so that the only resemblance to the ‘original source’ image is, what they are: ie, boat, sky, beach, cloud, etc. The original meerly formed the basis from which I built the image and/or canvas. For the most part, my images are constructed from my own original photographs or sketches. However, due to the fact that I do not have the luxury (yet !! ) of expansive travel, I cannot get to all the places I bring to life in the images or stories. Therefore, for those items I rely on ‘other images’ as a ‘temporary bridge’ to get to my visualized image. My work is no more a “copy”than the images made by all the “famous” artists who view life and convert it to canvas, paper or clay; whether in photographs or visual. The result is quite original .. even if the elements were constructed from recycled thoughts and concepts — my visual is still my own.

#2 The building

When constructing shadows, they should not be, as I state on the example, a matter of just ‘dumping’ so much black coloring into a spot. To truly create a believable shadow, you must build it up — shade upon shade — as you would normally do in any traditionally produced work of art, by whatever medium: pencil, charcoal, pastel, watercolor or oil work.

It’s truly a laborious process and very prone either mistake or loss of interest, for those like me who are prone to bouts of impatience.  So, when attempting this type of art, be very judicious in your patience … keep with the ’slowly-as-it-goes’ routine and you will be very pleased with the outcome.  It gets easier and faster the more you do.

#3 The use

Maximizing the use of textures in certain elements of an image really sets the image - or that element - apart.  Experiment and don’t be afraid.  This is digital - redo is as easy as blinking your eyes!

In Low Tide you will notice a distinct grainy texture in the sky and water portion that is not seen in the beach section. That’s because there is grain in the sky and water .. but NOT on the beach. Now .. hold on you say … “The beach has sand on it — therefore grainy — NOT the sky!”

So what gives? Well, just that — you noticed, didn’t you! That’s the whole point.

Subliminal evocation.

While you were looking at the sky/water interface, and trying to figure out what was ‘wrong’, your mind was looking at the entire image and drinking in the image’s message. Once you figured it out, you didn’t really care because now you saw more that interested you than the manufactured ‘dilemma’ .. Hmmm, pretty sneaky, eh?? Art is as much psycology as it is creativity.

Epilog

Now that you know more on how I did this image go out and build your own vision. Find the ‘parts’, take the time and follow your path to make your mental vision a reality.

Happy creating!

Check back every couple of weeks as I’ll have a new image with tips and commentary.

OOAK

First off, it’s true! I really don’t like humidity. And I’ve worked at hard, backbreaking labor in hot, sticky humid weather. So, when I speak of a ‘dislike’ for humidity… I did not need to ‘get into character’ to write about it!

Secondly, I really enjoyed this print and the story that flowed from it’s imaginary wordsmithing machine.

Most of my eLithographs come from multiple photographic sources. But no so with Cotton Humid. I took the original photo not 2 miles from my brother’s house near Adel, Georgia, in September 2007. My wife and I were driving back to their horse farm when I saw the flock of cattle egrets in the odd stand of grass. The massive thunderheads leering over the cotton patch and those white birds gleaning for bugs and critters in the grass made a compelling image. I took several shots hoping one or a composite would make a nice photograph.

When I rendered the RAW image files into JPEG format, I was - at first - disappointed in them. The seemed just too busy and lack luster; too ‘plain-jane’.  So, I put them aside.

Then one day in early November 2007 I took a look at them again as I was sorting through images from that trip.  I looked a several of them - wondering what I could do with them - when suddenly I saw it.  I zoomed into the image to see how ’sharp’ the egrets were in the photo. They weren’t of the quality I’d hoped, but what I did fine was a wonderous scene. In fact - almost entirely what you see in the print, Cotton Humid.

A few cloud rearrangements and an occassional errant weed covering a desired image reworked … and it was ready for the special ODG eLithographic treatment. When the image was fully rendered I was amazed at how all the dynamics of it was retained and emphasized. This was especially amazing considering just how small a part of the photograph it really represents!

