An airbrush is a small, air-operated tool that sprays various media including ink and dye, but most often paint by a process of nebulization. Spray guns developed from the airbrush and are still considered a type of airbrush.

History

The first airbrush, depending on your definition, was patented in 1876 (Patent Number 182,389) by Francis Edgar Stanley of Newton, Massachusetts. Stanley and his twin brother later invented a process for continuously coating photographic plates (Stanley Dry Plate Company) but are perhaps best known for their Stanley Steamer. No artistic images that used this 'paint distributor / atomiser' exist or are as yet known.

The first instrument to be named the "airbrush" was developed by Abner Peeler "for the painting of watercolors and other artistic purposes" and used a hand-operated compressor. It was rather crude, being based on a number of spare parts in a jeweller's workshop such as old screwdrivers and welding torches. It took 4 years of further development before a truly practical device was developed. This was marketed by Liberty Walkup, who taught airbrush technique to American Impressionist master Wilson Irvine at the Air Brush School in Rockford, Illinois. The first certain 'atomising' type airbrush was invented by Charles Burdick in 1893 and presented by Thayer and Chandler art materials company at the World Columbian Exposition in Chicago. Burdick founded the Fountain Brush Company in the US, and launched the first series of airbrushes onto the market. This device was essentially the same as a modern airbrush, resembling a pen and working in a different manner than Peeler's device. Aerograph, Burdick's original company, still makes and sells airbrushes in England. Thayer and Chandler were acquired by Badger Air-Brush Co. in 2000. Badger Air-Brush continues the Thayer and Chandler tradition of manufacturing quality airbrush guns, tools and compressors out of Franklin Park, Illinois.

For more a detailed academic study, the University of Wales Library holds a detailed PhD on Airbrush History. The Franklin Institute in Philadelphia, The Public Library in Rockford Illinois and the Conservation Department of New York University retain copies. This was authored by Dr. Andy Penaluna, now Professor of Creative Entrepreneurship at Swansea Metropolitan University. Professor Penaluna has also advised the International Museum of Photography at George Eastman House, Rochester, New York.

Design

An airbrush works by passing a stream of fast moving (compressed) air through a venturi, which creates a local reduction in air pressure (suction) that allows paint to be pulled from an interconnected reservoir at normal atmospheric pressure. The high velocity of the air atomizes the paint into very tiny droplets as it blows past a very fine paint-metering component. The paint is carried onto paper or other surface. The operator controls the amount of paint using a variable trigger which opens more or less a very fine tapered needle that is the control element of the paint-metering component. An extremely fine degree of atomization is what allows an artist to create such smooth blending effects using the airbrush.

The technique allows for the blending of two or more colors in a seamless way, with one color slowly becoming another color. Freehand airbrushed images, without the aid of stencils or friskets, have a floating quality, with softly defined edges between colors, and between foreground and background colors. A well skilled airbrush artist can produce paintings of photographic realism or can simulate almost any painting medium. Painting at this skill level involves supplementary tools, such as masks and friskets, and very careful planning.

Some airbrushes use pressures as low as 20 psi (1.38 bar) while others use pressures in the region of 30-35 psi (2-2.4 bar). Larger "spray guns" as used for automobile spray-painting need 100 psi (6.8 bar) or more to adequately atomize a thicker paint using less solvent. They are capable of delivering a heavier coating more rapidly over a wide area. Even with small artist airbrushes using acrylic paint, artists must be careful not to breathe in the atomized paint, which floats in the air for minutes and can go deep into the lungs. With commercial spray guns for automobiles, it is vital that the painter have a clean air source to breathe, because automotive paint is far more harmful to the lungs than acrylic. Certain spray guns, called High-Volume Low-Pressure (HVLP) spray guns, are designed to deliver the same high volumes of paint without requiring such high pressures.

Types

Airbrushes are usually classified by three characteristics. The first characteristic is the action performed by the user to trigger the paint flow while the second is the mechanism for feeding the paint into the airbrush and the third is the point at which the paint and air mix.

