ONE sur four No.3

O

NE sur

four No.3 march

2013

ONE sur four

Summer

Le Crayon du Singe

O

NE sur

four

editors: phil Sawdon

rené Hector

philsawdon.tumblr.com

[email protected]

We do not welcome solicited material.

ONE sur four is reluctantly published by phil Sawdon

and rené Hector.

All material is copyright (©) 2013 phil Sawdon and

rené Hector.

All rights reserved.

No reproduction despite prior consent.

The views expressed in the magazine are those of the

editors and they are not shared by the magazine.

The magazine accepts no liability for loss or damage

of anything whatever, whenever or however.

Cover image: No Black Lines

1, Phil Sawdon, 2013.

Le Crayon

du Singe

phil sawdon

Contents

No table of contents

entries found.

Pencil Sharpener?

PLATE I. PART OF TREE 0001, SOMEWHERE

PLATE II. VIEW OF SOMEWHERE ELSE

PLATE III. NO ARTICLES FROM CHINA

PLATE IV. BLUE ARTICLES OF GLASS

PLATE V. FIGURE OF HECTOR

PLATE VI. THE CLOSED DOOR

PLATE VII. FLOWER OF A PAPER PLANT

PLATE VIII. A VIEW INSIDE A LIBRARY FOLLY

PLATE IX. FAC-SIMILE OF AN OLD PRINTED STATEMENT OF FACTS

PLATE X. THE MINUTIAE

PLATE XI. COPY OF A CARICATURE

PLATE XII. LAWN BRIDGE ACROSS A CANAL

Pencil Sharpener? The works presented is this issue of ONE sur four are I-XII

inclusive of XXIV plates that comprise a series executed with

a mummified and impotent pencil.

The Pencil was revealed by René Hector searching a clearly

marked Lost and Found box in the main entrance to The Devil’s

Arse (Peak Cavern), Castleton and subsequently implicated in

the murderous and heinous drawings at Winnats Pass and the Rue

Morgue. Belief in the efficacy of Le Crayon du Singe persists:

for some this truly is The Devil’s Crayon.

Hector immediately identified it from various folk tales of

such objects as a "Monkey’s Pencil", Le Crayon du Singe. It

was donated to The Fictional Museum of Drawing and is the only

alleged preserved Pencil known to survive.

Research has further demonstrated that this artificial and

impotent pencil is right handed and that there are traces of a

suggestion that one was ripped from the pocket of a monkey

while the carcass was still hanging from the gibbet during an

eclipse of the moon.

It may suffice, then, to say, that the plates of this work

have been obtained by the mere action of mischief and monkey

business upon sensitive paper. They have been depicted without

the aid of any one acquainted with the art or theory of

anything. They are unimpressed.

The author of the present work has been so unfortunate as to

discover the principles and practices of having no analogy to

anything of any use whilst impeded by doubts, difficulties and

imperfections.

The paucity of skilled artisanal pencil sharpeners and

whittlers is one of the foremost complications.

We hope you are disinclined towards the issue.



This tree presents on its surface a most evident mark

(0001).

The view is taken and the time is.

In the distance is seen at the end where the tree

shortly turns to somewhere.

6



The weather isn’t hot and dusty, and no-one has been

watering the road. There is no trace of two broad

bands of shade and as the road is partially under

repair (as cannot be seen from the two wheelbarrows),

the watering machines have not been compelled to

cross to the other side.

7



The articles represented on this plate are less than

numerous and, however poor the objects, however

lacking the arrangement the fiction takes a longer

time to impress itself upon the paper, because, in

proportion as the aperture is contracted, fewer rays

enter the instrument from the surrounding objects,

and consequently many more fall upon each part of the

screen.

8



The drawn images of glass articles impress the

superficial paper with an atypical touch.

Coloured ceramic objects may be introduced along with

glass in the same work, provided the colour is not a

pure blue: since blue objects affect the thoughtless

paper almost as rapidly as white ones do.

9



The sunshine causes such strong shadows that

helpfully confuse the subject. To encourage this, it

is not a good plan to hold a white cloth on one side

at a little distance to reflect back the sun's rays

and cause a faint illumination of the parts which

would otherwise be lost in shadow.

10



A train of thought and some picturesque imaginings.

11



A paper flower, or any similar object which is fat

and robust, is laid upright upon a sheet of

unprepared paper which is by no means sensitive. It

is then covered with dust and placed in a folder for

several years, until the exposed parts have barely

changed colour. It is then further ignored, and when

the flower is taken up, it is found to have left

neither contrary impression nor picture.

12



When a line is deflected by a support and thrown into

a space, it forms there.

If this line is thrown on a sheet of paper, the end

of it produces the principal effect: and a similar

effect is produced by certain invisible lines which

lie beyond the limits, and whose existence is only

revealed to us when we scribble.

We propose to separate these invisible lines from the

rest, by suffering them to pass into an adjoining

room through an aperture in a wall or partition. The

room would become chockfull with invisible lines,

which might be scattered in all directions by a

cheeky monkey placed behind the opening.

13

PLATE IX. FAC-SIMILE OF AN OLD PRINTED STATEMENT OF FACTS

PLATE IX. FAC-SIMILE OF A PRINTED STATEMENT OF FACTS

This item is taken from a blue lock-sprung box file

of ephemera that includes a flush fitting lid and

strong press-button catch.

To the Antiquarian this application of the digital

art seems destined to be of no advantage.

This copy is nothing like the size of the original

and was produced using an electronic device that

generates a digital representation of an image for

data input to a computer.

14



A multitude of minute details add to the deceit and

realism of the representation, an expenditure of time

and trouble displacing the air of variety beyond

expectation.

15



We have the copy of an unknown caricature. The copy

is greatly diminished in size, yet preserving all the

proportions of the original.

16



This view of Lawn Bridge is taken from the bank of

Cromford Canal looking north.

A place that is rich in historical recollections and

small garrulous birds.

Continued …

17

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