Saturday, 26 May 2012

Elephant No. 237: Board Game





I don't really know what possessed me to think of making an elephant board game today. It's not as though I play a lot of board games anymore; nor have I seen any recent references to board games. But I felt compelled, so here it is.

Board games have existed for millennia. The earliest board game is thought to be the Ancient Egyptian game of senet, which dates back to at least 3500 B.C., although there may have been board games in other civilizations of the same period.


Board game in shape of scorpion, ca. 2000 B.C.
Jiroft civilization, Iran.
Source: http://en.wikipedia.org/wiki/File:Jiroft_scorpion.png


Over the centuries, board games became more sophisticated, relying less on simply moving a marker from square to square, and more on skill, strategy, and even psychology. Examples of ancient board games still widely played today include backgammon, chess, parchisi, mancala and go.

The nineteenth and twentieth centuries arguably represent the golden age of the board game. It was common for large groups of people to play games such as charades and cards on social occasions, and the popularity of parlour games led to the development of board games that could also be played by multiple players at a time. Games such as Snakes and Ladders, Candy Land, Scrabble, Monopoly, Clue, Sorry and Risk were all developed between the late nineteenth century and the middle of the twentieth.


Snakes and Ladders game from India, 19th century.
Source: http://en.wikipedia.org/wiki/File:Snakes_and_Ladders.jpg


Board games can be relatively straightforward—like the one I made today—or quite complicated. Complexity in a board game can be rule-related, strategy-related, or even result from the universe in which a roleplaying game is set. Many board games now have online versions as well, allowing people to compete against a computer or against one another in virtual games of Scrabble, chess and many others.


For today's elephant, I started by sketching out the general outline of the board, including a snaking path from the starting point to the finish line. I decided that the board should have about twenty-five squares, and that the path would look best if it meandered a bit.




To create the board surface, I was originally going to tape two pieces of bristol board together, each of which measured 28 x 35.5 cm (11 x 14 inches). When I tried this, however, it made a surface that was far too large, so I stuck with a single sheet.

Next, I drew on the path, making it about 3.5 cm (1.4 inches) wide, and making each space about 2.5 x 3.5 cm (1 x 1.4 inches), to allow room for two game pieces to sit in a space at a time.

Once I was relatively happy with the look of the path, I added various bits of decoration around the path in the form of greenery, water, other animals, and so forth. I also added a couple of small squares for the game's "Caution" (orange) and "Full Speed Ahead" (green) cards. I may change the names of those categories at a later date, but it was the best I could think of today.




I went over everything with a black pigment liner, heat-setting it with a hair dryer. Then, because it's a kid-oriented board game, I coloured everything with watercolour pencils. I didn't feel like painting today, but if I want a more painterly effect later, I can just wet the colours with a paintbrush.







Next, I started on the Caution and Full Speed Ahead cards. To make the cards, I cut up oblongs of orange and green bristol board—orange for the Caution cards, and green for the Full Speed Ahead cards. I made twelve of each colour.

For the Caution cards, I wrote things such as, "There are poachers over the next hill. Go back two spaces and hide." Or: "A road has just been built across your path. Skip one turn to let traffic pass."

For the Full Speed Ahead cards, I wrote things such as, "Local villagers have prepared a feast for you and your friends. Jump ahead two spaces." Or: "The rainy season has started. Jump ahead one space to reach the next waterhole." And so forth.




For a game piece, I used a tiny polymer clay elephant I made. Eventually, I'll make make three to five more tiny elephants to use with this game. For a die, I bought a single small die at the dollar store.




The rules of the game are simple:

1. All players roll the die to see who goes first. The player with the highest number starts. Play is counter-clockwise (or clockwise, if you prefer) after that.

2. Each player advances the number of spaces rolled. If you land on an orange space, you must pick up an orange card and follow the instructions on that card. If you land on a green space, you must pick up a green card and follow the instructions on that card.

3. The first player to cross the finish line wins.

I tried the game on my own, and it took me about ten minutes. But I didn't have to wait for anyone else to take a turn. I did end up having to go back and forth quite a lot by landing on orange and green spaces, which both pleased and surprised me.

If I'd had more time, I would have made a custom box for the game, but for now it will live in a large manila envelope.

This was obviously relatively time-consuming, taking me about four hours from start to finish, not including making the little elephant, which was from a previous blog post. But it was kind of fun, and surprisingly easy. I had thought that making a board game would be difficult, but I guess I've played enough of them in my time that the basic concept is somewhat ingrained.

Because of the time this takes, I won't be churning out masses of these, but it's actually not a bad idea as a custom gift, and it really is a lot easier than you think it will be. 





