Collage and Sketching: A Look inside a Recent Journal—Part Three of Three

December 29, 2010

The post provides links and discussion of the third part of this three-part video peek into a recent journal. And a discussion of “bingo, bango.”

This is the third and final part of a flip through my journal "Adjusting P10": a recent collage and sketching journal. Parts one and two of this series appeared on Monday and Tuesday of this week. This journal was made as a demonstration model in the journal class I'm currently teaching at MCBA (September 2010 to June 2011). Note, if the above embedded video doesn't work, click here to view Adjusting part 3 on YouTube. The main goal of the class is to establish a healthy journal practice—hence the title of the class Journal Practice: Collage and Sketch. (It is just one in the Journal Practice series of classes I've taught at MCBA since 2000.)

In this final entry I point out attempts to create color flow between spreads, and also talk about why I'm sketching people, over and over and over.

Additionally I talk about "bingo bango," which some of you may have heard me say. One can never know why or where one picks up some of the phrases we use. According to the golf dictionary "Bingo, Bango, Bongo" is a "points-based game" that golfers play—points being awarded for the first person in a group to get his ball on the green (bingo), closest to the pin (bango), and first to hole out (bongo).

Now my dad is an avid golfer. (Mom almost as avid, but not quite—for Dad it's definitely a zen thing, though he would never describe it as a zen thing.) Even though Dad is an avid golfer I don't remember him ever saying this phrase.

I may have picked it up from overhearing his golf friends, but I think we could better trace it to one of my favorite actors, who also happens to be a golfer, when he uses this phrase in "Scrooged" while shooting a gun at the ghost of his dead partner. Indeed Bill Murray seemed, at that moment, to be playing a points-based game for one.

Perhaps Murray came to the phrase from his passion for golfing.

The Urban Dictionary lists a number of sources for "bingo, bango"—and definitions and usages. I find it interesting that one definition there states it comes from baseball. (My dad also played minor league baseball as a young man.) But when I use the words I'm neither counting points nor referring to a hit. And I never use it to acknowledge or provide approval (another listed usage). (Though come to think of it I have used it at times at the end of a sentence to indicate a metaphorical home run, usually for sarcastic emphasis about something that I don't think worth completing.)

Mostly my usage seems to be of the third type—"to complete correctly."

Example sentence I might say: "You take this fabric and some glue and you wrap it around these boards and bingo bango, you've got a book."

It becomes almost a stand-in for "and before you know it," except that it isn't, because I frequently then add, "before you know it," Or I say, "before you know it, bingo bango you've got a [fill in the blank]."

It's not a matter of Humpty Dumpty-ism (see Lewis Carroll). I think when it comes right down to it I simply love the way your mouth moves when you say it—and the fact that you can say it with so many shifting intonations, to underline the tone, and set the meaning by the context. And even when said sarcastically it's upbeat. Can't say that about a lot of sarcasm.

Then of course there are the sexual connotations of the full phrase, "Bingo, bango, bongo" as currently used. And I do have a potty mouth and I can think of at least one instance when I used the two-word, abbreviated phrase to make a joke at the expense of a political figure not noted for his…well you get the idea.

So there you have it. Sometimes we can never track down where we picked up this or that, but if we look into it, before you know it, bingo, bango, we have a host of interesting possibilities. (Possibilities which also ultimately may mean something only to our contemporaries—Well, isn't that special?)

  1. Reply

    Well, I just love the whole book Roz! So interesting with the different size pages, papers, media, yada, yada, yada. Thanks for sharing!

  2. Reply

    Roz, have loved the peek into this journal – so fab.

  3. Reply

    Elizabeth and Donna, many thanks, glad you enjoyed it.

  4. Reply

    So Chris, where to you think you picked it up from???

    Are there golfers in your family? Baseball players?

    Inquiring minds want to know!

    • Jo
    • December 29, 2010

    Hi Roz,
    This is my favorite of all your journals, because of the variety of page sizes and of sizes of the sketches. All of this encourages the reader to slow down and look closely, as you’ve taught us to do over the years when sketching. Fabulous work!
    Have you considered offering an online class on making a similar book, full of sketches, notes, and unusual attributes?

  5. Reply

    really!!! Bingo, Bango, Bongo is right…what a fabulous book!!!
    Just stunning in every way. What a treat to see it!! Thanks!

  6. Reply

    Jo, thank you for your comment. I’m glad that you enjoyed the book. People who have seen it in person seem to have a similar response. I think it is the turning of the pages and the surprise and constant change.

