Tag Archives: black and white

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.

 

 

 

 

 

Continuous Line Artist view of Haken’s Gordian Knot.

Depth of lines in black and white on Haken Gordian   Knot.  Mick Burton, continuous line.

Depth of lines in black and white, in Haken’s Gordian Knot. Mick Burton, single continuous line drawing 2015.

Here is an update on posts which I did in May and June 2015 regarding the above Knot and the interest these posts have since generated.

As a Continuous Line Artist I have looked at many angles of what my lines may mean and what they can do.  

One such examination was triggered by Haken’s Gordian Knot, a complicated looking knot which is really an unknot in disguise – a simple circle of string (ends glued together) making a closed line, which I saw in a book called “Professor Stewart’s Cabinet of Mathematical Curiosities”.   The drawing above is my version of Ian Agol’s illustration of the Haken Knot (see it in my post of 31 May 2015).  I used dark and light shades to emphasize the Overs and Unders shown for the line. 

The reason that I was so interested was that it reminded me of my “Twisting, Overlapping, Envelope Elephant” (see below).

Twisting, overlapping, envelope elephant. Continuous line.

This single continuous line drawing is coloured to represent a “Twisting, Overlapping, Envelope Elephant”, which is Blue on one side and Red on the other. Mick Burton, 2013.

How this elephant line works is explained in my post of 31 May 2015.  In essence, you need to imagine that the composition is made up of a flexible plastic sheet which is Blue on the front and Red on the back.  Each time there is a twist, on an outer edge in the drawing, you see the other colour.

In the Gordian Knot, I spotted that there is a narrow loop starting on the outside (lower left on first illustration above)  which seemed to lead into the structure, with its two strands twisting as it went, each time in a clockwise direction.  I followed the two twisting lines throughout the drawing until they ended in a final loop on the outside (left higher).  I counted 36 clockwise twists and one anticlockwise.  My thoughts are explained in full in my post of 2 June 2015.

To aid the explanation I completed a painted version, where I used the same Blue and Red colours, as for the above elephant, to emphasize the twists.

Twisting, overlapping colouring of Haken Gordian Knot.  Mick Burton, continuous line.

Twisting, overlapping colouring of Haken’s Gordian Knot. Mick Burton, single continuous line drawing painting 2015.

Note that the colours in the Elephant define two sides of a surface, but in the Unknot the colours are illustrating the twist of two lines travelling together.  The twin lines go through other loops continually so there are no real surfaces.

After completing the above two posts, I decided that I would try and find out more about the Knot and came across a question posed by mathematician Timothy Gowers, in January 2011, on the MathOverflow website.  He had asked for examples of very hard unknots and after many answers he had arrived at Haken’s “Gordian Knot”.  He described the difficulties he was having.  Timothy said that he would love to put a picture of the process on the website and asked for suggestions.

As I had already done two pictures before I read his post I decided to respond.  The work that I did on this is detailed in my post of 5 June 2015 entitled “How do you construct Haken’s Gordian Knot?”.

My response duly appeared on the MathOverflow website in early 2015, but within a day or two it had been taken down and a notice appeared stating that only mathematicians of a certain status should post on the site.

That’s fine as my only maths qualification is General Certificate of Education at school.  At Harrogate Technical College I was thrown out of Shorthand and, with only three months to go to GCE exams they put me in for Maths and Art.  I owe many thanks to the Shorthand teacher, who thought my only skill was picking locks when someone forgot their locker key.  Also I have never had any discussion face to face with a mathematician about my art or my maths.

Following this setback I decided to set it all down in my Blog, in the three posts up to 5 June 2015.

Although I have not actually talked directly to a mathematician, I did correspond with Robin Wilson and Fred Holroyd at the Open University in the mid 1970’s about my ideas on the Four Colour Map Theorem.  I set out my ideas briefly in my post of 18 August 2015 “Four Colour Theorem continuous line overdraw”.

