Tag Archives: Salvador Dali

One Line Drawing cover for Theatre Arts, October 1947, by Doug Anderson

The New Season on Broadway, a one line drawing cover for Theatre Arts magazine, October 1947, by Doug Anderson.

The New Season on Broadway, a one line drawing cover for Theatre Arts magazine, October 1947, by Doug Anderson.

Here is a terrific example of one line drawing by Doug Anderson, on the cover of Theatre Arts magazine in October 1947, which he entitles “The New Season on Broadway”.

Doug illustrates six plays on Broadway and includes the title in each whilst connecting them all up with his one line.  I know I go on about a Continuous Line Drawing starting and finishing at the same point and that it is only one line if it does not, but he starts under the last “e” in Theatre and ends on the left side towards the top, so he could easily have connected them up.

I like his use of small loops throughout, which helps the simplification of most male figures, the snake and the tramcar.  Lady’s dresses have lines stroked back and forth and their hats and hair have more detailed wiggling.  I love the progressive pattern of the window and heads in the tramcar.

Here are some detailed sections.

Street Car Named Desire, detail of The New Season on Broadway, cover for Theatre Arts, October 1947, by Doug Anderson.  One Line Drawing.

Street Car Named Desire, detail of The New Season on Broadway, cover for Theatre Arts, October 1947, by Doug Anderson. One Line Drawing.

High Button Shoes, detail of The New Season on Broadway cover for Theatre Arts, October 1947, by Doug Anderson.  One Line Drawing.

High Button Shoes, detail of The New Season on Broadway cover for Theatre Arts, October 1947, by Doug Anderson. One Line Drawing.

Man and Superman, detail of The New Season on Broadway, cover for Theatre Arts, October 1947 by Doug Anderson.  One Line Drawing.

Man and Superman, detail of The New Season on Broadway, cover for Theatre Arts, October 1947 by Doug Anderson. One Line Drawing.

Antony and Cleopatra, detail of The New Season on Broadway, cover for Theatre Arts, October 1947,  by Doug Anderson.  One Line Drawing.

Antony and Cleopatra, detail of The New Season on Broadway, cover for Theatre Arts, October 1947, by Doug Anderson. One Line Drawing.

How about the cat at the bottom !

Another difference compared to my approach to this style is that I usually think of the possibility of applying colours later. If you look at the lower foot of Antony, the outside space flows in through the foot which would confuse thoughts of colour. Similarly, the lady marked “Medea” to the left of Antony, has the outside flowing in through the bottom left of her dress.

It is interesting that this one line drawing dates from late 1947 and the pen and ink sketch that I have, in the style of Salvador Dali (covered in my post in August 2014), dates from 1948 when Dali was doing similar drawings.  So here it is again, “Guitar Player on a Horse”.

Dali continuous line drawing in pen and ink, guitar player on horse, dated 1948.

Dali continuous line drawing in pen and ink, guitar player on horse, dated 1948.

Colour Sequence Allocation on Escher Islamic Mosaic Continuous Lines, STAGE 3.

Now that we have applied my Alternate Overdraw to the Continuous Lines in the Escher Islamic design, I can show how I allocate colours.  We can then compare the result with the colours on the original Islamic design painted by Escher in 1922.

My basic method of allocating colours is covered in my Post on 27 September 2014 entitled “Colour Sequence on Continuous Line Drawing”.

I will start with that same basic process where colour “0” is the outside of the drawing and this is alternated with “1” in its channel or channels.  When we cross through an overdraw from a “1” area we allocate “2” to this adjacent area on the other side and then alternate this with “3” (if there are any) in that channel.  In the negative direction, if we go from a “0” area through an overdraw we will allocate “(-)1” and alternate with “(-)2” in that channel.

Five colour number allocation on continuous lines for Escher Mosaic.  Mick Burton study.

Five colour number allocation on continuous lines for Escher Mosaic. Mick Burton study.

There are no areas coloured “3” and so we have 5 colours allocated, compared to only 4 colours used in the original Mosaic.

At this stage things did not look promising.  Trying to equate the 4 original colours in the Mosaic to my 5 numbers produced a best set of matches of 156 out of 313 (I won’t go into much detail here) which is just under 50%.