Elephant Lore of the Day
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 interesting 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

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Friday, 25 May 2012

Elephant No. 236: Coulage




When I first read about this Surrealist technique, I thought it was something you could only do with molten metal, so it wasn't an activity I was necessarily rushing to try. Then I read the description more carefully, and realized it was something I could do with molten wax or chocolate. Either one works for me, but today I thought I'd try using birthday candles.

Coulage involves simply pouring a molten material into cold water. As it hits the water, it will either solidify and take shape immediately, or will take on a random form as it cools. The final shape is often a result of the specific physical properties of the molten material. Metal, for example, often spreads into spikes before solidifying. Chocolate frequently forms threads attached to large blobs. I'm guessing that candle wax will likely form discs, which I'll then have to layer and overlap.

Because the behaviour of the material itself is random and doesn't allow for precise handling, manipulation of the material is allowed in this technique. At first I thought, lucky me, then I discovered that it solidifies too quickly to manipulate anyway.

Interestingly, pouring wax into cold water is also used in a divination process called ceromancy. For this particular ritual, a brass bowl is used. Wax is poured from a candle into a bowl, and the resulting shapes are interpreted.

For today's elephant, I took a glass bowl filled with ice water. For candles, I used a package of birthday candles in pastel colours. I thought briefly about using crayons instead, but I thought the candle wax might flow a bit more freely, adding a greater element of randomness.




I started with a few tentative drips. The wax did one of two things. It either held together and congealed in a spherical blob, or spread out immediately, creating a fragile, translucent area with rough edges. It also floats quite nicely, which was reassuring.




I added a few more blobs with the green candle, adjusting the angle to drop different amounts of wax. For smaller, more precise dots, I made sure the wick was short, and I held the candle parallel to the water. For larger blobs, I angled the candle at almost 90 degrees. This causes the candle to burn quickly and the wick to lengthen, so keep scissors handy, and make sure not to burn your fingers.




This wasn't proving terribly hard, so I kept layering different colours of candle. The more wax you add, however, the more tendency it has to sink in the middle and buckle. I didn't mind this, but I thought I'd probably have to stop before it sank too far.







This only took me about half an hour, and I rather enjoyed it. The final piece has lovely delicate edges, and is incredibly fragile, so I'm not sure how well it will last. But it's very pretty and I'll definitely try this again sometime. Perhaps next time with chocolate.






Elephant Lore of the Day
Elephants are nothing if not playful. At bathtime on various elephant preserves, they will often deliberately spray mahouts and other helpers, appearing to find it rather funny.

One of the most important parts of Thailand's New Year celebrations each April is a festival during which people spray or toss water at one another. In the country's Ayutthya Province, elephants get into the act as well.

Brandishing small pails, people toss water at a line of elephants. Similarly armed with constantly replenished buckets, the elephants happily blast celebrants with water from their trunks. No one seems to mind, although the human participants are obviously unable to muster the same water pressure.


Elephants during Songkran Festival, Ayutthya, Thailand, April 2011.
Photo: Pornchai Kittiwongsakul/AFP
Source: http://www.abc.net.au/news/2011-04-12/elephants-spray-water-
at-teenagers-during-the/2618214

Elephants spraying water at a group of tourists, Ayutthya, Thailand, April 2012.
Photo: AFP
Source: http://www.brecorder.com/home/more/news-in-pictures/52727




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Thursday, 24 May 2012

Elephant No. 235: Ikebana




The spring and early summer flowers in my garden are so pretty right now that I thought I'd try making a small arrangement today in the shape of an elephant. I'm not sure this is quite elevated enough to be considered ikebana, but the intention is there.

The word "ikebana" comes from the Japanese words ikeru, meaning "keep alive or living", and hana, meaning "flower", and describes a form of minimalist floral arrangement.

The art of ikebana is thought to originate in the practice of offering flowers on an altar, which arrived in Japan with Buddhism during the seventh century A.D. By the middle of the fifteenth century, ikebana had emerged as a full-fledged artistic practice, and became enshrined in Japanese society.

Ikebana is more than simply pushing flowers into a vase. By definition, ikebana is a discipline that brings Nature and humanity together. Unlike floral arrangements which emphasize multicoloured arrangements of blossoms, ikebana often focuses on leaves, branches and other parts of the plant. Form, line and shape are far more important than colour, and ikebana can be somewhat stark in appearance.