When Fred Holroyd responded to my write up, he used my own expressions and definitions which was very impressive.  He said that I had proved a connected problem, only proved in the world as recently as 16 years previously.   When I asked Robin Wilson about the announcement from a mathematician who said that he had proved the Four Colour Theorem, Robin said not to worry as he thought that this one was unlikely to be validated.  He said that he would prefer that my theory could be proved as it was elegant and also that they could use it.

The theorem was proven in 1976 by Kenneth Appel and Wolfgang Haken, involving running one of the biggest computers for over 1000 hours.  After this I decided to go onto other things, leaving my art and maths behind for almost 40 years.

Yes, its the very same Wolfgang Haken, who devised the Gordian Knot!

Ok, lets move on.  In February 2016 I received an e-mail from Noboru Ito, a mathematician in Japan, saying that he had read my article of 5 June 2015 “How do you construct Haken’s Gordian Knot?” and it was very helpful.  He would like to add it to the reference of his new book “Knot Projections”.

Of course I agreed and he later confirmed that he had referenced my work to the preface of his book.

Here is a picture of my copy of his book which was published in December 2016.

Knot Projections

“Knot Projections” by Noboru Ito, published December 2016 by CRC Press, a Chapman & Hall Book.

 

Additionally, in November 2017 I received an e-mail from Tomasz Mrowka, a mathematician at the Massachusetts Institute of Technology.  He said that he was interested in acquiring a copy of my Twisting, Overlapping colouring of Haken’s unknot.  “It’s really quite striking and I would love to hang it in my office”.

I was delighted to send him a photo which he could enlarge and frame.

 

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.

Haken’s Gordian Knot and the Twisting, Overlapping, Envelope Elephant.

I constantly look for Continuous Lines in many fields of art, history, mathematics – anywhere, as I just do not know where they are going to crop up.  Currently I am casting an eye on Islamic Art and Celtic art and am developing ideas on those.

Recently I glanced through a book called “Professor Stewart’s Cabinet of Mathematical Curiosities” and came across Haken’s Gordian Knot, a really complicated looking knot which is really an unknot in disguise – a simple circle of string (ends glued together) making a closed line. Here it is.

Haken's Gordian Knot, from Ian Agol.  A simple circle of string (an Unknot) formed into a complicated continuous line.

Haken’s Gordian Knot, from Ian Agol. A simple circle of string (an Unknot) formed into a complicated continuous line.

When I looked at the Knot, it reminded me of my “Twisting, Overlapping, Envelope Elephant” continuous line in that it has a lot of twists. I realised straight away that a narrow loop on the outside (left lower) seemed to lead into the structure with its two strands twisting as it went, each time in a clockwise direction.  I followed the two twisting lines throughout the drawing until they ended in a loop on the outside (left higher).

I wanted to draw and paint this knot. My first drawing was of the line on its own. The depth of some of the lines reminded me of one of my earliest paintings “Leeds Inner Ring Road Starts Here”, which was based upon a sign board which appeared near Miles Bookshop in 1967 informing us of the route the new road would carve through the City. This was several years before Spagetti Junction was built near Birmingham. My picture had lines swirling all over at various heights in one continuous line.

Leeds Inner Ring Road Starts Here. Use of varying thickness of continuous line, overs and unders.  Pre dates Spagetty Junction near Birmingham. Mick Burton, 1967.

Leeds Inner Ring Road Starts Here. Use of varying thickness of single continuous line drawing, overs and unders. Pre dates Spagetty Junction near Birmingham. Mick Burton, 1967.

My first picture of the Gordian Knot, in black and white, concentrated on the heights of the lines following the overs and unders shown by Haken.

Depth of lines in black and white, in Haken's Gordian Knot.  Mick Burton, continuous line drawing.

Depth of lines in black and white, in Haken’s Gordian Knot. Mick Burton, single continuous line drawing.

But my main aim now was to use blue and red to show the twisting nature of the pair of lines running between the starting loop and the end loop.  This was intended to allow the viewer to more easily follow the loop and the twists throughout the structure.

