Thursday, 11 June 2015

Elephant No. 131: From the Archives—Altoids Tin Diorama




Over the past several years, people have been using Altoids tins to make lots of interesting things, from tiny amplifiers to little shrines to homes for itty-bitty animals. So today, I thought I'd try making something using an Altoids tin.

Altoids are strong breath mints that were first produced in England in the 1780s. Billed as the "Original Celebrated Curiously Strong Mints", Altoids are characterized by a high proportion of peppermint oil.

Interestingly, Altoids are harder to find in Britain than in the other countries to which they are exported. They have never been heavily marketed in Britain; however, in the United States they are so popular that the brand's owner moved Altoids production to Chattanooga, Tennesee, to be nearer the primary market.

In addition to the traditional mints—currently available in seven breath-freshening flavours—Altoids makes sour hard candies in round tins. Other items such as chewing gum, chocolate-dipped mints, and breath strips have also been marketed over the years, but have since been discontinued.


A selection of Altoid tins.
Source: http://en.wikipedia.org/wiki/File:Altoidstins1b.jpg


In addition to the mints, many people buy Altoids simply to get the handy little tins. Some people use them as simple containers for household items such as paper clips, little sewing kits and coins. Others use them as ashtrays, miniature survival kits and first aid kits.


Typical Altoids survival kit.
Source: http://www.fieldandstream.com/photos/gallery/survival/food/
2006/08/make-survival-kit-out-altoids-tin-and-two-more-life-saving-diy-


And then there are the people who think up wild and woolly ways of using Altoids tins. Even the most rudimentary online search for "Altoids tin" turns up inventive uses such as working amplifiers, flashlights, speakers, a thumb piano, a crystal radio, a barbecue grill, and even a projector.


Altoids tin projector, made by Leonidas Tolias.
Source: http://www.leonidastolias.com/Site/Pocket_Projector.html


Altoids tins are also a favourite plaything for artists. Shrines, dioramas, shadowboxes, zen gardens, coin purses, mouse houses and picture frames are just a few of the uses I've seen.


Elaborate altered Altoids tin by Laura Carson, 2011.
Source: http://artfullymusing.blogspot.ca/search/label/Altoids%20Tins


Although I'm a sucker for any kind of tin container, I only have two actual Altoid tins: one really small tin, and a regular-sized one. I had no idea what I was going to make for today's elephant, but I thought the larger tin might be more practical.






At first, I wasn't sure what kind of thing to produce. I'm by no means an electronic genius, or I would have tried to figure out how to make something that trumpeted like an elephant when the tin was opened. Or that lit up. Or that featured a little dancing elephant. I thought about making a little stuffed elephant tucked up in bed, but I didn't feel like sewing today. I felt like drawing and cutting things out, so I decided I would do some kind of elephant diorama, since I'm quite taken with mixed-media art created inside Altoid tins.

I determined at the outset that I didn't want to paint or otherwise alter the exterior of the tin. This wasn't laziness on my part, as much as a desire to preserve the original look of the tin. So I turned my attention to the insides.

A couple of days ago, a friend suggested that when I finish this yearlong adventure I should go bond with some elephants in Tanzania's Ngorongoro Crater. Just in case I can't afford it right away, I thought I'd try and make a mini-diorama of a similar scene to tide me over.

I traced out two shapes from artist-quality bristol board to fit into the upper and lower lids of the tin. Because I needed a backdrop for my scene, I then looked online for photographs of the landscape in the Ngorongoro Crater. This is what I came up with, although I won't put in quite so many trees.


Elephant in Ngorongoro Crater, Tanzania.
Photo: © Blake Harrington III
Source: http://blaineharrington.photoshelter.com/image/I0000uCj6rW1hJ4s


I drew everything first. For the upper lid, I drew a sort of postcard scene, with Mount Kilimanjaro in the background. Having never been to Tanzania, I'm not sure you can actually see Kilimanjaro from inside the crater, so I may be taking a bit of artistic license here. There are photos online that suggest that Kilimanjaro is visible from Ngorongoro, but you can't believe every caption you read.

For the lower section, I didn't draw anything, since I planned to paint the background freehand, along with a framing strip to go around the inside of the wall of the tin.




Next, I tried to figure out how many little figures I should insert into the scene. I wanted to stagger their placement in foreground and background, but it's a very shallow space, so I didn't go overboard. I drew the figures onto the same bristol board.




I heat-set all the drawings with a hairdryer, then painted everything. In the process, I added narrow tabs at the bottom of the little figures, so that they would stand up when affixed to the tin.