Ikebana by Yoshiko Nakamura, Cherry Blossom Festival,
Seattle, U.S.A., 2008
Photo: Joe Mabel
Source: http://en.wikipedia.org/wiki/File:Ikebana_-_
Yoshiko_Nakamura_01B.jpg


Ikebana arrangements are usually structured in a loose triangular shape, with the three main points delineated by twigs. In some schools of thought, the three points represent heaven, earth and humankind; in others, they represent the sun, moon and earth. The choice of container is also often a key part of the composition.

There is a spiritual dimension to ikebana as well. Silence is considered a must, because ikebana is seen as a time to appreciate aspects of Nature that we often overlook in our busy lives. Ikebana is said to encourage people to become tolerant of differences in Nature and general life. It is also aimed at inspiring practitioners to identify with beauty in all forms of art.

There are a number of styles of ikebana. The earliest forms consisted of a tall central stem accompanied by two shorter stems. Later, more elaborate arrangements developed, with greater numbers of stems and branches. By the twentieth century, freestyle ikebana was added to the lexicon.

Today, ikebana arrangements often fall into one of the following modern styles:

Moribana upright style: This is the most basic structure in ikebana. Flowers are arranged in a shallow vase or basket, and are secured on metal spikes, or "floral frogs". Moribana literally means "piled-up flowers".

Moribana slanting style: This is a more gentle-looking arrangement than the upright style, often featuring branches that look best when placed in a slanted arrangement.

Nageire upright style: This is a very simple arrangement, often with only a single flower. The arrangement is placed upright in a tall, narrow-mouthed container. Nageire literally means "tossed in".

Nageire slanted style: Like the moribana slanting style, this is a gentler arrangement than the upright style. It is looser than the moribana equivalent, and is considered ideal for ikebana neophytes.

Nageire cascading style: The main stem hangs lower than the rim of the vase, and is often flexible to create nice lines. This is balanced with flowers in the main body of the design.

Guess which one I'm making.

I picked stems or branches of the following: bleeding heart, rose, Japanese tree peony, chives, mallow, perennial cornflower, lily of the valley, phlox and grapevine. I didn't really know what I'd need from all of that, but I thought it was better to have too much than too little. I was particularly interested in finding a curved woody branch that might serve as a trunk.

Next I tried to find suitable containers. I have far too many vases, but I more or less knew I'd need something relatively tall and narrow for the nageire cascading style I was going to attempt.

Because I've never tried ikebana before, my first attempts involved far too much greenery and far too many stems and branches. I was essentially trying to make a picture of an elephant with flowers and leaves, and it looked ridiculous. If you can see an elephant in the photograph below, you're doing better than I. And this was one of my more restrained efforts.




I fiddled with various vases, branches, stems, flowers and leaves for about 45 minutes before I realized the obvious: in ikebana, less is more. So I started over.

This time, I began with a single twig from a rosebush. It was too long when I started, so I trimmed it in increments until I liked the curve well enough. I would have liked a bit more curve and droop to the stem, but there were other qualities in the branch that I liked, so I stuck with this.




Next, I added a stem with a seed pod from a Japanese tree peony. I liked this because it functioned partly as an eye, and partly as a visual anchor for the arrangement.




I decided that this would be it for the head and trunk, so I now concentrated on the ear. For the ear, I wanted something floral, but not too dense or overwhelming, so I started with a few sprigs of lily of the valley.




I almost stopped there, then decided that I really wanted to add a bit of bleeding heart. I like the way bleeding heart droops—and had in fact originally thought of it for the trunk—so I inserted a stem in the ear area.



I almost stopped here again, then decided to add one more stem of bleeding heart and be done with it. After I added the second stem, I found it almost impossible to stop fiddling with the placement of the flowers in the ear. I think I tried about four or five different configurations before I was relatively happy with it.

Those who know me know that I'm not really a less-is-more kind of girl, so this is incredibly restrained for me. I don't normally gravitate towards minimalist anything. That being said, I actually enjoyed trying this. It's a quiet sort of activity, and forces you to think in terms of single lines to represent something far more complex.

I'm sure anyone who knows a thing or two about ikebana will laugh at my efforts, and rightly so. It hardly looks like an elephant at all, unless you're told what it is. Even then, it's like a piece of post-modern art that needs a label for it to make sense. Still, I think I would try this again—now that I know not to throw in everything, including the kitchen sink.





Elephant Lore of the Day
Making elephants entirely of flowers is an enduring tradition in India. Although these are usually smallish elephants made of flowers such as marigolds, zinnias and daisies, occasionally someone will make a life-sized elephant with more expensive or exotic blooms.

