Page 14
F A V I C O N O P O L I S
Evolution & Beyond
Shown above @ actual size is the current DRAGONOPOLIS favicon.
The basic 16-pixel by 16-pixel grid
F A V I C O N S
Favicons are the familiar little images that sit just to one side of a bookmarked URL, and give a website its own distinct indentification mark. They're also found in the upper left-hand corner of web browsers and help distinguish, at a glance, the identity of the website currently opened (showing) on your screen.
In general, favicons are constructed in one of two different ways. Typically a simple, larger image is reduced to 16x16 pixels in size and made to fit within a square "easel" of that particular size. The second method which is significantly more difficult to create, is to "build" the favicon from scratch, using an appropriately sized pixel grid for reference.
If a person's (or company's) website uses an extremely simple design for its unique brand or logo, either method can be employed, but generally the more complex the image, the more the favicon is usually made by reducing a high-resolution original. Because DRAGONOPOLIS uses a single (and simple) letter "D" as its website identifier, it was easier to build its favicon by employing the basic grid.
Beginning with a greatly enlarged false-screen image (actual size is 16x16 pixels) the series of sequential images shown below provide a brief glimpse into the process that was utilized in the construction of this particular favicon. After some additional thought, I decided that the "D" itself could also serve as a reptilian kind of eyeball if I colored and shaded it in a certain way. A lot of the creative process is guesswork because one has to experiment and first visualize, then test the finished (and downsized) final image.
In this specific instance, the work went quickly and methodically, and was simply a matter of tracing out the desired individual pixels. Once the size, proportions, and colors were finalized, completion of the finished favicon was just a matter of minor, last minute adjustments.
Worth repeating is the fact that the working screen image was about 4"x4" but that the "real" image size was always 16x16 pixels. The same size as the favicon displayed at the very top of this page. This ensures that the artwork will look exactly the same when it's seen reduced to its actual dimensions. Though it may be hard to believe, the tiny favicon above, when enlarged, appears no different from the finished versions shown below.
Don't be mislead, however, because all of this has only been half the story. If we tried to enlarge the favicon from its native 16x16 pixels -- to a larger size of 4"x4" for example, and print it at those dimensions, the image has a tendency to blur, distort, and lose most of its previous integrity. It turns into a mess, basically. So most of the time we're stuck with a favicon at its smallest size, especially those which were originally built upon a 16x16 pixel grid.
Obviously, based on the sequence of pictures on display here, it is possible to enlarge a favicon to any size and keep its original pixel configuration intact. Not everyone knows how to do this, though, and depending on the circumstances, producing a large, high-quality, high-resolution replication can pose its own problems and obstacles. One question worth asking is why would we want a big version of our favicon? Regardless of quality?
If the favicon was merely the greatly reduced version of artwork that was initially large in size, relatively speaking, then we have at least one version of our favicon already at our disposal. Namely the original image. On the other hand, if the the favicon was made actual size to begin with, seeing a high-quality, enlarged version can be interesting. The DRAGONOPOLIS favicon, when viewed at this much larger size, seems to have its own beauty of design. Maybe it's just me, but I'm fascinated by these things. If the Devil is in the details, then Angels are found in how big -- and small -- something might be.
The situation gets far more complicated when we start dealing with favicons which are the greatly reduced versions of big, original images. It's strictly a one-way street here. Once shrunken, there's no going back (re-enlarging) to anything even remotely resembling the original art. So if that's the desire or intent, don't even try. Another aspect comes into play, however, which is worth examining. The story of the what I call a "favipro" -- as described in its own section below -- is related to the questions of how to handle large and small pictures at the micro and macro levels.
It's probably the case that few are interested in seeing, owning, let alone buying an enlarged version of their favorite favicon, presumably their own, when it no longer resembles the larger art from which it was made. Such images, no matter how well done, are likely unattractive in one way or another. Who would want to covet what is essentially a very blurry, distorted reproduction of a superior (and larger) original image? I can imagine instances where such an enlargement might be attractive in its own way, but only on a case by case basis and rare at that.
On the other side of the grid, so to speak, is a favipro. If you're curious, please begin by reading the next section, thanks. In the meantime, here is a blow-by-blow account of how the famous DRAGONOPOLIS favicon was created.
In general, favicons are constructed in one of two different ways. Typically a simple, larger image is reduced to 16x16 pixels in size and made to fit within a square "easel" of that particular size. The second method which is significantly more difficult to create, is to "build" the favicon from scratch, using an appropriately sized pixel grid for reference.