Trigger

The simplest airbrushes work with a ''single action'' mechanism where the depression of a single "trigger" results in paint and air flowing into the airbrush body and the atomized paint being expelled onto the target surface. Cheaper airbrushes and spray guns tend to be of this type.

''Dual action'' or ''double action'' airbrushes separate the function for air and paint flow so that the user can control the volume of airflow and the concentration of paintflow through two independent mechanisms. This allows for greater control and a wider variety of artistic effects. This type of airbrush is more complicated in design than single action airbrushes which tends to be reflected in its cost.

Feed system

Paint can be fed by gravity from a paint reservoir sitting atop the airbrush (called ''gravity feed'') or siphoned from a reservoir mounted below (''bottom feed'') or on the side (''side feed''). Each feed type carries unique advantages. Gravity feed instruments require less air pressure for suction as the gravity pulls the paint into the mixing chamber. Typically instruments with the finest mist atomization and detail requirements use this method. Side- and bottom-feed instruments allow the artist to see over the top, with the former sometimes offering left-handed and right-handed options to suit the artist. A bottom feed airbrush typically holds a larger capacity of paint than the other types, and is often preferable for larger scale work such as automotive applications and tee-shirt design.

Mix point

With an ''internal mix'' airbrush the paint and air mix inside the airbrush (in the tip) creating a finer atomized "mist" of paint. With ''external mix'' the air leaves the airbrush before it comes into contact with the paint which creates a coarser stippled effect. External mix airbrushes are cheaper and more suited for covering larger areas with more viscous paints or varnishes.

Spray guns

The airbrush led to the development of the spray gun; a similar device, that typically delivers a higher volume of paint and for painting larger areas.

The first paint spraying machine was developed in 1887. Equipment by De Vilbiss and Binks is typical of modern sprayguns.

The addition of a simple pistol grip adapter to an aerosol paint spray can creates a cheap alternative to a spray gun.

Technique

Airbrush technique is the freehand manipulation of the airbrush, medium, air pressure and distance from the surface being sprayed in order to produce a certain predictable result on a consistent basis with or without shields or stencils. Airbrush technique will differ with the type of airbrush being used (single action or dual/double action).

Double action airbrush technique involves depressing the trigger on the top of the airbrush with the index finger to release air only, and drawing it back gradually to the paint release threshold. The most important procedural dynamic is to always begin with air only and end with air only. By observing this rule, precise control of paint volume and line width and character can be achieved. The single most important airbrush stroke consistently utilized by professionals is the dagger stroke. This describes a stroke which begins wide and ends as a narrow line, created by starting with the brush far from the support and moving it evenly closer as the line is drawn.

Single action airbrush technique derives its name from the fact that only one action is required for operation. The single action of depressing the trigger releases a fixed ratio of paint to air. Achieving different line widths requires either changing the tip and nozzle combination or else adjusting the spray volume manually between spray width changes. The most important aspect of proper single action airbrush technique is to keep the hand moving before the trigger is depressed and after the trigger is released. This avoids the "bar bell" line.

Use

Art and illustration

Since the inception of airbrush technology, commercial artists and illustrators realized airbrushes allowed them to create highly rendered images and a high level of realism. Artists often use the airbrush in combination with cut stencils or items held freehand to block in controlled manner the flow of paint onto the paper (or digital alternatives) with fantasy and science fiction artists. Airbrush images can be found today in advertising, publishing (e.g., book covers), comic books and graphic novels.

Photo retouching

Yezhov is clearly visible to Stalin's left. The photo was later altered by censors.

Airbrushing has long been used to alter photographs in the pre-digital era. In skilled hands it can be used to help hide signs that an image has been extensively retouched or "doctored".

As a result of Stalin's purges, and later destalinization, many photographs of officials from the periods show extensive airbrushing; often entire people have been removed. The term "airbrushed out" has come to mean rewriting history to pretend that something was never there. In contemporary academic discourse, the process of removing components from an image is formally known as ''object removal.''