Then when I began to write the story … well, let’s just way the words flowed quickly. I had a good time in it. And I really enjoyed ‘getting into’ the character who is the ‘voice’ of the story. I could stay there for a while… and I just might do it !!

Yes, rattlesnakes and water moccasins really do take shade in cotton patches… and they do provide a bit of a challegne at times for the field worker; though now, most cotton in the south is harvested by machines. So, the amount of actual human-snake encounter has really been reduced.

Cattle egret and herons are called, pond skoggins, too. Where that name comes from … well, I can’t really find anyone who lives in the Wiregrass Territory that knows the definitive answer to that question, but I have heard a number of iterations on the theme, “Well, peers to me I remember my grandpa sayin’ somethin’ ’bout ….” .   A mystery within a mystery shrouded by a colloquial pathwork of oral tradition.  I love it!  And like I said, it’s not a term of indearment for the bird - or the occasional reference to a human - either!

And that’s the scoop on the print, Cotton Humid and short-story, Humid in Cotton Country.

akilologos

The blog, A Thousand Words, is a unique blend of visual and literary art. It has also been a long time in coming; at least to this point.  I’ve had a few false starts, under different names and formats.  But the style and content has remained the same.

I do hope you take the time to look at the art and read the story that accompanies it. It is my hope and pleasure that the work will be appreciated to the point that enough readers will support my efforts so I can continue to create and produce OOAK art.

THE IMAGE

I create images, through a process I have developed over the past 15 years. I have called the process eLithography and the products of the process, eLithographs.

The eLithograph is a computer graphic that is constructed from photographic elements. An eLithograph can be from a single photograph, or more likely from multiple photographs. Some contain traditional forms of illustration in them. The end result is an image which looks more like a watercolor, pen & ink, oil, pastel or serigraphic work of art.

The eLithograph is displayed either as an electronic image, via projection: flastscreen or digital viewer (ie, LCD or Plasma screens); or as in the traditional manner of a printed image on fine, archival, substrate. The stand process for printing the eLithograph is the ‘giclee’ printing; generally from wide-format inkjet printers.

PLACE IN ART WORLD

I do not declare the eLithograph to be a workd of ‘fine art’… at least not at this point in time. There is a vast difference in what I do to produce a piece of artwork and what a traditional artist will do. I consider the traditional artist - the ‘fine artist’: of immense talent. A talent I can perform, but in more limited and painful process that I am able to accomplish via the eLithograph. Hence the reason for its creation.

Only time and the judgement of theviewing/buying public will determine whether the eLithograph is a work of ‘fine art’. But I will not declare such. I make that distinction up front. Now that such revelation is out of the way, let’s get on to enjoying the works produced by the OOAK Digital Gallery.

THE STORY

The short-stories, essays and poems are another unique element of an OOAK Gallery prsentation. The idea is not completely unique now as I finally begin to introduce it through the blog, A Thousand Words. However, if I was not the originator of this idea, I was certainly very close to the genesis. I do not know of anyone else who was doing this when I begin thinking of the process needed to accomplish it, in early 1984, when I created OOAK Designs. And today I know of only two other artists who do similar ’story-with-an-image’ concepts … and both of them had those ideas seeded through conversation with me. I’ve seen a couple of ‘photo-journalists’ who use the similiar technique of writing from a photo - instead of using the photo to illustrate and event.

So… the short-story, essay or poem you will read that goes along with a given image is written directly as an influence of that image. This makes it a unique part of that visual as well.
OOAK DIGITAL GALLERY

The images and prints of the prose are available through the OOAK Digital Gallery store. Each OOAK print is available as an ‘original’ print and will have 100 prints pulled, through the giclee process, to complete the printing of that image. No more prints - of that exact image will ever be produced again. The print is closed. Prints 5 through 20 will be accompanied by a copy of the prose on matching 90# archival watercolor paper. Suitable for mounting. Giclee printed and illustrated.

Do enjoy.
… akilologos