If a person's (or company's) website uses an extremely simple design for its unique brand or logo, either method can be employed, but generally the more complex the image, the more the favicon is usually made by reducing a high-resolution original. Because DRAGONOPOLIS uses a single (and simple) letter "D" as its website identifier, it was easier to build its favicon by employing the basic grid.
Beginning with a greatly enlarged false-screen image (actual size is 16x16 pixels) the series of sequential images shown below provide a brief glimpse into the process that was utilized in the construction of this particular favicon. After some additional thought, I decided that the "D" itself could also serve as a reptilian kind of eyeball if I colored and shaded it in a certain way. A lot of the creative process is guesswork because one has to experiment and first visualize, then test the finished (and downsized) final image.
In this specific instance, the work went quickly and methodically, and was simply a matter of tracing out the desired individual pixels. Once the size, proportions, and colors were finalized, completion of the finished favicon was just a matter of minor, last minute adjustments.
Worth repeating is the fact that the working screen image was about 4"x4" but that the "real" image size was always 16x16 pixels. The same size as the favicon displayed at the very top of this page. This ensures that the artwork will look exactly the same when it's seen reduced to its actual dimensions. Though it may be hard to believe, the tiny favicon above, when enlarged, appears no different from the finished versions shown below.
Don't be mislead, however, because all of this has only been half the story. If we tried to enlarge the favicon from its native 16x16 pixels -- to a larger size of 4"x4" for example, and print it at those dimensions, the image has a tendency to blur, distort, and lose most of its previous integrity. It turns into a mess, basically. So most of the time we're stuck with a favicon at its smallest size, especially those which were originally built upon a 16x16 pixel grid.
Obviously, based on the sequence of pictures on display here, it is possible to enlarge a favicon to any size and keep its original pixel configuration intact. Not everyone knows how to do this, though, and depending on the circumstances, producing a large, high-quality, high-resolution replication can pose its own problems and obstacles. One question worth asking is why would we want a big version of our favicon? Regardless of quality?
If the favicon was merely the greatly reduced version of artwork that was initially large in size, relatively speaking, then we have at least one version of our favicon already at our disposal. Namely the original image. On the other hand, if the the favicon was made actual size to begin with, seeing a high-quality, enlarged version can be interesting. The DRAGONOPOLIS favicon, when viewed at this much larger size, seems to have its own beauty of design. Maybe it's just me, but I'm fascinated by these things. If the Devil is in the details, then Angels are found in how big -- and small -- something might be.
The situation gets far more complicated when we start dealing with favicons which are the greatly reduced versions of big, original images. It's strictly a one-way street here. Once shrunken, there's no going back (re-enlarging) to anything even remotely resembling the original art. So if that's the desire or intent, don't even try. Another aspect comes into play, however, which is worth examining. The story of the what I call a "favipro" -- as described in its own section below -- is related to the questions of how to handle large and small pictures at the micro and macro levels.
It's probably the case that few are interested in seeing, owning, let alone buying an enlarged version of their favorite favicon, presumably their own, when it no longer resembles the larger art from which it was made. Such images, no matter how well done, are likely unattractive in one way or another. Who would want to covet what is essentially a very blurry, distorted reproduction of a superior (and larger) original image? I can imagine instances where such an enlargement might be attractive in its own way, but only on a case by case basis and rare at that.
On the other side of the grid, so to speak, is a favipro. If you're curious, please begin by reading the next section, thanks. In the meantime, here is a blow-by-blow account of how the famous DRAGONOPOLIS favicon was created.
Step 1. The basic letter proportions.
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Step 2. Checking uniformity of pixels.
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Step 3. Determining gradation strips.
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Step 4. Finalizing colors and effects.
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Step 5. Testing and error-checking.
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Step 6. Completing the image.
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Final version with square highlight.
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Finished product with round highlight.
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Final DRAGONOPOLIS favicon w/border.
F A V I P R O S
What are favipros and how do they differ from favicons?
All favipros start out life as a favicon. Essentially, a favipro is the elegant, fully rendered, high-resolution version of what existed only as a favicon previously -- with no original (or larger) art having been used beforehand. In some respects, making a favipro is akin to reverse-engineering the favicon in such a way that a new and full-size piece of art is created. If reduced to the size of a standard favicon, the new artwork is a close, if not identical version of the original favicon.