One thing that I did observe was that YELLOW matched “1” on 76 occasions and “(-)1” on 88 occasions.  This reminded me that I occasionally allocate colours positively by ignoring (-) signs.  When switched to simply using “0”, “1” and “2” I had 3 numbers to compare with the 4 original colours on the mosaic.  This now produced a best match of 241 colours out of 313 which gives 77% and was much more respectable.  Here is the 3 colour allocation.

Colour sequence allocation of 3 colours to continuous lines on Escher Mosaic.  Mick Burton study.

Colour sequence allocation of 3 colours to continuous lines on Escher Mosaic. Mick Burton study.

Of course the fourth colour GREEN used in the mosaic does not appear at all in mine.

As with a lot of art, including craft, there may be processes (or even rules) which get you a long way in a design but you have to know when, and how, to break away from them.  I may be a bit rigid with my Continuous Lines but my studies of Picasso and Dali doing them demonstrates that nothing is certain.

This Islamic artist, who I regard as very special, probably used a method equivalent to mine to allocate most of his colours but probably made the following over riding decisions to finish the colouring off –

a.   GREEN was allocated to the 8 areas surrounding each of the 8 planets, and nowhere else.

b.  Each of the 8 planets was coloured PURPLE, instead of black, to mirror its use for the centres of the Suns.

c.  Each Purple junction block at the middle of each side has three directional areas surrounding it which are coloured PURPLE instead of black.  I originally considered these to be decorative.

Allocation of all green colours and changes of black to purple on Escher Mosaic.  Mick Burton study.

Allocation of all green colours and changes of black to purple on Escher Mosaic. Mick Burton study.

If the above decisions were made first, then the remaining allocations would be made totally on my 3 colour allocation.  That is 229 areas remaining where my allocation matches 100% with the original Escher Mosaic colours.

229 colour sequence areas matching original Escher Mosaic colouring.  Mick Burton study.

229 colour sequence areas matching original Escher Mosaic colouring. Mick Burton study.

So there we are. I hope you have found my attempt to explain how this Escher Islamic Mosaic contains two continuous lines, which I believe was deliberate by the artist, and how most colours matched a colour sequence directly linked to the continuous lines.

The basic elements in the design largely match the template produced by my Alternate Overdraw method and, after specific allocation decisions were made by the artist, there was a total match of all other colours allocated by my method using the template.  Whether of not the artist used a similar method to myself, there is a direct link between the colour sequence and the two continuous lines.

In my searches through other forms of art, on the look out for continuous lines, I have not found any other example of art which contained both continuous lines and a related colour sequence, or signs of possible use of Alternate Overdraw with its Template.

There is a modern mathematical theory called “The Winding Number Theory” which could allocate colours in an equivalent way to my initial 5 colours, but it is not as much fun.

I will do a FURTHER POST (STAGE 4) on how the artist could have used Alternate Overdraw to help him to connect up the loose ends on the borders when actually constructing his continuous lines.

Mick Burton Continuous Line Blog.

Salvador Dali continuous line drawing

Dali continuous line drawing in pen and ink, guitar player on horse, dated 1948.

Dali continuous line drawing in pen and ink, guitar player on horse, dated 1948.

 This is an original pen and ink drawing on paper and is dated 1948 and signed Dali.  I have referred to One Line drawings by Picasso in a previous post, but this drawing is virtually a continuous line drawing.

When I say virtually, I mean that the artist has used a series of lines throughout the drawing which could be connected up.  I presume that using a dip pen meant that as ink ran out he took the pen off the paper to dip the nib and then continued from a point nearby. 

In effect, he has drawn all the key areas in single lines, which is the initial stage in my drawings, but presumably with no intention of connecting them up or reviewing them further.  I have little doubt that the whole drawing would have been completed relatively quickly in one session.

I bought the drawing “in the manner of Salvador Dali”, as there was no provenance with it, but my first glance convinced me that I had to have it if possible.  It was the continuous line drawing effect, with an added bonus when I saw the signature.  Whoever did the drawing greatly impressed me and my researches into Dali pictures of around that time confirmed that he was producing drawings similar to this, with several elements the same. 

Many of these elements appear in “50 Secrets of Magic Craftsmanship” by Salvador Dali published in 1948.  In fact he seems to have done a quick drawing inside the front cover of  some of the original edition copies.