The term "airbrushed" or "airbrushed photo" has also been used to describe glamour photos in which a model's imperfections have been removed, or in which their attributes have been enhanced. The term has often been applied in a pejorative manner to describe images of unrealistic female perfection and has been particularly common in reference to pictures in Playboy, and later Maxim.

Using today's digital imaging technology, this kind of picture editing is now usually done with a raster image editor, which is capable of even more subtle work in the hands of a skilled touch-up artist. In the fine retouching industry, the airbrushing technique is often considered a low-end practice, with significantly inferior quality to that found in the most important fashion photography publications.

Murals

Airbrushes are also suitable for painting murals.

Hobby

Airbrushes are commonly used by scale modeling enthusiasts because finer coats can be laid down, as well as opaque effects, like weathering, adding stains etc. The fine atomization of paint in modern airbrushes also makes it possible to accurately reproduce soft-edged mottled camouflage schemes, which are very hard to do convincingly by hand-brushing (Luftwaffe aircraft are a good example of this). They are also used because they do not melt polystyrene when spraying; this can be useful when someone has made scenery out of polystyrene.

Many Radio Control hobbyists also use the airbrush to create works of art on the lexan bodies. The paint jobs range from a basic one-color paint job to fine detailed works of art.

Airbrush makeup application

Though the earliest record of this type of cosmetic application dates back to the 1925 film version of Ben-Hur, it has recently been re-popularized by the advent of Hi-Definition Television and Digital Photography, wherein the camera sees more detail than ever before. Liquid Foundations that are high in coverage but thin in texture are applied with the airbrush for full coverage without a heavy build-up of product. It is also a highly popular technique for Special F/X Makeup.

Temporary airbrush tattoos (TATs)

Airbrushes can also be used to apply temporary airbrush tattoos. An artist sprays ink onto the skin through a stencil. Often, the resulting design mirrors the look of a permanent tattoo, without any pain or discomfort. In the past, TATs might only last a week, but now, the best inks can last up to two weeks or longer.

Airbrush tanning

Airbrushes are used to apply special tanning solutions as a form of sunless tanning that simulates the appearance of a natural sun tan. It is promoted as a safer and healthier alternative to the damaging effects of long term exposure to the sun. It is often performed by companies also offering other sun tanning alternatives like sun beds.

Finger nail art

Airbrushes are also used to apply images onto human finger nails as well as synthetic ones that are later glued to the person's actual finger nail.

Clothing

T-shirt airbrushing is popular—many t-shirt airbrush shops offer to paint any textile that will hold paint, including jeans, denim jackets, leather apparel, pillow cases, and hoodies.

One well known producer of airbrushed clothing is Marc Ecko. He used to airbrush t-shirts when he started his clothing company.

Automotive

Airbrushes are used to spray murals, graphics, and other artwork on automobiles, motorcycles and helmets. This art form has been around since at least the fifties, but more recently it has seen an increase in popularity thanks to such shows as ''Rides'' and ''American Chopper''. Most professionals prefer to use automotive grade bases through top of the line gravity fed airbrushes. The cost to hire a professional artist will vary from a few hundred to several thousand dollars, depending on location, skill level and reputation.

Street artists

Many street artists use airbrushing to create names and pictures for tourists, such as around Jackson Square in New Orleans. In the mid-seventies, Panama City Beach, Florida was the airbrush capital of the world, with hundreds of artists painting custom designs on T-shirts.

Safety

When inhaled, finely dispersed paint and solvents can produce serious health hazards. Regulatory provisions such as OSHA dictate strict requirements to prevent unsafe use in work environments.

See also

Frederick William Lawrence – an early airbrush artist

Syd Brak – a contemporary airbrush artist

H.R. Giger – Swiss sculptor, airbrush, and sketch artist, who is famous for his work on the feature films, ''Alien'' and ''Species''.

Matjaž Učakar ilustrator, airbrush artist specialized in children illustration & natural science illustration

Airbrush Action Magazine- established in 1985, longest running publication for airbrushing and custom culture

AIRBRUSH 101. A simple guide to understanding airbrush terminology, types of airbrushes, and their recommended uses

References

External links

Airbrush HUB A Free resource of galleries, forums, videos, directories and more for new and experienced airbrush artists .