In the examples below, I used a letter "D" that was already a close approximation of the same character as it appeared housed within the square shape of a typical favicon. Using the basic grid, but at 4" in size instead of 16 pixels across, the alphabet font was sized such that it fit perfectly within the same number of pixels alloted for the original favicon. Each pixel was now, in theory, 1/4" in size, which would make for a nice, high-resolution final image.
The degree of difficulty will vary in each case, but simply transcribing the "D" as shown, involved many steps and needed to be carried out with painstaking precision. Personally, I found the final results extremely satisfying. The two images, the favicon above, the favipro below, are definitely complementary of one another. They make a nice "set" and if one didn't know any different, the two together pose as a pleasing (and somewhat mysterious) pair of related images. We're not quite sure how the two compare or which came first, but each is definitely connected to the other.
In the examples below, I used a letter "D" that was already a close approximation of the same character as it appeared housed within the square shape of a typical favicon. Using the basic grid, but at 4" in size instead of 16 pixels across, the alphabet font was sized such that it fit perfectly within the same number of pixels alloted for the original favicon. Each pixel was now, in theory, 1/4" in size, which would make for a nice, high-resolution final image.
The degree of difficulty will vary in each case, but simply transcribing the "D" as shown, involved many steps and needed to be carried out with painstaking precision. Personally, I found the final results extremely satisfying. The two images, the favicon above, the favipro below, are definitely complementary of one another. They make a nice "set" and if one didn't know any different, the two together pose as a pleasing (and somewhat mysterious) pair of related images. We're not quite sure how the two compare or which came first, but each is definitely connected to the other.
Fig. 5. The basic font.
Fig. 8. Using center space for curves.
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Fig. 6. Fitting and sizing a font to grid.
Fig. 9. Final favipro: 4"x4" @ 300ppi.
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Fig. 7. Borders fitted to single pixels.
Fig. 10. Experimenting with a highlight.
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Worth mentioning is that I would make a favicon (at actual size) for almost anyone, any time, and do so dirt cheap -- even those built from scratch on a standard grid. Favipros, however, are an entirely different animal. While a favicon might go for $20 bucks if I'm in a good mood, a favipro could be priced at two-hundred dollars -- or more (especially if I'm in a bad mood).
One reason is that favicons are extremely limited by their teeny size. They're virtually useless as anything except their intended purpose. As stated (and demonstrated) earlier, though, some favicons can be enlarged and look very cool indeed.
By comparison, favipros, as large, high-resolution works of original art, can be utilized in any number of ways. As everything from hand-signed, fine-art prints, to adoption as a company logo.
One reason is that favicons are extremely limited by their teeny size. They're virtually useless as anything except their intended purpose. As stated (and demonstrated) earlier, though, some favicons can be enlarged and look very cool indeed.
By comparison, favipros, as large, high-resolution works of original art, can be utilized in any number of ways. As everything from hand-signed, fine-art prints, to adoption as a company logo.
Fig. 11. Variation 1. Dot with sparkle.
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Fig. 12. Variation 2. Dot with sparkle.
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Fig. 13. Variation 3. Standard window reflection.
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The Official DRAGONOPOLIS Favipro
Fig. 14. I know, whoopie-doo, but I like it.
F E E L t h e H E E T
Unlimited electrical power
via the clean incineration of refuse.
A process known as cogeneration.
Featuring "Odo"
the last remaining dodo bird.
Odo, the dodo, says, "Don't become extinct like me and the rest of my dodo pals.
Feel the heat, dude. Recycle trash and support cogeneration. It's electric!"
Feel the heat, dude. Recycle trash and support cogeneration. It's electric!"
Of all the personal stories to be found on this website, this one is among the most endearing, poignant, and certainly the most complex. Gone for many years now and taken from us decades too soon, my good friend Bill (BJ) Setting was not only a patron of the arts (of my art in particular), but probably the most interesting personality and one of the most intelligent persons I had the pleasure of knowing and working with. Together with my half-brother, Ron Tarentella, and others, we collaborated on a number of major projects, both artistic and technical in nature. The particular endeavor on display here was one of those more technical pursuits that involved a lot of art, a lot of writing, and a lot of engineering expertise.
