Tag Archives: planetary paintings

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.

 

 

 

 

 

Four Colour Theorem continuous line overdraw.

Continuous lines overdrawn on Skydiver formation design, using Four Colour Theory method. Mick Burton

Continuous lines overdrawn on Skydiver formation design, using Four Colour Theory method. Mick Burton

My recent post about the formation design used by the record breaking skydivers included a continuous line overdraw of their design (modified slightly be me to complete links which would have been present with more skydivers).  I said that I would explain how the overdraw (above) was completed.

The structure is made up of circles which have 3 way junctions throughout (3 handed in the case of skydivers ! ).  This can be regarded a map and so I will apply my Four Colour Theorem continuous line overdraw which I devised in the early 1970’s.

I was trying to prove the Four Colour Theorem, which states that no more than four colours are required to colour all the regions of a map.  My basic idea was that drawing a single continuous overdraw throughout a map would split it into two chains of alternate regions, which would demonstrate that only 4 colours were required.  If more than one continuous overdraw resulted then there were still only two types of chains of alternate regions.

As you will probably know, this theorem has many complexities which I will not attempt to cover here.  In the mid 1970’s I corresponded with two mathematicians at the Open University about my approach, Robin Wilson and Fred Holroyd, who were both very helpful and encouraging.  The theorem was proven in 1976 by Kenneth Appel and Wolfgang Haken, running one of the biggest computers for over 1000 hours.  I soon decided that it was time to go onto other things!  However, my journey had been fascinating with numerous amazing findings which have been so useful in my art.

I can keep to relatively simple methods for my pictures.

 Here is the design, used above, with my initial overdraws shown in red.

Assumed formation design used by Skydivers, with initial overdraws. Mick Burton four colour overdraw.

Assumed formation design used by Skydivers, with initial overdraws. Mick Burton four colour overdraw.

On final completion of the overdraws, every junction should have two of its three legs overdrawn and so the start decision (1) above overdraws two legs and this means that the third leg, which I call a “spar”, links to another junction where the other two legs must be overdrawn.

We then carry on making decisions which trigger other overdrawn lines across spars.  Usually there is a “knock on” effect where new overdraws connect with already overdrawn lines which then trigger more overdraws.

If we go wrong and a junction is triggered which has all three legs overdrawn, or none, we have to go back and change earlier decisions in a controlled process.  I usually photocopy the overdraws completed, every two or three stages, so that going back is not too time consuming.

Here is the situation after decision (3).  Decision (2) in blue had only triggered two overdraw sections but decision (3), in green, has triggered ten sections to be overdrawn in green.

Four Colour Overdraw decision 3 triggers 10 further overdraws, in green. Mick Burton, continuous line artist.

Four Colour Overdraw decision 3 triggers 10 further overdraws, in green. Mick Burton, continuous line artist.

Here is the completed overdraw.  It can be seen that some decisions still only trigger one or two overdraws, but decisions 5 and 7 triggered 13 and 12 overdraws respectively.  There are 80 junctions in the design and it took 11 decisions to complete the overdraws.

completed Four Colour Theorem overdraw, on design based upon Skydivers formation design. Mick Burton, continuous line artist.

completed Four Colour Theorem overdraw, on design based upon Skydivers formation design. Mick Burton, continuous line artist.

The completed overdraw has several continuous overdraws.  I tried other variations but had to accept that this design cannot be overdrawn with a Single Continuous overdraw.  This is due to the design having basically only two full rings of circles, which means that some tips of petals cannot be included in a continuous overdraw.

Continuous lines overdrawn on Skydiver formation design, using Four Colour Theory method. Mick Burton

Continuous lines overdrawn on Skydiver formation design, using Four Colour Theory method. Mick Burton

This situation can be overcome by adding links between the tips of the petals to produce that extra ring of areas.  Here is the expanded design and the stages of overdraw.  I managed to complete the Single Continuous overdraw in one sequence without having to go back to change any decisions.

Increased size design with successful Single Line Overdraw using Four Colour Theorem method. Overdraw decisions shown. Mick Burton.

Increased size design with successful Single Line Overdraw using Four Colour Theorem method. Overdraw decisions shown. Mick Burton.

Of course it looks better with one solid colour overdraw and no decision numbers.

Skydiver formation design with links between out petals completed, overdrawn with a Single Continuous Line using Four Colour Theorem method. Mick Burton.

Skydiver formation design with links between out petals completed, overdrawn with a Single Continuous Line using Four Colour Theorem method. Mick Burton.

I have said that the method of overdraw was developed with Four Colours in mind, and so you could use one pair of colours alternately within the above overdraw and another pair of colours on the outside of the overdraw (which can include the background).

I have found another interesting result in that if you use strong colours inside the overdraw, as it is the main image, and neutral colours outside (or even leave the outside blank) then the gaps between the “petals” show good use of space.  Here is the design simply coloured in strong red inside the overdraw, which creates a good contrast as the background seeps in. 

Solid colour within single continuous overdraw, with Four Colour method, showing good use of space. Mick Burton.

Solid colour within single continuous overdraw, with Four Colour method, showing good use of space. Mick Burton.

The chains of areas produced by the continuous overdraws can be coloured, not just in two pairs of colours to demonstrate Four Colours, but with a colour sequence or a mixture of sequence, alternate colours or even one colour.  In the last picture I have used colour sequence on main chains of areas related to the central space and, as a contrast,  light grey on the chains connected to the outside of the design.

Star Burst. Four Colour Theorem applied to a map of shell shapes wound round from the centre. Rainbow sequence of colours. Mick Burton, 1971

Star Burst. Four Colour Theorem applied to a map of shell shapes wound round from the centre. Rainbow sequence of colours. Mick Burton, 1971

This is one of the first paintings that I produced after discovering my Four Colour Theorem overdraw in 1971. I called the picture “Star Burst”, one of my first planetary pictures.

 

 

 

 

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.