When everything was dry, I started by glueing the Kilimanjaro scene into the upper lid with double-sided tape. I did the same with the backdrop in the lower section, and added the framing strip all the way around. I had goofed a bit on one side of the framing strip, in terms of where the sky met the ground, but it wasn't horrendous.

After this, I cut out all the little bits, pre-folding the lower tabs against a metal ruler. I then glued each of the tabs with a glue stick, and placed them in what I thought was a pleasing arrangement on the lower part of the framing strip. I laid them flat to apply them, then folded each piece forward and creased it sharply.




It took me a while to make all of this, but it wasn't particularly difficult. And I didn't really mind, because it was the kind of thing I felt like doing today.





Although I wasn't sure when I started how well this would turn out, I'm happy with the final piece. In fact, I may just have to go out and buy some more Altoids, just to get the tins.





Elephant Lore of the Day
When she arrived at the Bristol Zoological Gardens in 1868, Zebi was the largest Asian elephant in captivity. Standing three metres (ten feet) in height, Zebi had been sent as a gift to the Zoo by the Maharaja of Mysore.

Zebi was a highly popular attraction at the time, particularly for her antics. She was no respecter of persons or their possessions, and appeared to take great delight in removing and eating whatever took her fancy. She had a particular taste for the straw hats popular among both men and women at the time. If she discovered a straw hat within reach of her trunk, Zebi would blithely pluck it from the wearer's head and eat it.

She also had an interest in wooden objects. Her most famous acquisition was a cricket bat carried by a young boy. Snatching the bat from the child, Zebi quickly reduced it to splinters, then ate it.

Although later elephants acquired by the Bristol Zoo gave rides to children, it doesn't appear as though Zebi ever allowed riders on her back. Sadly, following six months of ill health, Zebi was euthanized in 1910.


Zebi and her keeper Jim Rawlings, ca. 1901.
Photo: © PA
Source: http://www.metro.co.uk/news/pictures/photos-10722/pictures-
bristol-zoos-175th-birthday/2

Wednesday, 10 June 2015

Elephant No. 130: Quick Sketch for the #Elegram Project






For today's elephant, I did a quick sketch with coloured pencils. Although I didn't have a lot of time today, I wanted to produce something in support of The Nature Conservancy's #Elegram Project, which aims at collecting 20,000 elephant images by the end of August 2015.

Why 20,000? Because that's the estimated number of baby elephants born each year—elephants that deserve our protection. Once The Nature Conservancy reaches its target of 20,000 #elegrams, it will receive a whopping $150,000 from private donors to help with elephant conservation and anti-poaching initiatives in Africa. With elephants being killed at an estimated 100 per day in Africa, there is no time to lose.

You can also take part in this great initiative. you don't need to be an artist, and you don't need to produce a polished creation. All of the elephants I created for the original Elephant a Day blog, as well the ones I created for this newer blog, have already been uploaded. Some of them are truly hideous, and others are ridiculous, but they all count. Yours counts too, so don't be shy.

To read more on the campaign, please click here. And, if you're a resident of the United States, your #elegram also gives you a chance to win a great prize pack. For sweepstakes rules, please click here.

Here's how you can help:
  1. Make an elephant in any medium. Squish together something from clay or plasticene. Draw or paint with anything from magic markers to lipstick. Make a piece of jewellery, fibre art, a stuffed toy, a wire sculpture, soap, an apple pie. Anything goes, as long as it's an elephant. (And don't worry: you retain copyright to any elephant you create.)
     
  2. Take a digital photograph of your creation, scan it, or save your digital art.
     
  3. Go to the Nature Conservancy #elegram webpage and click on "Upload Your Elegram" at the bottom of the page.
     
  4. Upload your image, fill in a few bits of text, hit "Submit", and you're done.
Making an elephant—or two, or three, or twenty—may not seem like much, but there is strength in numbers. Every #elegram posted brings The Nature Conservancy in Africa closer to its goal, and closer to the resources it needs to keep the world's largest land animal from extinction in the wild. For status updates, you can follow the #Elegram Project on Twitter, Facebook, Instagram and Tumblr.

Thank you. Africa's elephants thank you, too.





Elephant Lore of the Day

Today's elephant lore is adapted from the original Elephant a Day blog.

In 1999, Iain Douglas-Hamilton and his team from Save the Elephants tagged 14 African elephants with GPS collars, and monitored their movements over a period of several months. The resulting data revealed an fascinating phenomenon: elephants sometimes plan their migrations with almost military precision.

Some of the most interesting data came from a small herd in Laikipia in northern Kenya. The three members of this herd—a male and two females—remained in one place during the day, grazing happily. At nightfall, however, they often sprinted as far as 20 kilometres (12.5 miles) under cover of darkness.