Bill, or Willy, as I called him -- the only one to ever do so, he said -- was extremely knowledgeable about various plumbing and heating technologies. Along with his father, AJ Setting, the two were among a growing group of engineers who had taken serious notice of a relatively new technology which was just over the horizon. Already popular in Europe, the incineration process known as "cogeneration" was finding increasing support in the U.S. It was the 1980's and the fledgling "Green" movement, with its message of environmental worries, was finding a large following around the globe. Cogeneration, aka CHP (Combined Heat and Power) although not a new kid on the block, posed as one of the most promising cure-alls for the variety of negative issues surrounding the burning of fuel for the purpose of producing both heat and electricity.
Although global warming had yet to rear its (ugly?) head, concerns about refuse disposal and recycling -- let alone the burning of fossil fuels -- had already found an audience among young and old alike. Seeing what appeared to be the wave of the future, much like the drive towards magnetic-levitation-vehicles -- or "maglev" -- Bill and his dad jumped aboard a bandwagon, the potential of which seemed, at the time, to be nearly unlimited.
Well, this isn't going to be a treatise on what became of either the cogeneration industry or maglev trains. For those interested, I'm sure a Google search will reveal more than they ever wanted to know about both. I do recall that trouble arose over disputes between the California AQMD (Air Quality Management Department) and the purveyors of cogeneration equipment and devices. Don't quote me, but I think the stringent (and likely unreasonable) standards put forth by California and others, including the Feds, either doomed the cogeneration industries, or seriously curtailed their growth. I haven't kept up with how things evolved -- or didn't -- especially since the home computer had yet to make its own, paradigm-jolting appearance -- and impact on every industry. Also new to the mix would be the relatively recent emphasis on carbon-dioxide concentrations in the atmosphere.
At its peak, prior to when real problems first appeared, the cogeneration generation appeared to be thriving with nothing but clear skies ahead -- both figuratively and literally. The story of Odo, the dodo, evolved at a time when Bill, his dad, and yours truly, foresaw a seeming trend that would one day find its way into any number of business enterprises. Including the entertainment industry. Consider for a moment that one type of cogeneration (the technique discussed here) uses an ultra-high heat incineration process to quite literally vaporize almost all materials, except for metals, then add to that, the production of heat (steam) and electricity as a result, and you get some idea of how the whole deal seemed too good to be true. And if you know what they say about stuff that appears too good, then the rest is history, as they say.
So where exactly, does Odo come into the picture? And what was he all about? Why an extinct species of bird, namely the dodo? Weren't they supposed to be pretty low on the IQ scale? Sounds like the perfect candidate to symbolize what could happen to the human race if we don't clean up our act, so to speak. Which is why Odo didn't want people (or kids) to suffer the same fate as what happened to all his kind. Odo learned his lesson and wants us to learn ours before it's too late. "Don't be a dodo," was one of the envisioned campaign slogans. Odo himself was the result of Willy's and my combined inspiration. In hindsight, based on what I remember and was able to provide here in the way of art and storyline, Bill and his dad's ideas were indeed inspired.
Had the need arisen, I had this interesting story idea as to how Odo was found, frozen, then revived as the last dodo on Earth. Odo was not only the sole survivor of his breed, but the most intelligent also. In real life, the dodo's lack of fear supposedly led to their extinction by human hunters. In Odo's case, he knew the danger and fled north to get away -- as far away as possible. Hence his eventual burial in ice where he underwent a state of suspended animation. No pun intended. Once resurrected, Odo fears for humankind's safety and longevity, and worries that we will suffer our own extinction -- due primarily to our abuse, misuse, and carelessness regarding ecology, nature, the environment, so on and so forth. Odo is then recruited for both the task of raising public awareness and promoting the benefits of co-generation. Probably a book, movie deal, and music CD would have been naturals. No pun intended.
Without going into too much detail, two events transpired simultaneously. The first was the creation of a "mascot" who would capture the imagination of a mass audience of adults and children alike. But especially kids. The intent was to mimic a Disney-like character and use him and his "environmental" message in a thousand different ways. The second event involved the creation of an amusement park "ride" suitable for Disneyland and/or any number of other locations. The ride and accompanying displays, technologies, and other "propoganda" would, it was imagined, raise public awareness to new heights, let alone create its own group following. Promoting cogeneration as one of the important solutions to the world's ecological problems was, of course, integral to the package.