Airbrush Tricks Free resource for new and experienced airbrush artists.

The Airbrush Museum has an airbrush history, original patents and other historical documents pertaining to the airbrush.

Paasche Airbrush Company

Badger Air-Brush Co.

Airbrush Action Airbrush magazine and organizer of the airbrush workshops held thrice a year.

Airbrush Blog AirbrushDoc Blog - tips and tricks on how to build your own airbrush, silent compressor for airbrush and other usefull stuff.

Airbrushing resources and gallary

Category:Painting techniques Category:Photographic techniques Category:Art materials Category:Pneumatic tools

ar:فرشاة هوائية bg:Аерограф ca:Aerografia cs:Fixírka de:Airbrush es:Aerógrafo fa:قلم بادی fr:Aérographe gl:Aerógrafo ko:에어브러시 id:Airbrush it:Aerografo he:איירבראש jv:Airbrush lb:Airbrush nl:Airbrush ja:エアブラシ pl:Aerograf pt:Aerógrafo ru:Распылитель краски sl:Airbrush fi:Retussiruisku sv:Airbrush tr:Airbrush uk:Аерограф

Little Red Riding Hood, also known as Little Red Cap, is a European fairy tale about a young girl and a Big Bad Wolf. The story has been changed considerably in its history and subject to numerous modern adaptations and readings. The story was first published by Charles Perrault in ''Histoires ou contes du temps passé'' in 1697.

This story is number 333 in the Aarne-Thompson classification system for folktales.

The tale

The story revolves around a girl called Little Red Riding Hood, after the red hooded cape/cloak (in Perrault's fairytale) or simple cap (in the Grimms' fairytale) she wears. The girl walks through the woods to deliver food to her sick grandmother.

A wolf wants to eat the girl but is afraid to do so in public. He approaches Little Red Riding Hood and she naïvely tells him where she is going. He suggests the girl pick some flowers, which she does. In the meantime, he goes to the grandmother's house and gains entry by pretending to be the girl. He swallows the grandmother whole,(In some stories, he locks her in the closet), and waits for the girl, disguised as the grandma.

When the girl arrives, she notices that her grandmother looks very strange. Little Red Riding Hood then says, "What a deep voice you have,""The better to greet you with," said the wolf."Goodness, what big eyes you have.", said the little girl."The better to see you with.", said the wolf. "And what big hands you have!" exclaimed Little Red Riding Hood, stepping over to the bed. "The better to hug you with," said the wolf. "What a big mouth you have," the little girl murmured in a weak voice. "The better to eat you with!" growled the wolf, and jumping out of bed, he swallowed her up too. Then, with a fat full tummy, he fell fast asleep.

A lumberjack, however, comes to the rescue and with his axe cuts open the wolf, who had fallen asleep. Little Red Riding Hood and her grandmother emerge unharmed. They fill the wolf's body with heavy stones. The wolf awakens and tries to flee, but the stones cause him to collapse and die. (Sanitized versions of the story have the grandmother shut in the closet instead of eaten, and some have Little Red Riding Hood saved by the lumberjack as the wolf advances on her, rather than after she is eaten.)

The tale makes the clearest contrast between the safe world of the village and the dangers of the forest, conventional antitheses that are essentially medieval, though no written versions are as old as that.

Relationship to other tales

The theme of the ravening wolf and of the creature released unharmed from its belly is also reflected in the Russian tale ''Peter and the Wolf'', and the other Grimm tale ''The Wolf and the Seven Young Kids'', but its general theme of restoration is at least as old as ''Jonah and the Whale''. The theme also appears in the story of the life of Saint Margaret, where the saint emerges unharmed from the belly of a dragon.

The dialog between the wolf and Little Red Riding Hood has its analogies to the Norse ''Þrymskviða'' from the ''Elder Edda''; the giant Þrymr had stolen Mjölner, Thor's hammer, and demanded Freyja as his bride for its return. Instead, the gods dressed Thor as a bride and sent him. When the giants note Thor's unladylike eyes, eating, and drinking, Loki explains them as Freyja not having slept, or eaten, or drunk, out of longing for the wedding.