Twisting, overlapping colouring of Haken's Gordian Knot.  Mick Burton continuous line.

Twisting, overlapping colouring of Haken’s Gordian Knot. Mick Burton single continuous line drawing.

Just like viewing my “Twisting, Overlapping, Envelope Elephant”, from my previous post, imagine that you have a strip of plastic which is blue on the front and when you twist it over it is painted red on the back.  Where blues cross each other you have darker blues, and correspondingly with reds.  Where blue crosses red you have violet.  I show the strips feeding through each other, like ghosts through a wall.  There are some darks and lights in there as well.  Most usefully, the background shines through to help make the strips stand out.

You can now get more of a feel for what is going on.  I counted 36 clockwise twists and one anti-clockwise (number 26).  Continued twists in the same direction tie in the ongoing loop, when it feeds through the two strands of its earlier route at least 12 times.  Twist  number 26 probably cancels out the effect of number 25.

This is a preparatory painting, in acrylic but on two sheets of copy paper sellotaped together.  When I exhibit these pictures they will be hung as portrait, rather than the landscape shown here for comparison with Haken (as you will note from where my signature is).  I think they look a bit like the head of the Queen in portrait mode !

Having got this far, I realised that I should find out more about the Haken knot (or unknot), beyond Professor Stewart’s brief introduction.  How did Haken construct the knot and why?

Please see my next post, on this continuous line blog, to see how I got on.

Sod’s Law tempered by Nature in Action

I have been improving the lawn.  A bit of filling a deeper area with soil and re-seeding.  It took a few weeks and the green grass had appeared and it looked good.

At this point, the roofer came to re-cover the top of the back bedroom bay window.  We first asked a builder friend of ours to do the job last autumn and he said that his business partner was a roofer and he would do it.  We had to get rid of the wasps first.  Then there were delays due to the frost – the resin reacts badly to frost.  We kept chasing and then a third person was now going to do the job.  Finally I rang my friend, who was upset at his associates for letting us down.  Later that day the third person rang and he would do the job in two days, and actually arrived (I found out later the gist of the conversation that had taken place, builder to builder ! ).

He brought two young blokes who actually did the job.  They had not been up on the roof long when I noticed a white plastic lid spinning down from the roof.  It landed slap bang in the middle of my newly seeded grass, which was about 10 yards from the house, inside downwards.  I told the lads and one dashed down the ladder to grab the lid back, saying that “everything would be ok”.  They completed the job and went.

Three days later we looked out of the bedroom window and saw a round white patch in the middle of the newly seeded area of lawn.  The grass blades had all turned white.

White patch on newly seeded area of lawn, caused by resin from roof.  Mick Burton photo.

White patch on newly seeded area of lawn, caused by resin from roof. Mick Burton photo.

We realised that although the resin may be vulnerable to frost it could be lethal to grass.  At the time I was reading a book entitled “Sod’s Law”, sub-titled “Why life always lands butter side down”.  I was also reading a book I had borrowed called “Time” by the nature and landscape sculptor Andy Goldsworthy.  He sets up sculptures in natural surroundings and watches how they cope with the elements.  In his early days it might be a “frost shadow” or a continuous line drawn with a stick on the beach.  I wondered whether Sod’s Law or nature would win in the battle for my new grass.

“Sod’s Law” by Sam Leith, Atlantic Books.

Two days later, Joan called me to the window.  Standing in the middle of the white patch on the lawn was our local blackbird.  It had brought a piece of bread and had dropped it.  He spent 10 minutes on the patch pecking away.  Had the resin lured all sorts of bugs and worms to the surface?  Could I class this as another of my Black and White creations?

Blackbird standing in white patch for 10 minutes, finding all sorts of treats.  Mick Burton photo.

Blackbird standing in white patch for 10 minutes, finding all sorts of treats. Mick Burton photo.

