Tag Archives: Alternate shading

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.

IMG_20180510_Raddish

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.

 

 

 

 

 

Kaleidoscopic Wild Horses, continuous line drawing with colour sequence.

Wild Horses, June 2017

Kaleidoscopic Wild Horses. Single Continuous Line Drawing with colour sequence in acrylic on canvas.  I happened to have a canvas 36″ x 10″ previously intended for an upright picture idea.  Mick Burton continuous line artist 2017.

This painting originated from a continuous line drawing which I produced for a demonstration at Stainbeck Arts Club, Chapel Allerton in Leeds in May 2017.  

IMG_0883 -Horses line.

Wild Horses,  single continuous line drawing. Demonstration at Stainbeck Arts Club. Mick Burton, continuous line artist 2017.

When I was thinking about a subject for the demonstration I saw an advert on the TV for the Cheltenham Festival which just showed loads of horses running – why there were no riders or jumps I do not know.  This also reminded me of one of my favourite paintings – “Scotland Forever” by Lady Butler in Leeds Art Gallery, painted in 1881.  A bit like “Charge of the Light Brigade” but straight at you, with the horses wild eyed and seeming to leap out of the painting.

See it at   http://www.leedsartgallery.co.uk/gallery/listings/l0081.php

Lady Butler painted a lot of war scenes and of course she had no military experience.  She was, however, married to a General and she persuaded him to let her watch manoeuvres.  In preparation for this picture she asked that the cavalry ride straight towards her so that she could get the feel for facing a charge.

When I had finished the demonstration, which was a result considerably rougher than the above, the members asked about colours.  I had not intended to talk much about colours, as I thought that my approach to drawing the lines would be enough at this session, but we had a solid half hour talking about my method and ideas about colour.  They said that they looked forward to seeing the image in full colour, so here it is.

My original intention was to do a black and white alternate shading version only, and this is shown below.  The tweaking which I did on the horses heads to achieve a better result in black and white was essential both to improve the continuous line and later to enhance the colouring.

IMG_0888 - Horses black & white

Wild Horses, single continuous line drawing with black and white alternate shading.  Mick Burton, continuous line artist 2017

Initially I did my normal approach to colour sequence, where I devised a 6 colour range (white, lemon, golden yellow, orange, vermilion red and crimson alizarin) to fit my alternate overdraw template for this image.  

This resulted in gold and vermilion appearing on all outer areas and I thought that I needed a darker effect in the lower half of the image.  So I substituted cobalt blue for gold along the bottom legs of the horses and finished up also substituting, on an ad hoc basis, some dark blue, violet and green to try and naturally leach colour balance upwards to meet existing vermilion and gold.

A fellow artist who likes my alternate overdraw and colour sequence method has told me that I should always apply it fully to get the natural result.  Generally I would agree, but thought that I needed to break some rules on this occasion.  I try and mirror nature in my art and of course nature evolves by breaking a few rules. 

Joan and I visited my Aunty Ann a couple of weeks ago.  She is 99 years old and still as bright as a bobbin.  She is a good artist and only gave up painting relatively recently, and always wants to see my latest stuff.  i took the Wild Horses along.  It took up the length of the settee and she was delighted with the colours.  I then realised that the painting’s reflection in the shiny metal fire surround made the composition even more abstract.

Aunty Ann’s shiny metal fire surround reflecting Wild Horses. Mick Burton, continuous line artist, 2017.

Two different Reflections of Wild Horses on metal fireplace surround, detail strips. Mick Burton, continuous line artist.

Red Squirrel continuous line and Grey Squirrel photographs

Red Squirrel, continuous line with colour sequence. Mick Burton, Leeds artist.

Red Squirrel, single continuous line drawing with colour sequence. Mick Burton, Leeds continuous line artist.

This continuous line Red Squirrel, completed with colour sequence, is one of my pictures to be hung at the Leeds Art Exhibition and Sale put on for the 15th year by St Gemma’s Hospice.

St Gemma's Leeds Art Exhibition. 29 - 31 October 2015

St Gemma’s Leeds Art Exhibition. 29 – 31 October 2015

This colour sequence squirrel is the last of a series which began with my attempt to produce a continuous line drawing with a shimmering fur effect for the squirrel.

Continuous line squirrel from 1970, with shimmering effect of fur. Mick Burton, Leeds artist.

Single continuous line drawing of squirrel from 1970, with shimmering effect of fur. Mick Burton, Leeds continuous line artist.