The tale's history

Earliest versions

The origins of the Little Red Riding Hood story can be traced to versions from various European countries and more than likely preceding the 17th century, of which several exist, some significantly different from the currently known, Grimms-inspired version. It was told by French peasants in the 14th century as well as in Italy, where a number of versions exist, including ''La finta nonna'' (The False Grandmother). It has also been called "The Story of Grandmother". It is also possible that this early tale has roots in very similar Oriental tales (e.g. "Grandaunt Tiger").

These early variations of the tale differ from the currently known version in several ways. The antagonist is not always a wolf, but sometimes an ogre or a ‘bzou’ (werewolf), making these tales relevant to the werewolf-trials (similar to witch trials) of the time (e.g. the trial of Peter Stumpp). The wolf usually leaves the grandmother’s blood and meat for the girl to eat, who then unwittingly cannibalizes her own grandmother. Furthermore, the wolf was also known to ask her to remove her clothing and toss it into the fire. In some versions, the wolf eats the girl after she gets into bed with him, and the story ends there. In others, she sees through his disguise and tries to escape, complaining to her "grandmother" that she needs to defecate and would not wish to do so in the bed. The wolf reluctantly lets her go, tied to a piece of string so she does not get away. However, the girl slips the string over something else and runs off.

In these stories she escapes with no help from any male or older female figure, instead using her own cunning. Sometimes, though more rarely, the red hood is even non-existent.

Charles Perrault

The earliest known printed version was known as ''Le Petit Chaperon Rouge'' and had its origins in 17th century French folklore. It was included in the collection ''Tales and Stories of the Past with Morals. Tales of Mother Goose'' (''Histoires et contes du temps passé, avec des moralités. Contes de ma mère l'Oye''), in 1697, by Charles Perrault. As the title implies, this version is both more sinister and more overtly moralized than the later ones. The redness of the hood, which has been given symbolic significance in many interpretations of the tale, was a detail introduced by Perrault.

The story had as its subject an "attractive, well-bred young lady", a village girl of the country being deceived into giving a wolf she encountered the information he needed to find her grandmother's house successfully and eat the old woman while at the same time avoiding being noticed by woodcutters working in the nearby forest. Then he proceeded to lay a trap for the Red Riding Hood. The latter ends up being asked to climb into the bed before being eaten by the wolf, where the story ends. The wolf emerges the victor of the encounter and there is no happy ending.

Charles Perrault explained the 'moral' at the end so that no doubt is left to his intended meaning:

:From this story one learns that children, especially young lasses, pretty, courteous and well-bred, do very wrong to listen to strangers, And it is not an unheard thing if the Wolf is thereby provided with his dinner. I say Wolf, for all wolves are not of the same sort; there is one kind with an amenable disposition – neither noisy, nor hateful, nor angry, but tame, obliging and gentle, following the young maids in the streets, even into their homes. Alas! Who does not know that these gentle wolves are of all such creatures the most dangerous!

This, the presumed original, version of the tale was written for late 17th century French court of King Louis XIV. This audience, whom the King entertained with extravagant parties and prostitutes, presumably would take from the story the intended meaning.

The Brothers Grimm

In the 19th century two separate German versions were retold to Jacob Grimm and his younger brother Wilhelm Grimm, known as the Brothers Grimm, the first by Jeanette Hassenpflug (1791–1860) and the second by Marie Hassenpflug (1788–1856). The brothers turned the first version to the main body of the story and the second into a sequel of it. The story as ''Rotkäppchen'' was included in the first edition of their collection ''Kinder- und Hausmärchen'' (Children's and Household Tales (1812)).

The earlier parts of the tale agree so closely with Perrault's variant that it is almost certainly the source of the tale. However, they modified the ending; this version had the little girl and her grandmother saved by a huntsman who was after the wolf's skin; this ending is identical to that in the tale ''The Wolf and the Seven Young Kids'', which appears to be the source.