The blackbirds have been busy recently. They built a nest behind the small willow under the eves of the garage 10 feet from the kitchen window.  We were looking forward to the view of the chicks, but next door’s cat kept sitting on the garage roof just above the nest.  So they built another nest in the holly bush higher up the garden.

The blackbirds always provide much entertainment.   Last year we saw one fill its mouth full of worms in the front garden.

Blackbird last summer with a mouth full of worms.  Mick Burton photo.

Blackbird last summer with a mouth full of worms. Mick Burton photo.

Colour Sequence on Continuous Line Drawing

Fig 1.  Completed Colour Sequence on Continuous Line Drawing of horse.  Mick Burton, Continuous Line Blog.

Fig 1. Completed Colour Sequence on Single Continuous Line Drawing of horse. Mick Burton, Continuous Line Blog.

How do I apply Colour Sequence to my Continuous Line Drawings, which I first developed in the late 1960,s ?  In my last blog post, about Alternate Overdraw of My Continuous Lines, I pointed out that Colour Sequence was the next stage and so here we go.  I will now show the stages involved in completing the colouring of this Horse.

Other Alternate Overdraw on Continuous Line of horse.

Fig 2. Alternate Overdraw on Single Continuous Line Drawing of the Horse, as the first stage of Colour Sequence. Mick Burton, Continuous Line Blog.

From the two Alternate Overdraw examples in the previous post, I have chosen Fig 2 commencing at point “X” for this example (either “A” or “X” would result in the same colour sequence).

We are going to number all areas of the drawing, commencing with the background which will be numbered “0”.  In this example the background will remain uncoloured but “0” will also occur within the drawing and have a colour. 

Fig 3.  Initial numbering (0 and 1) of channels between Alternate Overdraws on the Continuous Line Horse.

Fig 3. Initial numbering (0 and 1) of channels between Alternate Overdraws on the Continuous Line Horse.

You will notice that between all the closed lines, formed by the Alternate Overdraws, there are channels of areas.  These can be completely numbered alternately by only two numbers, which in this case are 0 and 1.  So, starting with 0 on the background, work through all these linked channels, see Fig 3.  This also sets the direction of the number sequence throughout the drawing.

 

Fig 4.  Colour Sequence numbers 2 and 3 on the Continuous Line Horse.

Fig 4. Colour Sequence numbers 2 and 3 on the Continuous Line Horse.

 

 

The numbering progresses both upwards through positive numbers and downwards through negative numbers.  We will start with the positive direction and allocate the next pair of numbers, 2 and 3.  By moving from an 0 area into a 1 area, and on through its Alternate Overdraw border, we will enter an un-allocated area we can mark 2.  Now deal with all the other areas in this new channel, marking alternate areas 3 and 2, to complete this allocation.  After this we need to check for any further Alternate Overdraw channel, or channels, at this level adjacent to 1 areas and then allocate 2 and 3 to them also, see Fig 4.

We then need to check for any further Alternate Overdraw channels enclosed within any of the 2 and 3 channels.  If we found one we would allocate 4 and 5 to the new channel or channels.  In this case there is no higher level channel. 

Fig 5.  Colour Sequence numbers (-)1 and (-)2 on the Continuous Line Horse.   Mick Burton, Continuous Line Blog.

Fig 5. Colour Sequence numbers (-)1 and (-)2 on the Single Continuous Line Horse. Mick Burton, Continuous Line Blog.

Having  completed the numbering of areas in the positive direction, we now go into the negative in Fig 5.  By looking at an area 1 and moving through a 0 area with an Alternate Overdraw border we can cross through that into a (-)1 and (-)2 channel.  Mark the initial one (-)1 and then allocate alternately through the channel with (-)2 and (-)1.  After completing that channel, look for other un-allocated channels adjacent to 0 areas and allocate (-)1 and (-)2 to them.  Now look for further channels in the negative direction enclosed within a (-)1 and (-)2 channel.  There is one such, a single area (enclosed by its own Overdraw) in the front leg of the horse, which I have left blank in Fig 5 , which will be (-)3.

