There was movement at the station, for the word ... - Badger Airbrush

There was movement at the station, for the word ... - Badger Airbrush There was movement at the station, for the word ... - Badger Airbrush

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The Man From Snowy River There was movement at the station, for the word had passed around That the colt from old Regret had got away, And had joined the wild bush horses - he was worth a thousand pound, So all the cracks had gathered to the fray. All the tried and noted riders from the stations near and far Had mustered at the homestead overnight, For the bushmen love hard riding where the wild bush horses are, And the stockhorse snuffs the battle with delight. There was Harrison, who made his pile when Pardon won the cup, The old man with his hair as white as snow; But few could ride beside him when his blood was fairly up - He would go wherever horse and man could go. And Clancy of the Overflow came down to lend a hand, No better horseman ever held the reins; For never horse could throw him while the saddle girths would stand, He learnt to ride while droving on the plains. And one was there, a stripling on a small and weedy beast, He was something like a racehorse undersized, With a touch of Timor pony - three parts thoroughbred at least - And such as are by mountain horsemen prized. He was hard and tough and wiry - just the sort that won’t say die - There was courage in his quick impatient tread; And he bore the badge of gameness in his bright and fiery eye, And the proud and lofty carriage of his head. 1 a i r v o l u t i o n But still so slight and weedy, one would doubt his power to stay, And the old man said, “That horse will never do For a long a tiring gallop - lad, you’d better stop away, Those hills are far too rough for such as you.” So he waited sad and wistful - only Clancy stood his friend - “I think we ought to let him come,” he said; “I warrant he’ll be with us when he’s wanted at the end, For both his horse and he are mountain bred. . . . . a i r v o l u t i o n

The Man From

Snowy River

There was movement at the station, for the word had passed around

That the colt from old Regret had got away,

And had joined the wild bush horses - he was worth a thousand pound,

So all the cracks had gathered to the fray.

All the tried and noted riders from the stations near and far

Had mustered at the homestead overnight,

For the bushmen love hard riding where the wild bush horses are,

And the stockhorse snuffs the battle with delight.

There was Harrison, who made his pile when Pardon won the cup,

The old man with his hair as white as snow;

But few could ride beside him when his blood was fairly up -

He would go wherever horse and man could go.

And Clancy of the Overflow came down to lend a hand,

No better horseman ever held the reins;

For never horse could throw him while the saddle girths would stand,

He learnt to ride while droving on the plains.

And one was there, a stripling on a small and weedy beast,

He was something like a racehorse undersized,

With a touch of Timor pony - three parts thoroughbred at least -

And such as are by mountain horsemen prized.

He was hard and tough and wiry - just the sort that won’t say die -

There was courage in his quick impatient tread;

And he bore the badge of gameness in his bright and fiery eye,

And the proud and lofty carriage of his head.

1

a i r v o l u t i o n

But still so slight and weedy, one would doubt his power to stay,

And the old man said, “That horse will never do

For a long a tiring gallop - lad, you’d better stop away,

Those hills are far too rough for such as you.”

So he waited sad and wistful - only Clancy stood his friend -

“I think we ought to let him come,” he said;

“I warrant he’ll be with us when he’s wanted at the end,

For both his horse and he are mountain bred. . . . .

a i r v o l u t i o n

The following article is a big

one folks but rather than just

show you a bunch of photos of

the finished project, we have

provided an extensive step by

step of the entire production.

The article is about a recent

airbrush project by Tony Vowles.

Each section of the article delves

into a different aspect of the

project and we hope you find

what follows interesting.

a i r v o l u t i o n

The Man From Snowy River Project

A person from a country town in

Victoria; Peter Jolly from Benalla,

rang Tony recently and asked

for assistance in organising

a car to be airbrushed with

an artwork with a Man From

Snowy River theme. He had

the specific intention of it being

used to create awareness about

Beyond Blue’s support services in

helping people in rural regions

suffering from depression. This

article is about Peter Jolly and his

ambition to make a difference.

a i r v o l u t i o n

It can be very hard to get good photographs of

cars with complex artworks like this one. While

the photos could be better, you will get the idea.

Its best if we get Tony to tell the story from here.

Tony Vowles . . .