At first, researchers were mystified. Elephants will normally move just a short distance away once they've exhausted a grazing area. These elephants were making mad late-night dashes. Although elephants often range across vast distances, it is highly unusual for them to run so far and so fast at night.

Then the team realized that the places in which the elephants stayed during the day were usually national parks or game preserves, where anti-poaching patrols are frequent. The places they crossed in a hurry were places where heavy poaching had occurred.

It is still unknown how elephants can tell the difference. There are no fences or demarcations to indicate areas in which poaching is prohibited, and encounters between a specific herd and poachers are not frequent enough to allow the elephants to develop an accurate map of where danger lies.

It is believed that elephants are likely combining their own experiences with the experiences of others. This knowledge is then communicated using a large repertoire of vocalizations, often over vast distances. Researchers are still astonished, however, at how precisely elephants stay within safe zones, suggesting that their conversations and spatial knowledge are far more sophisticated than anyone realized.


Elephant running, Savuti, Botswana.
Photo: iStockphoto/Liz Leyden
http://elephantaday.blogspot.ca/2012/05/elephant-no-237-board-game.html




To Support Elephant Welfare





Friday, 24 April 2015

Elephant No. 129: Cheapo Oil Pastels





As many of you may know by now, I'm a sucker for anything that comes in a bunch of colours. So how could I possibly resist a set of 24 oil pastels for two dollars from the dollar store? Clearly, I couldn't.

It's not like I don't have other oil pastels, dry pastels, Conté crayon, watercolour pastels, and probably any other kind of pastel you care to name (except cake pastels, which are next on my list). But this has 24 colours, and even comes with its own holder and sharpener. I have a visceral dislike of pastel and chalk on my fingers, so this is a definite bonus.





So that I could at least pretend that this was a sensible purchase, I decided to draw an elephant with this new set. I had no idea what to expect, but the pastels looked a bit dry, so I assumed they'd fall somewhere between a dry pastel and a true oil pastel.

The texture turns out to be something like a chalky, slightly moist crayon. And I actually quite liked these. My first drawing was just a quick throwaway sketch to test the way these worked. I'm not good with oil pastels, so I had no expectations at all.




Next, I decided to try drawing from a photograph to see if I could create something more detailed. This was the photograph I used.


Two Asian elephants.
Source: Wallsource.com


I began with yellow, red and orange, then blended it a bit with a tortillon. The pinkish background is because the inexpensive sketchpad paper has a pink undertone.




Next, I added a bit of blue and purple.




And then some green.




While I liked this, I thought it needed the faintest bit of black, so I used a fine-tipped gel pen to scribble in a few  lines, wrinkles and spots. You can see the final result below.

I didn't expect much from a box of oil pastels that cost a mere two dollars, but I was pleasantly surprised. And this drawing took me less than two hours, which is always a bonus. I now think that I need to buy a second set of these cheapos, just so that I don't run out.





Elephant Lore of the Day
People tend to think of elephants as full-speed-ahead animals, capable of crashing through streams, up and down hills, and through fields, fences and walls. But sometimes an elephant can get itself into a jam that it just can't get out of on its own. Holes—particularly holes filled with mud—pose a particular challenge.

This story was sent to me by my friend and neighbour Maureen. In early March of this year, an elephant got stuck in the mud near Makindu in Southern Kenya. Sinking into a veritable quicksand of soupy clay, the elephant was unable to climb the steep sides of the hole, despite the best efforts of rangers from the Kenya Wildlife Service.

The elephant remained stuck for 12 hours before being saved by a Chinese construction company working nearby. A backhoe operator carefully created a long channel, providing the exhausted elephant with a way out. The video is embedded below. To read more, including a link to still photographs, click here.







To Support Elephant Welfare

Thursday, 23 April 2015

Elephant No. 128: Three Little Purses





While sorting through a bunch of stuff as part of my spring cleaning, I came across this trio of cute little purses. I've had them all for a number of years now, but use them sparingly — mostly because they don't hold a lot, and because I'm definitely a messenger-bag kind of girl.

I picked up this beaded change purse in London nearly ten years ago, from a street vendor near Blackfriars Bridge. It doesn't look much like an elephant, but I kind of like the abstract oddity of it.




I picked up this funky square bag — with tiny bells, no less — a few years back at a local fair trade shop called Ten Thousand Villages.




And this pretty little number was a gift from my friend Cynthia, with the hopeful suggestion that I could use it to carry just my phone, some cash and a credit card. Instead, in hangs on display near my desk.




