Tag Archives: allocated alternately

Hot Cross Bunny and the psychology of colour

IMG_3425 Hot Cross Bunny

“Hot Cross Bunny”, single continuous line drawing painted in psychological colours. Mick Burton, continuous line artist.

In my posts I have said a lot about colour sequence and, along the way, talked about selecting appropriate ranges of colours for my drawings.  Here are some more colour comments, leading to the one about the bunny above.

I might consider that a yellow, red and brown range would be good for my horse. These have a similarity to its actual colours and give a warm and friendly feel which reflect the horse’s nature and temperament.

Fig 1.  Copy of IMG_5869 Horse complete, furst sequ

Colour Sequence on Single Continuous Line Drawing of horse. Mick Burton, Continuous Line Blog.

A strong harsh colour seemed to be best for my roaring lion and simple black and white achieved this.  In the mid 1960’s when I drew the lion, Bridget Riley had been doing many black and white hard edge pictures, and I did several of my animals in this colouring.  I feel that this worked best for the lion amongst my drawings.

016. 1967-9. Lion. Alternate shading, black.

Lion, single continuous line drawing with alternate shading in black and white. Mick Burton, continuous line Artist.

With my “Flame on the Sun” painting, the sort of anti magnetism represented by complementary red and green hopefully reflect the explosive violence required.

Flame on the Sun. Spherical continuous line. Mick Burton, 1972

Flame on the Sun. Spherical single continuous line drawing, with complementary reds and greens expressing explosive violence.  Mick Burton, continuous line artist.

For a more subtle result – my still life of a radish, apple, mushroom and flower heads – I used water colours to help to show the floppy translucent nature of the radish leaves.


Radish, apple, mushroom and flower heads still life. Water colour used to show floppy, translucent nature of radish leaves. Mick Burton, continuous line artist.

Sometimes I find that I can use almost actual colours.  Here is a commission drawing, with the continuous line running through both robins and the branch.  I  was asked to do only a hint of pink on the Robins’ chests.  This is fine.  However, I had to have a go at a full colour result for myself.  The perky nature of robins is reflected pretty well, I think, by these “near” natural colours.

IMG_3417 (1) Best. Pair of Robins.

Pair of Robins, single continuous line drawing. Full near natural colour. Mick Burton, continuous line artist.

My yellow, green and blue sequence of colours fits well for “Nibbles”, a friendly rabbit who likes nothing more than eating her greens.

IMG_3498 Nibbles

“Nibbles”, single continuous line drawing.  The rabbit has a suitable range of colours to reflect contentment just eating her greens. Mick Burton, continuous line artist.

However, for a rabbit drawn with exactly the same single continuous line as for Nibbles, but who has a completely different temperament  –  RED, BLACK and WHITE fits the bill.

This is, of course, “Hot Cross Bunny” who lurks at the top of this post.  A real, full on, “Psycho”.

The two Rabbit paintings and the Pair of Robins accompanied several other of my pictures at the Harrogate and Nidderdale Art Club exhibition a week ago at Ripley Town Hall.

At the Preview Evening various prizes are awarded.  One was the annual prize presented at the Spring Exhibition by Sir Thomas Ingleby, the club’s patron, for his own personal choice for the best picture on show.  This was won by Julie Buckley for her “Black Labrador”.  

Sir Thomas also mentioned other pictures which caught his eye.  He said that he liked all the paintings by Mick Burton, but never thought that he would ever consider buying one called “Hot Cross Bunny”.

Here is a bit of background to the Rabbit paintings.  Nibbles and Hot Cross Bunny are based upon my daughter Kate’s rabbits, Harriet and Clover.

Harriet was friendly and cuddly and Clover might have been better named “Cleaver”.  We kept them both in the garage – in separate cages.

When we bought Clover, a lop eared rabbit, the breeder was saying how friendly and harmless the baby rabbit was.  I asked if it was related to an adult lop eared which had just tried to bite my finger off and the answer was “Yes, it’s the granny”.  We still bought Clover!

She was alright at first but later became very aggressive.  Every time we opened her cage for any reason, she would bite viciously.  We also realised that some one else would have to take care of the rabbits when we were on holiday.