Not only would the mechanical journey carry visitors (and passengers) through a wonderland of sight and sound delights, but all the energy required to power the exhibit would come from the on-site co-generation facilities. In point of fact, the entire park (think Disneyland) would derive all of its electrical power from one or more on-site installations. Hold on; we're far from done here.
Any idea how much trash is produced inside Disneyland? Daily, weekly, monthly? Yearly? Although some amount of recycling would occur, the bulk of this refuse would be delivered right into the furnaces of the establishment's own co-generation incinerators. Sweet, right? Now you're getting the idea. I seem to recall that the "burning" process was so hot and complete, that for the most part, not even ash remained. So how cool is this idea? A place like Disneyland is not only independent, off-the-grid, and even feeding surplus juice into the municipal system, but is using its own trash to do it. Except for the collection of metal (which itself would be recycled) no trash trucks need ever come or go from the park. What could possibly go wrong? How could Disney not jump at such an opportunity? Talk about a match made in environmental heaven. Say what you will, the virtual end to trash had a certain appeal, and a lack of odor to it. And that's where Odo comes in.
So who could we get to be the new Mickey Mouse of ecology and environmental sanity? Yup, say hello to Odo. Well, which one, you might ask. The answer is that the illustrations below demonstrate the process of evolution that Odo went through. Artistically instead of biologically. Although real dodos had some distinguishing characteristics, such as their beaks and nostrils, the bird itself was kind of coyote ugly, if you catch my meaning. Odo needed a lot of work to fulfill the dual roles of being cute, cuddly, and someone people would take seriously as a spokesperson for the environment. Make that a spokesdodo, I guess.
While constantly refining the character of Odo, Bill, AJ and I also produced a working draft of the amusement park ride itself. The title was to be, "Feel the Heat", which boasted a multitude of meanings. I ultimately wrote a final 25-page version that took readers on a vivid and wildly imaginative trip through the exhibit itself. A open-air car was involved that would have carried several passengers at a time. I still have the document in question, but it's lost its power over the years and seems somewhat tame, if not lame, but today's standards. Bill and his dad had, in effect, orchestrated a wonderful and inventive indoctrination into the world of cogeneration and, under other circumstances, numberless families would today be enjoying some variation of what the three of us had all envisioned. Probably a roller-coaster of some kind, but the result would have been the same.
If nothing else, no one would ever accuse the Setting family or the Antons of thinking too small. Of not seeing the big picture, not going for the gold ring, nor shooting for the moon. Or Saturn. Maybe that's why we all got along so well; each of us complemented the other, then complimented each other. And nary a dissenting opinion was heard from any of us. It was too late; we were a single family speaking with a single voice. I can't be sure, but I think it probably sounded like the honk of a dodo bird.
Here then, minus the bulk of accompanying text that underscored the entire project, are the finished (somewhat) renderings of Odo, the dodo. Official guide and spokesdodo for Feel the Heat -- the ride, the club, the organization -- the movement. I think the others seeking to grab public attention would have been "green" with envy over what we could have accomplished. Pun intended.
Or rather, what Odo might have achieved.
Bill, or Willy, as I called him -- the only one to ever do so, he said -- was extremely knowledgeable about various plumbing and heating technologies. Along with his father, AJ Setting, the two were among a growing group of engineers who had taken serious notice of a relatively new technology which was just over the horizon. Already popular in Europe, the incineration process known as "cogeneration" was finding increasing support in the U.S. It was the 1980's and the fledgling "Green" movement, with its message of environmental worries, was finding a large following around the globe. Cogeneration, aka CHP (Combined Heat and Power) although not a new kid on the block, posed as one of the most promising cure-alls for the variety of negative issues surrounding the burning of fuel for the purpose of producing both heat and electricity.
Although global warming had yet to rear its (ugly?) head, concerns about refuse disposal and recycling -- let alone the burning of fossil fuels -- had already found an audience among young and old alike. Seeing what appeared to be the wave of the future, much like the drive towards magnetic-levitation-vehicles -- or "maglev" -- Bill and his dad jumped aboard a bandwagon, the potential of which seemed, at the time, to be nearly unlimited.
Well, this isn't going to be a treatise on what became of either the cogeneration industry or maglev trains. For those interested, I'm sure a Google search will reveal more than they ever wanted to know about both. I do recall that trouble arose over disputes between the California AQMD (Air Quality Management Department) and the purveyors of cogeneration equipment and devices. Don't quote me, but I think the stringent (and likely unreasonable) standards put forth by California and others, including the Feds, either doomed the cogeneration industries, or seriously curtailed their growth. I haven't kept up with how things evolved -- or didn't -- especially since the home computer had yet to make its own, paradigm-jolting appearance -- and impact on every industry. Also new to the mix would be the relatively recent emphasis on carbon-dioxide concentrations in the atmosphere.