I do very little commercial airbrushing at all. My

favourite word when asked to airbrush is “no”

and my favourite phrase is “I don’t do commercial

airbrushing - but I have many many students that

can help you.” But in this case Peter had already

approached several Airbrush Venturi students

and they had all declined. Once Peter explained

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The Man From Snowy River Project

that the whole project was about creating

awareness of Beyond Blue and that they had

a proper budget for the project and a proper

window of time for its production, I agreed

to take on the job personally. But most

importantly, Peter was a nice guy . . . genuine.

I took it on because I have been working on

the development of the new Custom Paint

Master Classes where people learn to airbrush

whole cars in a 10 day period. The project

was a serious research exercise where I could

document the entire process and check all the

systems that we teach.

a i r v o l u t i o n

Did I say that I am extremely reluctant

to do commercial airbrushing?

I assume all customers are going to be

“a pain in the arse” until proven that

they are willing to be as organised and

professional in their dealings as they

expect of me. In Peters case he had

gone to a lot of effort, taking photos

and developing the concept, so I had a

good feeling about the project but still

was not willing to go ahead until I could

develop a clear idea of what would be

involved and then give him a price.

I am so paranoid about having

problems with clients that I am not

willing to be creative once I start

airbrushing a clients artworks. I do the

creative stuff on Photoshop, print off

the concept and if the client approves

it, they sign the back. I don’t start until

they have signed off on the photoshop

concepts and paid 50% in advance.

So for me everything has to be fully

formed on Photoshop before I will even

quote on a job. I risk going to a lot of

effort only to have the job fall through,

but I prefer this to the alternatives.

I started with this photo, removed the background, including

through the glass and digitally replaced the glass and took the

shadow of a studio photo of a car to complete the look.

This is one of the major aspects to our

Custom Paint Master Class, the use of

Photoshop to fully develop the creative

design process BEFORE the students

begin airbrushing. It completely stops the

horrible doubts that you have when you are

airbrushing the artwork about whether the

client is going to like the job and if you are

going to get paid.

I must say that Peter was a dream to deal with

from start to finish. He really trusted me.

a i r v o l u t i o n

The Man From Snowy River Project

Initially Peter had wanted me to use stills

from the movie, (some shown here).

I literally told him that the photos were

“shit” and suggested that we start

with the poem . . . make the poem the

feature and build images around them

that told the story accurately.

What Peter didn’t know was the fact that

I absolutely love this poem. I have been

reading it out loud to my children since

they were little. This poem is a part of

my life, it is embedded in who I am.

So when it came to creating this artwork

it meant a lot more than just “a job”.

This was a once in a lifetime project. I

didn’t just enjoy this project, I loved it.

I have had quite a number of people

express all sorts of opinions about the

boldness of the poem and the muted

“bluish” colour scheme, as if they

were not thought through. Quite the

opposite, if anything I ‘over-thought’ the

design of this artwork. The photos will

show how much thought went into the

design of the artwork.

a i r v o l u t i o n

heading

Once I had created a clean studio look for the base concept images, the next step was to look

at where to place the design. Peter had already told me that he wanted it to start behind the

front wheel arch, run around the back of the car and end at the same point on the other side.

I have this thing about “honour the steel”. When I do custom paint, I am very careful to

use the design to reinforce the contours of the car, to make sure that the design does NOT

camouflage the shape of the car . . . something that I have seen all too often.

The two design placement photos (below) show what I went to Peter with first. Every step of

the way, I asked Peter for his opinion. I never go to a client with a finished design concept!!

I work with them from the very beginning. Again, this means more work at the start, but if

everything goes well, it saves a huge amount of time later . . . and goes along way to earning

the trust and respect of the client. Peter and I agreed at every step, which was wonderful.

On the next page you will see the final shape we all agreed upon.

a i r v o l u t i o n

The Man From Snowy River Project

Right from the start two things were very clear in my mind:

1. The poem had to be the main feature of the whole artwork concept. I wanted the poem

to really be in-your-face. People don’t read poems any more. I purposely wanted to try and

make people read it. “Words” matter!! I spend most of my life in either research of writing up

the results of my research into course structures and student guidance. Words are my life.

2. I needed a way to break up the story; that I would need the poem to create the division in

the visual story line. Without a “divider” then it would have been much harder.