For the 2008 Dasara Flower Show in Mysore, an elephant measuring 3.6 metres (12 feet) in height was produced by floral artist M. Kalidas and his team from Bangalore. Inspired by the decorated elephants that take part in the yearly Dasara procession, Kalidas decided to produce a life-sized replica, including a howdah with a model of the goddess Chamundeshwari inside, also made of flowers.

It took 60,000 roses—at a cost of more than 600,000 rupees ($10,700 U.S.)—to make the elephant, along with the work of 13 people for three full days.


Elephant made with 60,000 roses, Dasara Flower Show, Mysore, India, 2008.
Photo: M.A. Sriram
Source: http://www.hindu.com/2008/10/03/stories/2008100351330200.htm




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Wednesday, 23 May 2012

Elephant No. 234: Smudge Art




When I first thought of trying a drawing with nothing but smudges from my fingers, I was sure I'd find all kinds of similar examples online. I actually didn't find a single one. I did find many, many examples of art created by smudging charcoal or pencil once it's been directly applied to paper. I also found an astonishing number of references to "smudge art" that described how to use the smudge tool in a computer paint or drawing program.

This concerned me, because I thought there might be something foolish about trying to draw by chalking up my fingers, then smudging it into paper. The effect I wanted, however, was more like my experiment with fumage than the harder edges I'd get if I drew on the paper first.

I decided to just go for it, and see what happened. I've added smudges often enough by accident that I thought it might work to deliberately layer finger smudges. One site I read suggested that smudging your drawings with your fingers is bad art practice. Since my entire drawing was going to be finger smudges, this was going to be particularly bad art practice.

I was expecting the final effect to be relatively dreamlike, so I thought I'd at least start with a realistic image. This is the photograph I chose:


Asian elephant.
Source: http://www.freeclipartpictures.com/clipart/clip-art/pictures/elephant.jpg


I used my set of coloured Conté crayons as the drawing medium. They're firm enough to allow some control in the amount of colour I applied to my fingers, but soft enough to smudge nicely. And they come in lots of pretty colours. For paper, I used some inexpensive sketchpad paper, because it's important to have paper with a bit of tooth for an activity like this.




I started with magenta, rubbing the Conté crayon lightly over my fingertips.




I then applied this to the paper, sketching in some of the most obvious areas of the design. I hadn't tested this anywhere first, so I was a bit tentative at the beginning.




This seemed to work out well enough, so I added more.





I kept working with the magenta until I didn't think that I could make it much better with that colour alone.





Next, I decided to add a bit of purple. Still using only my fingers, I added purple in some of the darker areas, as well as in a few lighter areas.




It was starting to look pretty good, so I finished up by adding some royal blue, mostly in the shadows. I also added a light sweep of blue in a few of the highlights, just to pull the drawing together and add a bit of modelling.





This was a quiet, meditative sort of activity, and certainly not difficult. The most important thing is an ability to see tonal values, somewhat like mass drawing.

In terms of technique, I learned fairly quickly how to use my fingers. Rubbing hard will blend the colours nicely, of course; it also helps in distributing the colour. In other words, with rubbing you can keep the colour fairly localized, or you can sweep it around. For finer lines, I used the side of my baby finger or index finger, applying the colour with a sort of sharp, firm stroke.

Using additional colours helps to add depth and modelling, and it doesn't hurt to concentrate on the darkest areas throughout the process. But it's virtually impossible—at least, I found it virtually impossible—to create crisp lines. The beauty of this kind of drawing is going to be in the soft contours and the play of shadows and highlights.

This took me about 45 minutes, and wasn't particularly messy or difficult. I thought about adding even more colours and continuing to work on it, but I was afraid I'd overwork the drawing if I did that. It's actually quite pretty as it is, soft focus and all, so I left well enough alone.

I like the final piece a lot, but I think I would like it just a little more with a few slightly sharper lines. That being said, this is still something I would try again, perhaps working the drawing a lot longer, just to see what happens. And phooey to anyone who says you should never smudge with your fingers.





Elephant Lore of the Day
Captain Thomas Williamson, who was stationed in India in the early nineteenth century, told an amusing story about an elephant named Pangal.

Pangal appears to have been a particularly clever elephant. He had decided that there was only a certain amount of weight he should be expected to carry on a march, and refused to carry more. If a heavier load were added, he would simply pull off the excess and throw it on the ground. Pangal was by no means unwilling to carry things; he just had a very specific idea about what was fair.

Pangal was quite consistent in his behaviour, and one day the quartermaster of Williamson's brigade lost his temper at the elephant's obstinacy. He threw a tent peg at Pangal's head, yelled at the animal, and stomped off.