The second part featured the girl and her grandmother trapping and killing another wolf, this time anticipating his moves based on their experience with the previous one. The girl did not leave the path when the wolf spoke to her, her grandmother locked the door to keep it out, and when the wolf lurked, the grandmother had Little Red Riding Hood put a trough under the chimney and fill it with water that sausages had been cooked in; the smell lured the wolf down, and it drowned.

The Brothers further revised the story in later editions and it reached the above mentioned final and better known version in the 1857 edition of their work. It is notably tamer than the older stories which contained darker themes.

After the Grimms

Numerous authors have rewritten or adapted this tale. Andrew Lang included a variant called "The True History of Little Goldenhood" in ''The Red Fairy Book'' (1890). He derived it from the works of Charles Marelles, in ''Contes of Charles Marelles''. This version explicitly states that the story had been mistold earlier. The girl is saved, but not by the huntsman; when the wolf tries to eat her, its mouth is burned by the golden hood she wears, which is enchanted.

James N. Barker wrote a variation of Little Red Riding Hood in 1827 as an approximately 1000-word story. It was later reprinted in 1858 in a book of collected stories edited by William E Burton, called the ''Cyclopedia of Wit and Humor''. The reprint also features a wood engraving of a clothed wolf on bended knee holding Little Red Riding Hood's hand.

In the 20th century, the popularity of the tale appeared to snowball, with many new versions being written and produced, especially in the wake of Freudian analysis, deconstruction and feminist critical theory. (See "Modern uses and adaptations" below.) This trend has also led to a number of academic texts being written that focus on Little Red Riding Hood, including works by Alan Dundes and Jack Zipes.

Interpretations

Besides the overt warning about talking to strangers, there are many interpretations of the classic fairy tale, many of them sexual. Some are listed below.

Natural cycles

Folklorists and cultural anthropologists such as P. Saintyves and Edward Burnett Tylor saw "Little Red Riding Hood" in terms of solar myths and other naturally-occurring cycles. Her red hood could represent the bright sun which is ultimately swallowed by the terrible night (the wolf), and the variations in which she is cut out of the wolf's belly represent by it the dawn. In this interpretation, there is a connection between the wolf of this tale and Sköll, the wolf in Norse myth that will swallow the personified Sun at Ragnarök, or Fenrir. Alternatively, the tale could be about the season of spring, or the month of May, escaping the winter.

Ritual

The tale has been interpreted as a puberty ritual, stemming from a prehistorical origin (sometimes an origin stemming from a previous matriarchal era). The girl, leaving home, enters a liminal state and by going through the acts of the tale, is transformed into an adult woman by the act of coming out of the wolf's belly.

Rebirth

Bruno Bettelheim, in ''The Uses of Enchantment'', recast the Little Red Riding Hood motif in terms of classic Freudian analysis, that shows how fairy tales educate, support, and liberate the emotions of children. The motif of the huntsman cutting open the wolf, he interpreted as a "rebirth"; the girl who foolishly listened to the wolf has been reborn as a new person.

Sexual awakening

Red Riding Hood has also been seen as a parable of sexual maturity. In this interpretation, the red cloak symbolizes the blood of menstruation, braving the "dark forest" of womanhood. Or the cloak could symbolize the hymen (earlier versions of the tale generally do not state that the cloak is red). In this case, the wolf threatens the girl's virginity. The anthropomorphic wolf symbolizes a man, who could be a lover, seducer or sexual predator. This differs from the ritual explanation in that the entry into adulthood is biologically, not socially, determined.

Norse myth

The poem ''Þrymskviða'' from the ''Poetic Edda'' mirrors some elements of Red Riding Hood. Loki's explanations for "Freyja's" (actually Thor disguised as Freya) strange behavior mirror the wolf's explanations for his strange appearance.

The red hood has often been given great importance in many interpretations, with a significance from the dawn to blood.

Modern uses and adaptations

There have been many modern uses and adaptations of Little Red Riding Hood, generally with a mock-serious reversal of Red Riding Hood's naïveté or some twist of social satire; they range across a number of different media and styles. Multiple variations have been written in the past century, in which authors adapt the Grimms' tale to their own interests.