The first is Chinese in manufacture; the second two are Indian, but all of them are handmade, and they're all cute enough that they're never going out the door with my yearly cast-offs.





Elephant Lore of the Day
Today is YouTube's tenth birthday. I didn't know this, but my friend Lo pointed out this morning that the world's very first YouTube video featured—you guessed it—elephants.

In the 19-second video—titled simply "Me at the zoo"—YouTube co-founder Jawed Karim stands in front of an elephant enclosure and says a few words about the elephants behind him. The video is embedded below. To read more about Karim and YouTube's début, click here.

Happy Birthday, YouTube! And cool about the elephants.





To Support Elephant Welfare



Wednesday, 22 April 2015

Elephant No. 127: Little Telephone Wire Elephant





On the way back from taking my car in for spring servicing today, I noticed a pile of colourful wire scraps on the ground. The pile was in front of a telephone switching box, so I assumed it was left over from recent work.

My first thought was, "I wonder where I can get coloured wire like that for jewellery-making?" My second thought was, "Go back and pick it up, because you could probably make a wee elephant out of it." So that's exactly what I did.

I washed it to remove any residual cooties, then assessed what I had. It wasn't a lot to work with, but I figured I could do something. 





I began by making a body and legs, without much real attention to detail. As long as it stood up, I was happy.





Next, I added a head, trunk and tusks.




To finish it and use up every last bit of wire, I took whatever was left of the yellow and began wrapping  it around willy nilly.




It's not the best wire elephant I've ever made, but I kind of like it. It only took me about 15 minutes, measures a mere 1-1/2 inches (3.8 cm) from tip of the trunk to tip of the tail, and it's concocted of sidewalk litter. I wasn't looking for an Earth Day project, but perhaps one was looking for me.





Elephant Lore of the Day
Since it's Earth Day, please spare a thought for endangered pachyderms around the world. Several species of rhinoceros (yes, they're also pachyderms) have become extinct in the past few years, and the world's last male Northern White Rhino has not only been stripped of his horn for his own safety, but lives under constant armed guard.

As for elephants, the African elephant is under such threat from ivory poachers that, although its current population is estimated at 400,000, it could become extinct by 2020. Asian elephants are similarly under threat from factors such as habitat loss and human-elephant conflict.

Please spare a thought as well for the brave and committed men and women who devote their lives to protecting wildlife. It isn't an easy job, particularly on the front lines in the war between poachers and conservationists. Poachers are now well funded and highly organized, and have no compunction about killing rangers who get in their way. In Kenya alone, as of October 2013, more than 60 rangers had been killed protecting wildlife.


Family of African elephants.
Photo: © Martin Harvey/WWF-Canon
Source: World Wildlife Fund


To Support Elephant Welfare

Tuesday, 21 April 2015

Elephant No. 126: Jacinthe's Maud Lewis Elephant





I used to work with Jacinthe, but had no idea all those years ago that she was also a painter. Over the past few months, she's been posting some of her paintings online — then suddenly, this lovely elephant!

Although Jacinthe doesn't consider herself an artist, has never taken art classes, and has never painted or drawn an elephant, on her first attempt she came up with this cheerful and colourful work, called How Can You Tell that an Elephant Has Been in Your Garden?

Jacinthe says the painting was inspired by two things. The first was the old joke, "How can you tell that an elephant has been in your refrigerator? By the footprints in the butter." Which she then extrapolated to "How can you tell that an elephant has been in your garden? By the footprints in the buttercups!"

The second was the work of Canadian artist Maud Lewis. In the late 1990s, when Jacinthe was a communications officer at the Canadian Museum of History, the exhibition The Illuminated Life of Maud Lewis was one of her files. As Jacinthe says:
What a privilege it was to learn more about this wonderful person and artist. Her works exhibit an extraordinary use of colour, and it always fascinated me that she did not only paint on canvas. Her works of art also brightened her home — on her front door, on a dustpan, on a baking tin, and even on the shells of Digby scallops. In my home I have a framed copy of the exhibition poster to remind me that it is the simple things in life that are the most beautiful.
Maud Lewis (1903–1970) is one of Canada's best-known and best-loved folk artists. Born in rural Nova Scotia, Canada, she learned to paint as a child, when her mother taught her to make watercolour Christmas cards.


Two Oxen in Spring, no date
Maud Lewis (1903–1970)
Oil on board
Private Collection
Source: Westbridge Fine Art

Maud suffered from rheumatoid arthritis early in life, and lived with her parents until she was in her early thirties. At the age of 34, Maud married a fish pedlar named Everett Lewis. She began accompanying Everett on his daily rounds, selling fish door to door, while also selling her hand-drawn and hand-painted Christmas cards for 25 cents apiece — a fairly good price at the time.

