As regards the actual designing of representational tessellations, there are a variety of methods, and as such, there is no single way that is to be regarded as the best. Pleasingly for purposes of creation, some of my own ways and means are most simple indeed, requiring nothing more than the ability to draw a straight line - 'complexity' is not necessarily a consequence of design, as may be thought. Indeed, my own methods include a whole class of 'simple' types that nobody apart from myself seems to have recognised, namely of using geometric tilings, and broadly 'adapting' these for motif purposes.
Of interest is to how other people have gone about this with their own methods, albeit the published ones that I have seen are lacking in quality, caused mainly by a lack of understanding of the inherent intricacies of the differing requirements of different motifs. Indeed, no published book or article really addresses the understanding of the issue (as outlined in my various essays), and so without this their attempts invariably fail, to lesser, or as is more usually, greater degrees.
However, I do indeed have favoured ways, of which the following discusses.
One of my favourite ways is a method that other people do not seem to have recognised
This essay is concerned with the actual design process of creating tessellations, i.e. how exactly I go about creating birds, fishes, human figures and other living creatures, of which there are different ways and means of composing. Here I show a variety of my methods.