You can also see our this cartoon along with the previous ones in our Animated Illusion Cartoon category. But if you’ve reached that point, or are just curious, here are stages in the development of the pattern shown above…. You do need to be up to speed with making abstract tessellations, and also pretty expert with Photoshop or an equivalent graphics package. The secret is to use segments of the outline of the representational motif for part of the outline of the tessellating pattern cell. The pattern above, based on Leonardo’s famous Vitruvian Man, is an example. My efforts are pretty feeble.īut fortunately, you can at least include representational motifs within your tessellations with a little trickery. It’s all trial and error, mostly error for me, and really hard! Escher was brilliant at it. There are no procedures, or none that I know anyway. Discovering representational motifs that tessellate is much, much harder. They can be abstract patterns, but the most intriguing are the ones devised by tessellation maestro M.C.Escher in the middle of the last century, which show representational motifs, such as animals, as tessellating patterns.ĭesigning abstract patterns that tessellate successfully is just a matter of getting the hang of some rules. For an introduction, see our earlier animation. Tessellations are patterns whose repeat motifs fit together like jig-saw pieces, with no gaps and no repeats. For more analysis of the pattern and the fabrication of the doors, see below, but first, here’s the whole door. And the overall shapes that do jump out for me are the beautiful curves that run from top to bottom of the image, which also distract attention from the hexagonal geometry of the pattern. We’re distracted from grasping the overall geometry by all the assertive, enclosed shapes, with their heavy outlines. The artist has not emphasised the lines of the design, but rather the infills – stars and other little geometric tiles. But that’s not obvious at all when you just see the door. (I’ve shown other examples of a role for bamboozled perception in aesthetics in an earlier post, and in the Illusions and Aesthetics category to the right).Īs you can begin to see in the image, where I’ve combined the interlace pattern on the door with a schematic analysis of its reflection, the interlace we see in the door is a segment of a rosette pattern that repeats across a wider field. This is a beautiful example, a detail of interlace decoration on a 14th century (Western dates) Mamluk Period door in the Louvre from the Al-Maridani mosque in Cairo. I’m fascinated by the way that spectacular aesthetic effects often seem to involve bamboozling our everyday strategies for making visual sense of the world.
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