There are 13 stanzas to the poem. Grouping them in pairs was the only realistic groupings

that I could think of. If I tried to fit more, then the text would have been minute and at even

two stanzas, this size caused huge problems and required heavy condensing and very tight

kerning. The masking for the lettering was pushed to the very limit.

a i r v o l u t i o n

heading

I roughly sketched in the roof and tree

I cloned in the grass to fill this area

I moved the guy from the left to the right

In each image, I tried to capture the essence of the two stanzas in each poem section. The

photos show the raw images I started with and how I assembled them. I worked quickly and

roughly but I don’t need it to be perfect before I can start airbrushing.

a i r v o l u t i o n

The Man From Snowy River Project

This is NOT the “Marlboro Man”!!

I replaced the old mans face with the young guys face

I later changed these hills to be the

same as the third image hills, to join

the hill-line into one long range down

the full length of the car.

Sharon is big on horse riding and

gave me a big lecture on Australian

saddlery and to make sure that I

made the saddlery OZ authentic.

Working with B&W photo

references but painting in

colour is very simple for me.

a i r v o l u t i o n

heading

I cut & pasted the horses onto the hills

One of the goals I set out to achieve was to create a sense of both “panoramic distance” and “up

close and personal”. I wanted the close-ups of the cowboys and I wanted the mountain vistas. I

really feel I achieved this sense of distance and intimacy with this side of the car.

a i r v o l u t i o n

The Man From Snowy River Project

I cut out each horse individually, to get rid of the

white horse, then assembled them with the cut-out

rider onto the Snowy Mountains background

This area of the background

was simply created with the

clone tool on photoshop

I spent a lot of time designing back. The idea

was that if a person was driving along behind

the car in traffic, that they should be able to

understand what the artwork is all about:

• Snowy Mountains

a

• Horseman chasing horses a

• Poem text

a

If a person can’t put 3 and 3 together and get

the poem The Man From Snowy River, then

I am not sure what should be there. I tried

several different designs but because of the

extreme car contours, I had to keep it simple.

a i r v o l u t i o n

heading

The horseman

is a still from

the movie, but

the background

was terrible. I

managed to

find the perfect

section of the

Snowy River to fit

a i r v o l u t i o n

The Man From Snowy River Project

I tried to use photos of the actual

Snowy Mountains where ever

possible and in the end was able to

use them in all the artworks.

To this day, I still don’t know what

is in the background of the original

shot, but once cut out and put on

the Snowy Mountain panorama,

the image of the horseman lassoing

the horse, I loved the shot. I took an

artistic liberty here because in the

poem it specifically states that the

horses stop, beaten by exhaustion.

Trying to create an interesting

picture of horses stopping

and being herded back

exhausted, just doesn’t make

for good pictures.

a i r v o l u t i o n

heading

There were no

end of images of

cowboys sitting

around fires but

I specifically

wanted a horse

in it and no

real detail, just

silhouette’s.

The colour of

the sky was too

chocolate-boxy

for me. So I

“blued it”

a i r v o l u t i o n

The Man From Snowy River Project

As I progressed with the design it

became very clear that the overall

design needed a “border” of some

description between the artworks and

the green of the car.

I tried just a simple colour stripe. I

tried a tree branch as a border. I tried

a wood rail off a post and rail fence.

None of them looked quite right.

I finally settled on this photo. I used

Photoshop to take small sections and

build a long rail that I could then use as

the border.

I really liked the chipped paint and

weathered grey wood. I think the

colours of the wood sit well between

the colours of the artwork and the car.

I briefly toyed with making the border

as brown as the parchments and at the

last minute went with the grey. I am

really pleased I did. I really think I got

this aspect of the design right.

a i r v o l u t i o n

a i r v o l u t i o n

heading

The Man From Snowy River Project

Did I say how much I

hate masking?!!!

I hate masking!!!!!

Step 1. Sit at a

computer and crunch

the poem until it

would fit onto a series

of parchments.

Step 2. Get the plotter

to cut such incredibly

small lettering with

the right pressure

but not damage the

corners in the process

Step 3. Weed the vinyl

out. Christopher

(my poor godson), my

wife and my son Sam.

Step 4. Apply app.

tape to the lettering

and peel away the

masking vinyl backing.

getting the ultra fine

lettering to peel away

and stick to the app.

tape was hell. I was

sure it couldn’t get

worse than this.

Step 5. It got worse!!

Getting the lettering

to stick to the car and

peel away the app.

tape made Step 4.

look like the easy bit.

What was suppose to

take a day or so, took

four and a half days

(eight hour days).