Fig 6.  Colour Sequence colour chart for Continuous Line Horse.  Mick Burton, Continuous Line Blog.
Fig 6. Colour Sequence colour chart for Continuous Line Horse. Mick Burton, Continuous Line Blog.

I was inspired by Rainbows in deciding on the sort of Colour Sequences I wanted to use for my Continuous Lines.  For shorter sequences, I settled for “partial rainbows” involving two prime colours only with a progression of colour mix and tones from light to dark.  For the Elephant I used yellows, greens and blues and for the Horse it was yellows, orange, red and browns in Fig 6.

I have carefully selected colours which have a stepped progression, both in colour and tone, and where possible I apply them from the tube (poster colour in the late 1960’s or acrylic now) to achieve an even and solid result.  I avoid mixing if I can, to retain the pure consistency of colour application across the painting, but sometimes it is necessary.

 

Fig 7.  Black and white photocopy of Colour Chart for Continuous Line Horse.
Fig 7. Black and white photocopy of Colour Chart for Continuous Line Horse.

 

To assess the accuracy of the progression steps of my Colour Sequence chart, I do a black and white (or grayscale) photocopy of my chart to check that the steps still work in monochrome, see Fig 7.

Having produced the Colour Sequence chart, we need to decide the direction of the colours matched to the numbers, ie. Light to dark in an upward or a downward direction.  Generally I see whether a scale would mostly coincide with where a natural highlight would be, or have more darks towards the lower parts in a drawing to infer shadow.  Usually it is fairly obvious, but you can always start again with the other direction of colours.  Note that my style may take advantage of natural hints of highlight or shadow on a subject, but generally these aspects (along with perspective) are absent.

I remember that when doing equations at school, which produced two answers (+ or (-) ), was a puzzle to me which no one could explain.  I understand the concept of a practical outcome from having two answers a bit better now.

Fig 8.  Initial Colour Sequence pair of colours on Continuous Line Horse.   Mick Burton, Continuous Line Blog.

Fig 8. Initial Colour Sequence pair of colours on Continuous Line Horse. Mick Burton, Continuous Line Blog.

Once we have decided on the colour match with the numbers, the initial two colours can be painted in, ie.  Vermillion = 0 and Orange = 1, see Fig 8.

 

 

 

 

Fig 9.  Second Colour Sequence pair of colours on Continuous Line Horse.
Fig 9. Second Colour Sequence pair of colours on Continuous Line Horse.

 

We can then match numbers 2 and 3 in areas to the colours required in the next channels up, or simply apply Golden Yellow to areas across the overdraw from Orange and then its alternate colour Permanent Yellow, in Fig 9.

 

 

 

 

Fig 10.  Third Colour Sequence pair of colours, in the negative direction, on the Continuous Line Horse.   Mick Burton, Continuous Line Blog.

Fig 10. Third Colour Sequence pair of colours, in the negative direction, on the Single Continuous Line  Drawing of Horse. Mick Burton, Continuous Line Blog.

Now we can match numbers (-)1 and (-)2 in the negative direction, or simply apply Light Brown to areas across the Overdraws from Vermillion.  When these Light Brown and Burnt Sienna channels have been completed the last channel colour is (-)3 which is Burnt Umber.  In Fig 10 I have left this final area blank  (on the front left leg of the Horse).

So you have seen my Colour Sequence method, using Alternate Overdraw, for Continuous Line Drawings.  Sorry if it has been a long explanation (particularly if you grasped it quickly or had already come across parts of it), but I have tried to pitch it as helpfully as I can, based on my demonstration sessions.    

A couple a years after I started Colour Sequence I came across the Winding Number Theory.  There is a connection and I did pick up one or two ideas from it.  I will talk about this in a later post, but as always I am not a trained mathematician and so I will keep talking in pictures. 

 I hope that you will give it a try and I am sure you will enjoy the ride, as I have for so long.

If you display or publish your results, it would be great if you could specifically acknowledge me and my ideas.

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 !