Strangely, I found that if I put a hand on Clover’s head as soon as I opened the door she would stay still and relaxed as long as I kept the hand there.  With the other hand I could top up food and water or clean out the cage.  This worked for all of us.  Fortunately, our neighbour was delighted to be able to do this too and things were fine when we were away.

After Clover died and I had buried her in the garden, Kate prepared a wooden plaque and nailed it to the fence “Here lies Clover Burton the rabbit”.

An interesting consequence of keeping the rabbits was that straw from the bale became piled on the floor of the garage.  One day the straw was seen to be moving and we feared that we had rats and so I was deputed to check it out.  I found a nest of baby hedgehogs.






Alternate Overdraw Applied to Escher Islamic Mosaic Continuous Lines, STAGE 2.

Escher painting 1922 of Islamic Mosaic tile at the Alhambra.  WikiArt.  Continuous line study by Mick Burton.

Escher painting 1922 of Islamic Mosaic tile at the Alhambra. WikiArt. Continuous line study by Mick Burton.

Before applying my Alternate Overdraw, which I use to allocate colours to Continuous Lines, I will give you my analysis of the colours in the original Mosaic and what I feel were the artist’s ideas behind the design.

Eric Broug states, in his YouTube demonstration “How Grids and Patterns Work Together” that this is a 16 point star surrounded by 8 point stars.  Geometrically you can produce stars with many different numbers of points.  Having done many planetary paintings myself, I feel that the original artist has realised that in this case we have a central Sun and 8 planets surrounding it which can represent our solar system (we can ignore Pluto as a planet as it only featured as such for a part of the last century).  The colours the artist uses reflect many aspects of this planetary situation –

a.  YELLOW is used as the colour for the flaming surfaces of the central Sun and the corner Suns.  All other yellow areas have star like shapes and represent distant stars peppering the background.

b.  PURPLE is used for the centres of the Suns and the 8 Planets.  Purple is also used for the lines of areas along the sides, vertically and horizontally from the centres of the sides and diagonally (the lines of purple areas may simply be decorative).

c.  BLACK is used for the “fan blade” shapes emanating from the Suns.  In my planetary paintings I often use black for the background outside a drawing and for the gaps through the  drawing .  The artist here could be using the same idea, so that the blades are in fact deep space seen beyond the Suns.

d.  GREEN is used to surround each Planet and I interpret this as representing life on each Planet, not just ours.

The process for completing an Alternate Overdraw is covered in my Post dated 10 September, 2014  (9/10/2014)  entitled “Alternate Overdraw on Continuous Line Drawing”.

In the previous post, STAGE 1, I showed that there are two continuous lines in the Mosaic.  I apply my Alternate Overdraw to produce a template for me to work with to allocate a colour sequence.  I have to bear in mind that there are 2 Overdraw results and 1 colour sequence for a single continuous line and 4 Overdraw results and 2 colour sequences for two continuous lines.

My experience tells me that the Alternate Overdraw, which will produce a Template best representing this Planetary composition, will have –

a.  An Overdraw for the Main continuous line commencing by overdrawing (in Red) a side of a fan blade of the central Sun, and

b.  An Overdraw for the Minor continuous line commencing by overdrawing (in Blue) a side of a fan blade on a corner Sun.

Main continuous line, Alternate Overdraw, choice 1.  Mick Burton, Escher Mosaic study.

Main continuous line, Alternate Overdraw, choice 1. Mick Burton, Escher Mosaic study.

Minor Continuous Line, Alternate Overdraw in Blue, Choice 1.  Mick Burton Escher Mosaic study.

Minor Continuous Line, Alternate Overdraw in Blue, Choice 1. Mick Burton Escher Mosaic study.

The aim  of the Alternate Overdraw is to create channels within the design where two colours can be allocated alternately within each channel and that adjacent channels have different pairs of colours.  An overall sequence of colours then follows across channel boundaries.

My experience told me, at this stage, that my colour sequence was likely to match the original Mosaic in and around the five Suns, but less so elsewhere.

I will show my attempts at allocating corresponding colours in the NEXT POST.  I will also explain why I feel that the original artist may have used the Alternate Overdraw or an equivalent method.

Mick Burton Continuous Line Blog.