Maud's cards proved so popular with her husband's customers that she branched out into other subject matter. Painting on everything from beaverboard to cookie sheets, Maud began producing bright and cheerful scenes of flowers, animals, and outdoor scenes. Her husband encouraged her, buying her a set of oil paints, and Maud soon covered every available surface in their tiny home.


Interior of Maud Lewis's home.
Collection of the Art Gallery of Nova Scotia
Source: Saskatchewan Craft Council

Interestingly, Maud never mixed colours, instead using them directly out of the tube. Her paintings are usually no bigger than 8 x 10 inches (20 x 25 cm), although a few top out at 24 x 36 inches (61 x 91 cm).


Road Block, ca. 1962
Maud Lewis (1902–1970)
Oil on board
Private Collection
Source: Mayberry Fine Art

Sadly, Maud would live most of her life in poverty. By 1945, people were stopping at her home to buy paintings for two or three dollars. Even towards the end of her life — despite national exposure in print and broadcast media — her paintings were still selling for only about ten dollars apiece, and her arthritis prevented her from producing as many works as she might have wished. Today, her paintings routinely sell for $20,000 or more.


Black Kittens, ca. 1964
Maud Lewis (1903–1970)
Oil on board
Private Collection
Source: Mayberry Fine Art

During the last year of her life, Maud stayed in a corner of her house — the same tiny home she and Everett had always owned — painting frequently between trips to the hospital. She died on July 30, 1970. Everett was killed nine years later, when a burglar murdered him during an attempted robbery. The Lewis house quickly began to deteriorate. Fortunately, a group of concerned local citizens saved the landmark, and in 1984 it was transferred to the Art Gallery of Nova Scotia in Halifax, where it has been restored as part of a permanent Maud Lewis exhibit.


The home shared by Maud and Everett Lewis, reconstructed inside the
Art Gallery of Nova Scotia.
Source: Art Gallery of Nova Scotia

I like that Jacinthe channelled Maud Lewis for her elephant painting, and I think she did an amazing job capturing the essence of Lewis's work. Jacinthe is genuinely one of the nicest and most cheerful people I've ever met, and the bright colours and simple composition of this painting make me happy every time I look at it — partly because they remind me of her sunny personality.


 


Elephant Lore of the Day
Today's elephant lore comes courtesy of my artist friend Lynn Owen, who posted this photograph with the caption, "If Sheila had a baby elephant." She definitely has me pegged.


Dame Daphne Sheldrick and baby elephant, 1960s.
Source: Tumblr

The original photograph is actually of Dame Daphne Sheldrick, who has dedicated her entire adult life to the welfare of orphaned elephants. The David Sheldrick Wildlife Trust (named for her late husband) near Nairobi, Kenya, rehabilitates traumatized elephant calves before returning them to the wild.

At the Wildlife Trust, orphaned baby elephants are kept in a stable each night. These are elephants that are still too young and too milk-dependent to be permanently returned to the wild. Because the babies need to be fed at three-hour intervals, keepers sleep in bunks above each elephant's stall. A different keeper is assigned each night to prevent the elephants — and keepers — from becoming too attached.

Although the elephants remain nonchalant about different keepers, they are quite firm on feeding times. When speaking with National Geographic writer Charles Siebert in 2011, one keeper commented that there was no need for an alarm clock to know when it was time for  night feedings. Every three hours, the elephants would reach up their trunks and pull the blankets off of the keepers sleeping above them.

To read more about Dame Daphne Sheldrick, check out her autobiography, Love, Life and Elephants: An African Love Story. For more on the David Sheldrick Wildlife Trust, please click here.


      
Orphaned elephant calf with keeper, David Sheldrick Wildlife Trust,
Nairobi, Kenya.
Source: David Sheldrick Wildlife Trust



To Support Elephant Welfare











Monday, 20 April 2015

Elephant No. 125: Doorstep Surprise Elephant




This little guy showed up anonymously on my doorstep this morning. He was huddled against the doorframe, undoubtedly trying to stay warm on a miserably damp, cold day.





I love elephants, and I love containers, so this was a lovely treat. I have no idea who it's from, but it was a fantastic surprise, and made my day. Thank you, whoever you are!






Elephant Lore of the Day

Today's elephant lore is a sweet video of a baby elephant playing with a ribbon, sent to me by my friend Peter Gould. Next stop, rhythmic gymnastics at the Elephant Olympics.






To Support Elephant Welfare