At its peak, prior to when real problems first appeared, the cogeneration generation appeared to be thriving with nothing but clear skies ahead -- both figuratively and literally. The story of Odo, the dodo, evolved at a time when Bill, his dad, and yours truly, foresaw a seeming trend that would one day find its way into any number of business enterprises. Including the entertainment industry. Consider for a moment that one type of cogeneration (the technique discussed here) uses an ultra-high heat incineration process to quite literally vaporize almost all materials, except for metals, then add to that, the production of heat (steam) and electricity as a result, and you get some idea of how the whole deal seemed too good to be true. And if you know what they say about stuff that appears too good, then the rest is history, as they say.
So where exactly, does Odo come into the picture? And what was he all about? Why an extinct species of bird, namely the dodo? Weren't they supposed to be pretty low on the IQ scale? Sounds like the perfect candidate to symbolize what could happen to the human race if we don't clean up our act, so to speak. Which is why Odo didn't want people (or kids) to suffer the same fate as what happened to all his kind. Odo learned his lesson and wants us to learn ours before it's too late. "Don't be a dodo," was one of the envisioned campaign slogans. Odo himself was the result of Willy's and my combined inspiration. In hindsight, based on what I remember and was able to provide here in the way of art and storyline, Bill and his dad's ideas were indeed inspired.
Had the need arisen, I had this interesting story idea as to how Odo was found, frozen, then revived as the last dodo on Earth. Odo was not only the sole survivor of his breed, but the most intelligent also. In real life, the dodo's lack of fear supposedly led to their extinction by human hunters. In Odo's case, he knew the danger and fled north to get away -- as far away as possible. Hence his eventual burial in ice where he underwent a state of suspended animation. No pun intended. Once resurrected, Odo fears for humankind's safety and longevity, and worries that we will suffer our own extinction -- due primarily to our abuse, misuse, and carelessness regarding ecology, nature, the environment, so on and so forth. Odo is then recruited for both the task of raising public awareness and promoting the benefits of co-generation. Probably a book, movie deal, and music CD would have been naturals. No pun intended.
Without going into too much detail, two events transpired simultaneously. The first was the creation of a "mascot" who would capture the imagination of a mass audience of adults and children alike. But especially kids. The intent was to mimic a Disney-like character and use him and his "environmental" message in a thousand different ways. The second event involved the creation of an amusement park "ride" suitable for Disneyland and/or any number of other locations. The ride and accompanying displays, technologies, and other "propoganda" would, it was imagined, raise public awareness to new heights, let alone create its own group following. Promoting cogeneration as one of the important solutions to the world's ecological problems was, of course, integral to the package.
Not only would the mechanical journey carry visitors (and passengers) through a wonderland of sight and sound delights, but all the energy required to power the exhibit would come from the on-site co-generation facilities. In point of fact, the entire park (think Disneyland) would derive all of its electrical power from one or more on-site installations. Hold on; we're far from done here.
Any idea how much trash is produced inside Disneyland? Daily, weekly, monthly? Yearly? Although some amount of recycling would occur, the bulk of this refuse would be delivered right into the furnaces of the establishment's own co-generation incinerators. Sweet, right? Now you're getting the idea. I seem to recall that the "burning" process was so hot and complete, that for the most part, not even ash remained. So how cool is this idea? A place like Disneyland is not only independent, off-the-grid, and even feeding surplus juice into the municipal system, but is using its own trash to do it. Except for the collection of metal (which itself would be recycled) no trash trucks need ever come or go from the park. What could possibly go wrong? How could Disney not jump at such an opportunity? Talk about a match made in environmental heaven. Say what you will, the virtual end to trash had a certain appeal, and a lack of odor to it. And that's where Odo comes in.
So who could we get to be the new Mickey Mouse of ecology and environmental sanity? Yup, say hello to Odo. Well, which one, you might ask. The answer is that the illustrations below demonstrate the process of evolution that Odo went through. Artistically instead of biologically. Although real dodos had some distinguishing characteristics, such as their beaks and nostrils, the bird itself was kind of coyote ugly, if you catch my meaning. Odo needed a lot of work to fulfill the dual roles of being cute, cuddly, and someone people would take seriously as a spokesperson for the environment. Make that a spokesdodo, I guess.
