Good examples of animals to tessellate3/17/2024 That kind of shifted reflection is called a glide reflection. In each pair, the lower line segment is a mirror reflection of the upper segment, but shifted downwards. The red and blue pairs are a bit more complicated. In the yellow pair, the top line is just repeated lower down to make the pair, in a move called a translation. To the right you can see that the fish outline can be divided into three pairs of segments, a yellow pair, a red pair and a blue pair. Here’s how it works with Moser’s fish design. If you have checked out our tessellation tutorial, you’ll know that the secret of these designs is that the edge of each “tile” of the pattern must be able to be snipped into pairs of identical line segments. I don’t know where he would have learned to do tessellating designs, that is, designs with motifs that repeat the way jigsaw puzzle pieces fit together, with no gaps or overlaps. Moser was working in Vienna, Austria, a hundred years ago. But how about Koloman Moser? Here are a couple of his designs. You probably know the tiling patterns of M.C.Escher. Please let me know if so, I’d love to see it – and otherwise, I hope if you’re an animator you’ll be provoked into doing a better one than mine. I’m not aware anyone else has done one of those. In my animation there are two sequences of transformations, first where the pattern morphs in sync all over the screen – a number of people have done those – and then the one that morphs across the image as well as in time. I’m sure he’d have done the animations if he could, but without a computer they’d have taken years. Tessellation (or tiling) wizard M.C.Escher was brilliant at these transforming patterns, as in his Metamorphosis prints, but of course couldn’t do animations. I’m fascinated by the effect that the movie ends with – a tessellation that transforms in space and in time. 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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