The actual airbrushing of the parchments took about an hour each. I masked

off the edge of the parchment and created a “wall stencil” around it. I applied

the sepia brown flat tone (the colours of the letters). I stuck down the

lettering and then I airbrushed the tan parchment and its wrinkled edges.

Finishing off simply meant pulling the masking letters off (more fun) and

applying a strong coat of PPG Deltron D895 Colour Blender over the top to

seal it off and protect it. All up each parchment took about 5 hours each. :(

a i r v o l u t i o n

heading

Before I cut the stencils for the border and lettering, I had to measure the

space on the car and cut them to size. Then I carefully placed them.

Covering the poems was tricky. The contours of the car made it impossible to place a

single piece over them. I cut the inside mask into the four border sections and placed

them, put the centre piece in roughly and then covered the gaps with masking tape

a i r v o l u t i o n

The Man From Snowy River Project

Note the most important

piece of equipment, the

height adjustable

swivel chair on wheels

It doesn’t bode well for a job when the first stage takes three times longer

and is super frustrating, but I soldiered on and it just got better and better

It took half a day to embalm the car and get it ready for the artwork stage

of the project. Because it was going to be edged with wood I just used

masking tape for the top edges. Bleeds are very easily wiped off too.

a i r v o l u t i o n

heading

The first panel took about 9 hours. The second panel took nearly 15 hours to complete. Too long,

but in these early stages I was very much playing with the colours that I would use for the whole

job, so there was a bit of mucking around. While I am not as happy as I would like with the first

panel, I am very happy with the second. One thing that I purposely set out to achieve was a very

a i r v o l u t i o n

The Man From Snowy River Project

painterly, almost brush painted artwork, but very realistic, which I feel that I achieved. The third

panel was a lot of fun but took a whole day again. The grass at the front has six different colours in

it. The horses were created with stencils that Patrick at Airbrush Focus made for me . . . and well as

the tree stencils. I just added the leaves afterward.

a i r v o l u t i o n

heading

I masked the background . . . a perimeter stencil around

the entire horse and then loose stencilled and freehand

airbrushed the rest in. This was horse was very easy to do

This was one of the easiest parts of the entire

artwork. I really enjoyed creating this portrait.

The colours just clicked . . . very happy.

a i r v o l u t i o n

The Man From Snowy River Project

The horses and trees were done with laser cut stencils from

Airbrush Focus. I simply sent the shapes to Patrick with

measurements and he cut them out for me.

With the trees I started with a black base, masked around

the tree trunks and sprayed the tan and browns. Then I

freehand airbrushed the leaves and shadows across the

branches. With the horses, I masked around the back

horses, airbrushed them in then created the dust across

them and then stacked the next horses on top and repeated

the process. The dust really made the result look better.

a i r v o l u t i o n

heading

The contours of the rear of the car made this the most difficult section of the entire project. The

bottom half of the horses are painted on a panel that juts in 10cm under the tailgate horizontally.

It was extremely difficult to perimeter mask the horses but was the only way to get the crisp clean

shapes when the the legs were only 5mm wide in many places. At this angle the distortion of the

a i r v o l u t i o n

The Man From Snowy River Project

flat section is very obvious, but at 5 metres back as if driving behind in traffic, everything lined

up perfectly. I made sure of this by projecting the design and drawing the distorted shapes and

airbrushing these shapes regardless of how wrong they look at the enagles I was looking at them

while I was airbrushing. Once I finished and stood back it all looked spot on.

I covered the horses and did the background first and then I used the pieces that I

had cut off to mask the horses to reverse mask the background . . . added masking

tape and app. tape and then did the horses with perimeter stencils and freehand.

a i r v o l u t i o n

a i r v o l u t i o n

heading

The Man From Snowy River Project

For Panel 6 I masked the

horse off, airbrushed the

background, then swapped

over, masked the background

and airbrushed the

horses and rider. After this,

I removed the outside mask

and freehanded the edges to

soften and add the hair of the

mane, etc. I did the rope just

freehand, sudden death.

a i r v o l u t i o n

heading

Equipment & materials:

• I purposely used only an old Badger 155 with an

bent needle that I straightened on the concrete.

Everyone seems to have this obsession with

SUPER FINE airbrushes. I thinks funny. The 155

allows me to do lines as thin as a pen and then

apply the D895 inter-coat clear at the end.