While constantly refining the character of Odo, Bill, AJ and I also produced a working draft of the amusement park ride itself. The title was to be, "Feel the Heat", which boasted a multitude of meanings. I ultimately wrote a final 25-page version that took readers on a vivid and wildly imaginative trip through the exhibit itself. A open-air car was involved that would have carried several passengers at a time. I still have the document in question, but it's lost its power over the years and seems somewhat tame, if not lame, but today's standards. Bill and his dad had, in effect, orchestrated a wonderful and inventive indoctrination into the world of cogeneration and, under other circumstances, numberless families would today be enjoying some variation of what the three of us had all envisioned. Probably a roller-coaster of some kind, but the result would have been the same.
If nothing else, no one would ever accuse the Setting family or the Antons of thinking too small. Of not seeing the big picture, not going for the gold ring, nor shooting for the moon. Or Saturn. Maybe that's why we all got along so well; each of us complemented the other, then complimented each other. And nary a dissenting opinion was heard from any of us. It was too late; we were a single family speaking with a single voice. I can't be sure, but I think it probably sounded like the honk of a dodo bird.
Here then, minus the bulk of accompanying text that underscored the entire project, are the finished (somewhat) renderings of Odo, the dodo. Official guide and spokesdodo for Feel the Heat -- the ride, the club, the organization -- the movement. I think the others seeking to grab public attention would have been "green" with envy over what we could have accomplished. Pun intended.
Or rather, what Odo might have achieved.
the Odo [oh-doe] characterizations
Figure 15.
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Figure 16.
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Figure 17.
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Figure 18.
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Figure 19.
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figure 20.
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Figure 21.
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Figure 22.
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Figure 23.
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Figure 24.
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Figure 25.
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As compared to the still-rough and awkward image of Odo in an early sketch (figure 21.) the two graphics above (figures 24. and 25.) show him in his later, and highly refined final form. For me, as the artist, this was now the near-perfect version of Odo, and the one I had sought during many months of try and try again. In figures 26. and 27. below, we see the pseudo "Ghostbusters" takeoff; in this case, "Who you gonna be? A Trash Buster!" Here again, the emphasis on patriotism and a strong sense of duty and commitment would have been vital components to any such program.
Figure 26
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Figure 27. "Don't be a dodo -- stash that trash!"
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Not exactly subtle, but . . .
Although used many times for many causes, the "I Want You!" theme could have been especially effective in recruiting kids and other converts to the idea that recycling some materials while collecting others for incineration was a really "cool" thing to do. Instilling (and teaching) the concepts of ecology, clean energy production, animal welfare, and pollution-free environments as the keys to human progress -- perhaps our very survival -- needed to be (and still does) a fun exercise combined with a strong sense of personal pride and accomplishment.
Elsewhere on this website visitors will find references to my dragon character, Timtu -- as the leader of what I call, "Dragoneers". It is no coincidence that the concept bears a strong resemblance to the Trash Busters theme seen above. What Odo was designed to do about ecological concerns and such, Timtu's Dragoneers are intended to accomplish regarding good manners, decent behavior, and the importance of critical thinking.
Odo was intended as the ultimate symbol of volunteerism. As is Timtu now. When adopted internationally, a new kind of Peace Corps might well have evolved and spread everywhere. The beauty of cogeneration was that it made sense economically as well as ecologically. And nothing is more American than making money and spreading one's profits around.
Voluntarily.
Elsewhere on this website visitors will find references to my dragon character, Timtu -- as the leader of what I call, "Dragoneers". It is no coincidence that the concept bears a strong resemblance to the Trash Busters theme seen above. What Odo was designed to do about ecological concerns and such, Timtu's Dragoneers are intended to accomplish regarding good manners, decent behavior, and the importance of critical thinking.
Odo was intended as the ultimate symbol of volunteerism. As is Timtu now. When adopted internationally, a new kind of Peace Corps might well have evolved and spread everywhere. The beauty of cogeneration was that it made sense economically as well as ecologically. And nothing is more American than making money and spreading one's profits around.
Voluntarily.
Figure 28. A green tie better?
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Figure 29. Odo. You gotta love'im.
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Figure 30.
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