The tale can be told in terms of Little Red Riding Hood's sexual attractiveness. The song "How Could Red Riding Hood (Have Been So Very Good)?" by A.P. Randolph in 1925 was the first song known to be banned from radio because of its sexual suggestiveness. The 1966 hit song "Lil' Red Riding Hood" by Sam the Sham & the Pharaohs takes the Wolf's point of view, implying that he wants love rather than blood. In the short animated cartoon ''Red Hot Riding Hood'' by Tex Avery, the story is recast in an adult-oriented urban setting, with the suave, sharp-dressed Wolf howling after the nightclub singer Red. Avery used the same cast and themes in a subsequent series of cartoons. Allusions to the tale can be more or less overtly sexual, as when the color of a lipstick is advertised as "Riding Hood Red".

This sexual analysis may take the form of rape. In ''Against Our Will'', Susan Brownmiller described the fairy tale as a description of rape. Many revisionist retellings depict Little Red Riding Hood or the grandmother successfully defending herself against the wolf.

The story may also serve as a metaphor for a sexual awakening, as in Angela Carter's story "The Company of Wolves", published in her collection ''The Bloody Chamber'' (1979). (Carter's story was adapted into a film by Neil Jordan in 1984.) In the story, the wolf is in fact a werewolf, and comes to newly-menstruating Red Riding Hood in the forest in the form of a charming hunter. He turns into a wolf and eats her grandmother, and is about to devour her as well, when she is equally seductive and ends up lying with the wolf man, her sexual awakening. Such tellings bear some similarity to the "animal bridegroom" tales, such as ''Beauty and the Beast'' or ''The Frog Prince'', but where the heroines of those tales transform the hero into a prince, these tellings of ''Little Red Riding Hood'' reveal to the heroine that she has a wild nature like the hero's.

Little Red Riding Hood is also one of the central characters in the 1987 Broadway musical ''Into the Woods'' by Steven Sondheim and James Lapine. In the song, "I Know Things Now" she speaks of how the wolf made her feel "excited, well, excited ''and'' scared," in a reference to the sexual undertones of their relationship. Red Riding Hood's cape is also one of the musical's four quest items that are emblematic of fairy tales.

Publishers like BeeGang and So Out maintained unaltered the original story written by Charles Perrault mainly adding interactivity or educational content to their book apps; Other publishers like BlueQuoll, an Australian publishing group, have pushed further the boundaries of the narration and re-invented the story even in the title, ''Mr. Wolf and the Ginger Cupcakes'' that puts the wolf at the center of the narration. In their version the element of good vs evil is removed from the story and the wolf is not portraited as a negative character that deserves to die miserably at the end of the story.

See also

Big Bad Wolf

Brothers Grimm

Charles Perrault

Face value

''Hoodwinked''

Ladle Rat Rotten Hut

Little Red Cap (poem)

''Freeway'' (1996 film)

References

External links

A three dimensional book of Little Red Riding Hood – created by Jan Hogan and held by the Australian Library of Art, State Library of Queensland

SurLaLune Fairy Tale Pages: The Annotated Little Red Riding Hood.

Little red Riding Hood felt Board Story from Felt Works

Another collection of different versions of Little Red Riding Hood.

A free online video of Little Red Riding Hood.

Homepage of the Little Red Riding Hood Project

Terri Windling's 'The Path of Needles or Pins: Little Red Riding Hood' – a thorough article on the history of LRRH.

Catherine Orenstein's 'Dances with Wolves' from Ms. magazine. – a shorter article on the history of LRRH (by the author of a book on subject).

Olivier Dezutter's 'Little Red Riding Hood : a Story of Women at the Crossroads' – an article concerning different stories and images of LRRH.