I have a treasured memory of seeing a Red Squirrel, when I was four, sitting on a wall next to our cottage at Arncliffe Hall, in the North Riding, where my Dad was Head Gardener to Sir Hugh Bell just after the War.  I thought that completing alternate shading with copper paint would best reflect this colour in this picture from 1970.  My daughter Kate said on the phone today that she remembered this picture being in the hall when she was young.

Red Squirrel with copper alternate shading from 1970. Mick Burton, Leeds artist.

Red Squirrel, single continuous line drawing with copper alternate shading from 1970. Mick Burton, Leeds continuous line artist.

I have many clear memories of living at Ingleby Arncliffe from the age of nearly two, to four and a half when we left.

Falling out of my pram outside the local shop and crawling up the step was the earliest. There was a three legged cat, then at Sunday School one of the stamps I collected was “The Light of the World” by William Holman Hunt (my first taste of the Pre-Raphaelites) and I won the child’s sprint on sports day on the cricket ground.

In the famous terrible winter of 1947, I remember Dad helping to dig a trench in the snow drifts down to the village.  It was amazing to walk along the trench and not be able to see out.

 I once watched a pig being killed in the yard by the cottage and the workman laughed as he squirted me with the pig’s bladder.  This memory came back years later when, as a young police constable, I attended my first post mortem (of a coal miner who had been in an underground tunnel collapse).  My sergeant stood with me and assured me that it would be just like a newly killed pig being cut up, if I had ever seen one.  I said “Yes, I saw one when I was four ! “

I only see grey squirrels now, mainly helping themselves to the bird seed Joan puts out.  With Gledhow Valley Woods at the end of the garden we can have five of them at a time.  Yesterday, a young squirrel was chased by a cat and ended up on the trellis a few feet from our dining room window.  Joan chased the cat away and called to me as the squirrel was too scared to move.

I took some quick photographs whist it was still there, but it became apparent that it was not going to move and was looking at me pleadingly.  So I went out and shepherded it into the bushes.  Here are some photos of a shimmering fur tail.

Young Grey Squirrel from Gledhow Valley Woods. Three feet from my window after being chased by a cat. Mick Burton, Leeds artist.

Young Grey Squirrel from Gledhow Valley Woods. Three feet from my window after being chased by a cat. Mick Burton, Leeds artist.

Young Grey Squirrel not daring to move, even though Joan had chased the cat away. Mick Burton, Leeds artist.

Young Grey Squirrel not daring to move, even though Joan had chased the cat away. Mick Burton, Leeds artist.

Young Grey Squirrel, imploring me to stop taking photos and do something about the cat. So I went out and shepherded it to the bushes. Mick Burton, Leeds artist.

Young Grey Squirrel, imploring me to stop taking photos and do something about the cat. So I went out and shepherded it to the bushes. Mick Burton, Leeds artist.

Show me a real Green Cat.

 

 

Cat who slept on a heap of old green paint. Daily Mail, December 5, 2014.  Mick Burton, continuous line drawing.

Cat who slept on a heap of old green paint. Daily Mail, December 5, 2014. Mick Burton, continuous line drawing.

I always thought that Green was a natural colour for a cat done with my continuous line drawing, but I never realised that one would appear. Here we are, in the Daily Mail report on a cat who is actually green and wandering around quite happily. It turns out that the cat slept in a garage on an abandoned heap of green paint.

My original Green Cat was created in 1969 as one of four animals sold to J Arthur Dixon Ltd., a greetings card company that was based on the Isle of Wight.  They produced sets of Notelets with them on, sold in little cardboard boxes.  Here are the four designs.

Green Cat, continuous line drawing and alternate shading, by Mick Burton.  Notelet design for J Arthur Dixon Ltd, Isle of Wight, 1969.

Green Cat, single continuous line drawing and alternate shading, by Mick Burton. Notelet design for J Arthur Dixon Ltd, Isle of Wight, 1969.

Golden Horse, continuous line drawing and alternate shading, by Mick Burton.  Notelet design for J Arthur Dixon Ltd, Isle of Wight, 1969.

Golden Horse, single continuous line drawing and alternate shading, by Mick Burton. Notelet design for J Arthur Dixon Ltd, Isle of Wight, 1969.

Blue Elephant, continuous line drawing and alternate shading, by Mick Burton.  Notelet design for J Arthur Dixon Ltd, Isle of Wight, 1969.

Blue Elephant, single continuous line drawing and alternate shading, by Mick Burton. Notelet design for J Arthur Dixon Ltd, Isle of Wight, 1969.

Red Lion, continuous line drawing and alternate shading, by Mick Burton.  Notelet design for J Arthur Dixon Ltd, Isle of Wight, 1969.

