I have been exchanging ideas with David Kilpatrick recently and he has agreed to let me put some of his pictures in my blog. “Vortex” stands out to me, as I have been a fan of Vorticism for many years. He has used Alternate Overdraw to allocate colours in sequence and it has worked well.
David’s design gives the impression of a sheet of plastic, coloured green on one side and red on the other, and each twist showing the other side. With overlaps you get darker greens or darker reds. Four internal areas let the background shine through. The whole thing is very natural, including David’s own style of patchy colour radiating outwards.
Next is David’s “Knight’s Tour” which he is still working on.
I did a Single Continuous Line “Knight’s Moves on a Chessboard” in 1973 (see Gallery 1965-74) with the intention of colouring it, but never tackled it properly. One of the problems was the number of fiddly small areas. It led to my “Knight’s Tour Fragments” instead (see my previous post on 16.2.2017).
But now we have GIMP! David said that he used this to move the lines about on his “Knight’s Tour”. I googled GIMP and it means “GNU Image Manipulation Program”. Some areas are still fairly small but he has produced a vibrant structure.
David says that these are trial colours (I presume from GIMP) and he intends to work out an improved scale of colours in his own style.
However, the colours shown already demonstrate the natural balance inherent in the Alternate Overdraw colour allocation. The composition suggests to me an island with yellow “beaches” as well as reds within opposite “volcanic” zones.
There is a choice regarding background, which would naturally be the same colour as the light blue internal areas and result in a surrounding “sea”, or it could be left white as shown above.
I look forward to seeing the final version, which I am sure will be another splendid example of Vorticism.
Another picture that caught my eye was his “The Pram” which is based on a magic rectangle.
This pram picture has lots of line ends in it and makes me want to attempt one myself using a Continuous Line animal. Such a design would make you want to connect up so many loose ends. My Spherical pictures already do this to an extent, as I take a line out of the picture at one side and bring it back in at the corresponding opposite side.
I think that David chose the positions of the displaced squares in a sort of random way. Maybe I would want to be confident that I could move them around, in the way you could on the movable squares game of my childhood, and get back to the actual original picture.
You can see much more of the art of David Kilpatrick on