The Disney version of Little Red Riding Hood at The Encyclopedia of Disney Animated Shorts

Full text to Little Red-Riding-Hood from "The Fairy Book"

Original versions and psychological analysis of Little Red Riding Hood

Little Red Riding Hood, audio version eBook ''Le Petit Chaperon Rouge'' with sound and modern pictures, Zabouille éditions

Link to the Publisher BeeGang

Link to the Publisher So Ouat

Link to the Publisher BlueQuoll

Link to the page of Mr. Wolf and the Ginger Cupcakes

Category:Brothers Grimm Category:Works by Charles Perrault Category:Fairy tales Category:Literature featuring anthropomorphic characters Category:Wolves in folklore, religion and mythology Category:Fictional German people Category:Child characters in literature Category:Child characters in film

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Coordinates	26°08′9″N80°08′31″N
name	Little Red
background	group_or_band
origin	Melbourne, Victoria, Australia
genre	Pop, rock
years active	2005 – present
label	Liberation Music
associated acts	The GreasersThe HondasThe Cuckoos
website	Little Red Music
current members	Adrian BeltrameDominic ByrneQuang DinhTom HartneyTaka Honda
past members	}}

Little Red is a rock band from Melbourne, Australia most famous for their 2010 single, ''Rock It'' consisting of Adrian Beltrame (guitar, vocals), Dominic Byrne (guitar, vocals), Quang Dinh (bass, vocals), Tom Hartney (vocals, keyboards, tambourine and harmonica) and Taka Honda (drums).

Biography

The band was formed in 2005 and were featured on Triple J Unearthed. The band won the 2008 Australia-wide 'Garage to V' competition held by Virgin Mobile to win a slot at all shows of the Australian V Festival in 2008, while the band has also performed at the Falls Festival, Meredith Music Festival, the Big Day Out, the Pyramid Rock Festival and the Laneway Festival.

Little Red's songs "Waiting", "Coca-Cola" and "Witch Doctor" have all received regular play on Australian nation-wide radio station Triple J, while "Coca-Cola" was also included on the official soundtrack of Australian TV series ''Underbelly'', and was voted #47 on the 2008 Triple J Hottest 100.

The band independently released in Australia an album entitled ''Listen to Little Red'' on 28 June 2008, which debuted at number 29 on the ARIA Charts. The album was licensed for release outside of Australia by the UK independent Lucky Number Music and was released on November 16, 2009 in the UK and early 2010 internationally.

In September, 2010, the band released a second album, ''Midnight Remember'', featuring their latest single, "Rock It" which gained a gold accreditation and second place in Triple J's Hottest 100 of 2010, with the album's second single "Slow Motion" securing 79th position.

On April 21, 2011 they released a music video to "All Mine," also from Midnight Remember on youtube, through the Liberation Music record label's account.

Touring

Headlined their 'All Mine' National Tour featuring Worlds End Press & Passport For Amy 2011

Toured with Blondie and The Pretenders, Evening On The Green 2010

Big Day Out 2011

Pyramid Rock 2010/2011

Splendour in the Grass July/August 2010

Toured with Kasabian in July 2010

Headline tour of Australia supported by Ground Components in April/May 2009

Headline tour of Australia - University Tour - in October 2008

Toured with Vampire Weekend on their national Australian tour in August 2008

Headline tour of Australia - album tour - in August/September 2008 supported by The Holidays and Andy Bull

Toured with The Panics on their national album tour in May 2008

Toured with Spoon in January 2008

Toured with Operator Please on their national Australian tour in April 2008

Toured with Art of Fighting in September 2007

Discography

Albums

''Listen to Little Red'' — Hooch Hound/Shock (28 June 2008) AUS #29 — Lucky Number/Lucky Number Music (2009) ''Midnight Remember'' — Liberation (September 2010) AUS #5

EPs

''Get Ready! EP''

Singles

"Coca Cola"/"It's Alright" — Neon Gold/Lucky Number/Lucky Number Music (2009)

"Waiting"/"Wait Is Over" — Neon Gold/Lucky Number/Lucky Number Music (2009)

"Rock It" (2010) AUS #19

"Slow Motion" (2010)

"All Mine" (2011)

References

External links

Little Red video interview @ VFestival

Category:Australian rock music groups Category:Victoria (Australia) musical groups Category:Musical groups established in 2005