Red Lion, single continuous line drawing and alternate shading, by Mick Burton. Notelet design for J Arthur Dixon Ltd, Isle of Wight, 1969.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

I continued the Green theme for a cat when I started producing my own greetings cards in 2013. This time I used colour sequence from yellow, through greens to blues.

The narrative on the card is about a cat that we had who used to get into all sorts of scrapes. His real name was Sandy and he looked a bit like the cat in the background in the Daily Mail photo above.</strong

Ragamuffin, green cat, continuous line drawing with colour sequence.  Greetings Card (front)  by Mick Burton.

Ragamuffin, green cat, single continuous line drawing with colour sequence. Greetings Card (front)
by Mick Burton.

Ragamuffin, continuous line drawing with alternate shading.  Rear of Greeting Card by Mick Burton.

Ragamuffin, single continuous line drawing with alternate shading. Rear of Greeting Card by Mick Burton.

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Alternate Overdraw on Continuous Line Drawing

After my early attempts at continuous line drawing, and then alternate shading, I tried Alternate Overdraw on top of my continuous line drawings.  This produced some fascinating results which led to developments throughout my art.

Alternative Overdraw on Continuous Line of the Horse, start A to B.

Draw from A to B to start Alternate Overdraw on Single Continuous Line Drawing of the Horse.

Lets use the Horse as an example.  Here is a lightly drawn Continuous Line (sorry if you have to tilt your lap top to see it all).  Start at point A and use a thicker pen or marker and draw over the first section of line, in the direction of the arrow, between the two crossovers.  Then miss a section before overdrawing the next section of line.  Keep going overdrawing alternate sections to point B.  You will see that already some overdraw sections are forming closed lines.

 

Alternate Overdraw of continuous line of horse.

Complete Alternate Overdraw of Continuous Line Drawing of horse from point A.

 

 

The next illustration shows the complete Alternate Overdraw and all these new darker lines form closed lines.

 

 

 

Naturally, if we start the Alternate Overdraw in a section which was not overdrawn in the above example (eg at X below), then this produces a result where a completely different set of closed lines appear.

 

Other Alternate Overdraw on Continuous Line of horse.

Other Alternate Overdraw on Single Continuous Line Drawing of horse, starting at X.

 

 

 

 

 

 

 

 

 

 

From the above findings I first developed my Colour Sequence ideas, which I will expand upon in the next post.

Later I used the closed lines to help in the construction of large models of my continuous line drawings as well as to devise hidden drawings within continuous lines.  More later on those.

The Alternate Overdraw method also led to a way to find a path through Four Colour Theory maps as part of my attempt to prove that theory nearly 40 years ago.

So, watch this space !!

Black and White Alternate Shading

010. 1966-9. Cat, or Ragamuffin. Alternate shade, black. Whilst doodling at work (I was articled to a Chartered Accountant) I was already using alternate shading on some drawings.   I realised that if you initially shaded one outer area on a continuous line drawing, and then worked alternately through the doodle, all outside areas became shaded.   Bridget Riley’s Optical Art (or Op Art) in black and white, with its shimmering effect, suddenly appeared in the early 1960’s.   I started black alternate shading on some of my new figurative drawings.   I now realise that most of Op Art was abstract to make the most of the effect, whereas I was doing animals, people and landscapes.

My Lion in particular produced its own shimmering effect.
016. 1967-9. Lion. Alternate shading, black.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

To extend the scope of my continuous line drawings, along with the alternate shading, I had a go at a landscape based upon the countryside where I grew up near Ripon and called it Skelldale.   I could walk along the banks of the River Skell upstream to Fountains Abbey.

006. 1966-7. River, Skelldale. Alternate shading, black.

An exception to the abstraction in Op Art was Zebras (in 1937) by Victor Vaserely, in which he used the black and white stripes of intertwined zebras, and it was one of the very first Op Art pictures.   He then became largely abstract in the 1950’s.   He was unknown to me until several years after I started in 1965.

This was In about 1971 when I walked past Christies Auction house in London, when taking my pictures to an exhibitions agent, and I saw through a window some black and white abstract drawings which had a similarity to mine.   I went in and was amazed at the variety of drawings, so many having aspects which I had experimented with.   The lowest estimate was £14 and I considered leaving a bid, but I decided that it was a lot of money (then) and that I had similar ones at home (stupid boy).   A week or so later I read in the newspaper that Vaserely had been selected to design the emblem for the next Olympic Games (1974).   I should have left that bid !