A few days later, as Pangal was walking from the camp to a waterhole, he passed the quartermaster. Seizing the man in his trunk, Pangal lifted him into a large tamarind tree that overhung the road. Pangal then calmly walked away, leaving the quartermaster clinging to the branches until members of his brigade came to help him down.


Asian elephant cow, Millennium Elephant Foundation, Sri Lanka, 2011.
Photo: Ahimsa Campos-Arceiz
Source: http://news.mongabay.com/2011/0425-hance_camposarceiz_blake.html



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Tuesday, 22 May 2012

Elephant No. 233: Connect-the-Dots




My first thought was that this would be a very easy thing to produce. Then I realized that it would have to be more or less a continuous-line drawing for it to work. This makes it a little more complicated, but still not all that difficult.

Connect-the-dots puzzles—also known as join-the-dots and dot-to-dot puzzles, consist of a series of numbered dots. When a line is drawn from number to number in sequence, a object appears.

Most connect-the-dots puzzles are simple line art, and they are usually produced for children. Lately, however, a more complicated form of connect-the-dots puzzle has appeared, sometimes featuring well over a hundred numbers.

In addition to being a game, connecting the dots is the first tool used in a popular cognitive development program created by Israeli clinical psychologist Reuven Feurstein. The phrase "connect the dots" has also found its way into everyday parlance, implying a person's ability—or inability—to associate ideas or see the bigger picture.

For today's elephant, I decided that I didn't want it to have any solid features such as eyes or tail. As a child, I felt that those kind of connect-the-dots puzzles were only for "babies", and were a form of cheating on the part of the originator. Having never produced one of these before, it was quite possible that I would feel quite differently by the time I was through today.

I also decided was that it could have as many numbers as I wanted. Another thing I never liked about connect-the-dots when I was young was when the dots were so far apart that the lines were straight and pointy. I used to deliberately curve the lines when I was little, if I thought I could guess what the final design might be. Sometimes this made for some very strange completed drawings.

I started by making a relatively simple sketch.




Once I had the drawing, I figured out where it might be easiest to start, and how to work my way around the drawing. It helped that I'd done continuous-line drawings before, but it's not hard once you get the hang of it.

I began by making dots along the entire outline. I hadn't quite reckoned with the number of dots I would need to avoid jagged lines, but it was quite a lot—413, to be exact. The thing is that you need dots spaced closely together if you want the illusion of a relatively smooth line.





When I'd finished making dots, it was time to number them. In some parts of the drawing, the dots were so close together that I had to draw little lines indicating the number for a dot embedded deeply in a particularly dense cluster. I also lost track a couple of times, and had to add correcting fluid to mask my mistakes. I'm actually surprised I didn't make more mistakes in this welter of dots.







I expected it to be equally difficult to connect the dots, but it was actually easy, and even fun. Like a little kid, I was honestly delighted to see the drawing materialize when I joined the individual dots.




The final result is relatively close to my original drawing, if a bit less elegant and smooth. The more dots you have, the more detailed the drawing will be, which makes it suitable for older kids and even adults.




In the end, I was surprised at how much I enjoyed connecting the dots. It took me about an hour—mostly the time it took to add the tiny numbers—and I'm quite happy with the final result. It was such silly fun that I may even consider making these for some of my friends. But maybe not with 413 dots to connect.





Elephant Lore of the Day
One of the most serious problems facing elephants is fragmentation of their habitat. Roads, plantations, farms and settlements bisect longstanding elephant migration routes, making it difficult—if not impossible—for elephants to find mates, as well as adequate food, minerals and water.

A promising international initiative, however, aims to solve the problem by creating elephant corridors. The Wildlife Trust of India, for example, has already identified 88 potential elephant corridors across the country, prioritized in order of conservation importance and feasibility. Only two of these have been established so far, but there is a strong commitment to the corridors, with support from international partners such as the World Land Trust.

The ultimate aim is to create a pan-Asian network of forest corridors, enabling Asian elephants to move safely between protected areas. The hope is that this will reduce human-elephant conflict and protect important elephant habitat, while benefitting other wildlife, such as tigers and monkeys, in the process.

Interestingly, this sometimes means relocating villagers rather than elephants. Villagers who have already suffered the consequences of conflict with elephants or tigers are usually willing to move. In other corridors, initiatives such as the Indian Elephant Corridors project provides funding and expertise to help people create alternate livelihoods to the slash-and-burn agriculture which has led to the rapid disappearance of forests, along with a concomitant rise in human-elephant conflict.

To learn more about the Indian Elephant Corridors project, click here.


Asian elephant in established elephant corridor in India.
Source: http://www.worldlandtrust.org/sites/files/elephant-in-corridor.jpg


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