• The paint is PPG Deltron . . . start to finish. Paint

is paint but the support, the involvement by PPG

in our airbrush community is huge, it is all about

people and they get it, as big as they are, they

actually get it.

The masking vinyl was Oracal ORAMASK® 810

Grey Paint Masking film. The app. tape is Oracal.

All the vinyl and mylar stencils were prepared by

Paula and Patrick at Airbrush Focus.

a i r v o l u t i o n

The Man From Snowy River Project

Panda’s

photography

PPG has played a HUGE role in this project. A thousand

thankyou’s

I was able to have the free use of part of the Victorian

Training Centre for nearly three weeks. Amazing.

PPG had the car prepared, which meant having the car

stripped down, windows and seals removed, door handles

removed, badges and logos; everything that I can’t do. They

did it all!!

Honourable mention must be made of Ray England, the

State Training Manager and John the

Then at the end . . . PPG did the clearcoating of the car for

free, a huge job . . . then reassembled the car ready to show.

Over and above how supportive and involved PPG were,

have I mention how awesome Deltron paint is? Its amazing!

Danni, the owner of Panda Photography has financially

supported this project and played an important role in the

design stage of the process.

She is to be congratulated for being willing to directly get

involved in a project like this.

Tel: 0487 903 666 - Email: dogrady1983@gmail.com

Every single product that I used came from Airbrush Focus

and in the case of the horse and tree stencils, they were

specifically made for me by them.

Thank you to both Patrick and Paula for the effort they went

to before and during this project.

Lastly thank you to my godson Christopher, my wife Bridget

and my son Sam for their hours and hours of picking tiny

stencil pieces out of the vinyl lettering stencils for the

parchments and Sam for helping me to finish up and make

the deadline.

a i r v o l u t i o n

heading

Hi there everyone,

Sharon asked me to write down my thoughts about why

I started this project and what it means to me.

After I lost two very dear friends to suicide (a silent

epidemic in country Australia) I decided that I wanted

to do something to increase awareness about people

like Beyond Blue who are making a real difference in

my community helping people that are struggling. I

was already showing the vehicle at ute musters but

wanted it to “stand out, and stand for something”.

To say that the final result has exceeded my

expectations is a huge understatement!! I never thought

I would end up with a car that was so unique.

This is not a “custom painted car”, it is a rolling story

book about one of the most iconic poems ever written

in Australia. It challenges people to not fear life.

I feel like I am opening up a whole new chapter of

my life. The next couple of years is going to be very

exciting as I show it formally at ute musters, ag. shows,

car shows, schools and more. I also feel that I am

honouring my friends lives in the best way possible.

Sincerely

a i r v o l u t i o n

The Man From Snowy River Project

From Peter . . .

We are currently trying

to get a printing

company to support the

project by donating the

printing of a calendar

about the project. It

will have 13 pages,

January to January,

one page for each

stanza of the poem.

The Man From

Snowy River

The hope is to sell

the calendar at each

show that the car is

exhibited and raise

funds for Beyond Blue.

I think there would

be a lot of people that

would love to have a

calendar of the poem

and the project, and

know that the money

they paid was going

completely to support

Beyond Blue.

beyondblue - Mission Statement

Our mission is to provide a national focus

and community leadership to increase

the capacity of the broader Australian

community to prevent depression and

respond effectively.

We aim to build a society that understands

and responds to the personal and social

impact of depression, works actively to

prevent it, and improves the quality of life for

everyone affected.

Principles for action

• Respect for human rights and dignity.

• Strong community involvement,

understanding and support.

• A population health approach.

• Recognition of diversity and special needs.

• A co-ordinated and collaborative approach.

• An evidence-based approach.

• Sustainable action.

a i r v o l u t i o n

heading

That the colt from old Regret had got away,

And had joined the wild bush horses -- he was worth a thousand pound,

So all the cracks had gathered to the fray.

All the tried and noted riders from the stations near and far

Had mustered at the homestead overnight,

For the bushmen love hard riding where the wild bush horses are,

And the stock-horse snuffs the battle with delight.

There was Harrison, who made his pile when Pardon won the cup,

The old man with his hair as white as snow;

But few could ride beside him when his blood was fairly up --

He would go wherever horse and man could go.

And Clancy of the Overflow came down to lend a hand,

No better horseman ever held the reins;

For never horse could throw him while the saddle-girths would stand,

He learnt to ride while droving on the plains.

