Tag Archives: main continuous line

Escher Islamic Mosaic Change to One Continuous Line. STAGE 5.

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.

In my post of 4 April 2015, Continuous Lines in Escher Islamic Mosaic painting, STAGE 1, I mentioned that the original Islamic artist had deliberately created two Continuous Lines, when he could have just as easily created one, because he wanted to retain overall symmetry of design and border connections.

I stated that I had examined the design and worked out how to make a change to the border connections of lines to create one continuous line throughout the design, and this is how it’s done.

Here is the chart from STAGE 2 again, which shows the Main Continuous Line in Red and the Minor Continuous Line in Blue and the colours are also shown as the connections loop outside the Border.  The change has to be done without changing the Alternate Overdraw in the main design and this is done by linking a Red Overdraw with a Blue Overdraw at the same time as linking two not overdrawn lines.

Minor Continuous Line, Alternate Overdraws in Red and Blue.  Mick Burton Escher Mosaic study.

Minor Continuous Line, Alternate Overdraws in Red and Blue. Mick Burton Escher Mosaic study.

We need a crossover on the Border involving a Red loop and a Blue loop.  If we part them at that junction and re-join the Red with the Blue, and then join both not overdrawn ends as well, we have united the Main and Minor continuous lines.  See Below.

Joining of Main Red Continuous Line to Minor Blue, leaving both non Alternate Overdraw lines joined at the former junction.  Mick Burton Escher Mosaic study.

Joining of Main Red Continuous Line to Minor Blue, leaving both non Alternate Overdraw lines joined at the former junction. Mick Burton Escher Mosaic study.

To show how this change is reflected in the Border, here is a before and after “Spot the difference” comparison which I have drawn.

Change of Border on Escher Mosaic to enable one continuous line. Mick Burton study.

Change of Border on Escher Mosaic to enable one continuous line. Mick Burton study.

As you can see, the difference between having two continuous lines and one is just a couple of flicks of a pen. Obviously, the artist would have known there was a one continuous line option and that he could have done it without losing any design or colouring options.

Presumably, the artists were required to retain overall symmetry above all else, including in the Border.  Eric Broug has also informed me that continuous line drawing is very rare in Islamic geometric design. 

I think that the Artist chose two continuous lines in the Mural Mosaic to demonstrate that he was only one step from having one line, and he made sure that the Border was drawn so that this change opportunity (which occurs on each of the four sides)  was as simple as possible.  He is saying “I could easily have drawn One Continuous Line ! “

After completing my research into the Escher painting, and explaining the one continuous line alternative, I realised that I needed to draw the single continuous line myself.  Here it is.

One Continuous Line Drawing, including Border signals, based on Escher Islamic Mosaic.  Mick Burton, March 2015.

One Continuous Line Drawing, including Border signals, based on Escher Islamic Mosaic. Mick Burton, March 2015.

 
This completes my five STAGES of explaining my thoughts on Escher’s terrific painting, in 1922, of the Islamic Mural Mosaic in the Alhambra.  I hope you found this abstract continuous line it to be interesting and stimulating.

Finally, I would like to thank Margaret Graves, Assistant Professor of Islamic Art and Architecture at Indiana University, for her encouragement and guidance after I completed my research.

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.