    I’m doing an online class with Strathmore in March on the collage and sketch aspects, though I’m using their books (wirebound journals). If I like how that turns out (i.e., the process of making the videos) I might do something on line, but right now I’m focusing on in person classes and I want to get a bunch of stuff together in a book.

    We’ll see.

  7. Reply

    Cynthia, thank you. And kudos for using Bingo, Bango, Bongo, in a sentence!!!!!

  8. Reply

    I like how you’ve incorporated different sizes and types of pages in your journal. That’s something I never thing to do. Nice journal!

    • velma
    • December 29, 2010

    roz, thanks for the videos. i appreciate seeing your working. i especially like seeing the page variety and the wonderful gate folds. once it’s shown, will you remove the glassine for good?

  9. Reply

    Thanks Sydney. I’m glad you enjoyed it. I hope you’ll give it a try in a future journal of your own.

  10. Reply

    velma—Usually. When I use Stabilo Tones I always leave the glassine in. Pretty much it’s the only time I use it, even if there is other items that will smudge in a book.

    For everything else I take it off as soon as possible because even low-tack masking tape will mar the surface of many art papers (Rives BFK is particularly prone to being marred in this way) and the tape isn’t archival so if I left it there it could start to bond in an odd way with the paper and make later removal difficult (more difficult in some instances), etc., etc. And the acidity of the type or alkaline, whatever it is, because it sure isn’t archival.

    But a lot of times I take a book into a class for about a year after it is made, as an example of some current stuff, and the glassine stays on then the whole time and the book gets put on the shelf and “forgotten” blah, blah, blah. You know how it goes.

    So the intention is to remove it (except on Stabilo Tones) ASAP, but if I don’t follow through I’m not going to sweat it because the downside—aging, destruction and marring—it’s all stuff I’m OK with.

    If you want to leave glassine in permanently I recommend using an archival hinging tape, or binding it directly into the book when you make it—but I’ve already written about that.

  11. Reply

    velma, I should mention, when I use masking tape to hold the glassine in I’m talking about a sliver of tape that is smaller than my fingernail on my little finger. The smaller the piece of tape you can use to get the job done, the better, and the less damage to the page where it’s attached.

    The key is to keep the glassine in place without shifting around itself, which can actually increase any problems you’re trying to avoid.

    Obviously loose glassine pages would not be good in a working journal because they could fall out whenever you open the book, or just shift about, which isn’t good either.

    And so it goes.

    • velma
    • December 30, 2010

    yeah, roz, i noticed that the glassine was well secured in spite of it’s temporary nature. sometimes in class i’ll have the hooligans use “tracing paper” for more effect, they often love the hiding and layering of it. i like the way it sets something physically apart, BUT i also don’t like it’s rattle… thanks for the explanation of a little detail like this–

  12. Reply

    velma, I just thought of something, if you wanted the glassine to be permanent, but added after binding you could always “stick” it down with those eyelets or other clippy things scrapbookers use. Then you could actually use the glassine as a sort of window for hiding and layering!

  13. Reply

    Love the varied page sizes and you wonderful sketches. Reminds me of when I look at a pop-up book and try to figure out how it was done. Can’t wait for the Strathmore class, hopefully you’ll have more online. Thank you so much for posting this video.

  14. Reply

    Kathy, glad you enjoyed this book. I have done books of this sort where there are actual pop-up elements and it can be great fun, especially because sewn on the spine structures have so much built in space for the thicker pop-up pieces.

    There’s fun stuff in the Strathmore class so I hope you enjoy it. The class seems far away still, even though it’s already “done” for me. A very odd experience.

    I currently don’t have plans for any more on-line classes in 2011 because of my schedule. We’ll see what the future brings.

  15. Reply

    It’s a SONG. Bingo bango bongo I don’t want to leave the Congo – oh-no-no-no-no-no.
    Where are all these 1940s and 1950s references coming from?

  16. Reply

    Wendy, when I was looking up the phrase I actually found a video of Howdy Dowdy singing this song (or puppets on his show, I don’t remember). I’ll have to check out your link.

    HD was gone by the time I came around so I know I didn’t get it from that. But I think that songs like this work into the culture and then pop up elsewhere. Sometimes there are nonsense words, sometimes there are other things going on that reflect actual speech patterns.

    Like Maynard G. Krebs (Bob Denver in Dobie Gillis which I saw in re-runs in Australia), in which we see the beginnings of what would eventually branch out and become valley girl.

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