And one was there, a stripling on a small and weedy beast,

He was something like a racehorse undersized,

With a touch of Timor pony -- three parts thoroughbred at least --

And such as are by mountain horsemen prized.

He was hard and tough and wiry -- just the sort that won’t say die --

There was courage in his quick impatient tread;

And he bore the badge of gameness in his bright and fiery eye,

And the proud and lofty carriage of his head.

But still so slight and weedy, one would doubt his power to stay,

And the old man said, “That horse will never do

For a long and tiring gallop -- lad, you’d better stop away,

Those hills are far too rough for such as you.”

So he waited sad and wistful -- only Clancy stood his friend --

“I think we ought to let him come,” he said;

“I warrant he’ll be with us when he’s wanted at the end,

For both his horse and he are mountain bred.”

“He hails from Snowy River, up by Kosciusko’s side,

Where the hills are twice as steep and twice as rough,

Where a horse’s hoofs strike firelight from the flint stones every stride,

The man that holds his own is good enough.

And the Snowy River riders on the mountains make their home,

Where the river runs those giant hills between;

I have seen full many horsemen since I first commenced to roam,

But nowhere yet such horsemen have I seen.”

So he went -- they found the horses by the big mimosa clump --

They raced away towards the mountain’s brow,

And the old man gave his orders, “Boys, go at them from the jump,

No use to try for fancy riding now.

And, Clancy, you must wheel them, try and wheel them to the right.

Ride boldly, lad, and never fear the spills,

For never yet was rider that could keep the mob in sight,

If once they gain the shelter of those hills.”

So Clancy rode to wheel them -- he was racing on the wing

Where the best and boldest riders take their place,

And he raced his stock-horse past them, and he made the ranges ring

With the stockwhip, as he met them face to face.

Then they halted for a moment, while he swung the dreaded lash,

But they saw their well-loved mountain full in view,

And they charged beneath the stockwhip with a sharp and sudden dash,

And off into the mountain scrub they flew.

Then fast the horsemen followed, where the gorges deep and black

Resounded to the thunder of their tread,

And the stockwhips woke the echoes, and they fiercely answered back

From cliffs and crags that beetled overhead.

And upward, ever upward, the wild horses held their way,

Where mountain ash and kurrajong grew wide;

And the old man muttered fiercely, “We may bid the mob good day,

No man can hold them down the other side.”

a i r v o l u t i o n

The Man From Snowy River Project

When they reached the mountain’s summit, even Clancy took a pull,

It well might make the boldest hold their breath,

The wild hop scrub grew thickly, and the hidden ground was full

Of wombat holes, and any slip was death.

But the man from Snowy River let the pony have his head,

And he swung his stockwhip round and gave a cheer,

And he raced him down the mountain like a torrent down its bed,

While the others stood and watched in very fear.

He sent the flint stones flying, but the pony kept his feet,

He cleared the fallen timber in his stride,

And the man from Snowy River never shifted in his seat --

It was grand to see that mountain horseman ride.

Through the stringy barks and saplings, on the rough and broken ground,

Down the hillside at a racing pace he went;

And he never drew the bridle till he landed safe and sound,

At the bottom of that terrible descent.

He was right among the horses as they climbed the further hill,

And the watchers on the mountain standing mute,

Saw him ply the stockwhip fiercely, he was right among them still,

As he raced across the clearing in pursuit.

Then they lost him for a moment, where two mountain gullies met

In the ranges, but a final glimpse reveals

On a dim and distant hillside the wild horses racing yet,

With the man from Snowy River at their heels.

And he ran them single-handed till their sides were white with foam.

He followed like a bloodhound on their track,

Till they halted cowed and beaten, then he turned their heads for home,

And alone and unassisted brought them back.

But his hardy mountain pony he could scarcely raise a trot,

He was blood from hip to shoulder from the spur;

But his pluck was still undaunted, and his courage fiery hot,

For never yet was mountain horse a cur.

And down by Kosciusko, where the pine-clad ridges raise

Their torn and rugged battlements on high,

Where the air is clear as crystal, and the white stars fairly blaze

At midnight in the cold and frosty sky,

And where around the Overflow the reedbeds sweep and sway

To the breezes, and the rolling plains are wide,

The man from Snowy River is a household word to-day,

And the stockmen tell the story of his ride.

Banjo Patterson 1890

(The poem is copyright free, so there is no real limitation to its

reasonable use).

a i r v o l u t i o n

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