Birds 5

Birds 5, in contrast to the preceding groupings which concerned themselves with tilings of a variety of tiles within a theme, here concerns itself with more specific matters, namely tessellations based upon a single tile, namely with a Greek cross (of which 'subdivided' examples is also included). Although very 'simple' in its outline, the Greek cross is still eminently suitable for a bird motif, as shown, albeit not one of the highest quality in an aesthetic sense – for example, the birds bill lacks "definition", as it has to be "assimilated" due to the tiles outline – contrast this with other examples, say, Birds 1. Even so, accepting the limitations of the outline, the bird motif is still pleasing and worthy of inclusion .

Although this tile may be thought of as a somewhat 'limited' nature, in actuality there is considerable scope for innovation, of which the examples below show a mere handful of the possibilities. Such potential is caused by the Greek cross possessing two types of symmetry, namely that of rotation and reflection. From this, different placements concerning the motif thus ensue, of which the examples below show a 'representative sample' of the possibilities without any pretence of showing a systematic analysis of 'all possibilities'.

The bird motifs are again shown as a translation, all of the belly view.

Colouration
Complementary colours of blue and orange are chosen to give an extreme contrast. For minor variety each birds' eye is shown of the opposite colour.

This 'rotational' example shows a 'better' placement of the motif, as when compared with the 'translation' type, as here the motif is shown in four orientations rather than the previous one of Nos.1 and 2, this aspect thereby 'fulfilling its potential'.

Colouration
Complementary colours of yellow and violet are chosen to give the most extreme colour contrast.

This shows a example whereby the motifs face in opposite directions, albeit of the same orientation i.e. 'upright'.

Colouration
Of note here is the colouring, utilising three colours in relative complexity by means of variety. Each bird is essentially divided in two, of a vertical manner, in a systematic combination of the three colours. The colouration is of the watercolour technique known as wet in wet where two colours meet and blend. (Discussed in detail in the Essay A Beginner's Guide to Artistic Media, Watercolour.)

A Translation type.

	Birds 5 Birds 5, in contrast to the preceding groupings which concerned themselves with tilings of a variety of tiles within a theme, here concerns itself with more specific matters, namely tessellations based upon a single tile, namely with a Greek cross (of which 'subdivided' examples is also included). Although very 'simple' in its outline, the Greek cross is still eminently suitable for a bird motif, as shown, albeit not one of the highest quality in an aesthetic sense – for example, the birds bill lacks "definition", as it has to be "assimilated" due to the tiles outline – contrast this with other examples, say, Birds 1. Even so, accepting the limitations of the outline, the bird motif is still pleasing and worthy of inclusion . Although this tile may be thought of as a somewhat 'limited' nature, in actuality there is considerable scope for innovation, of which the examples below show a mere handful of the possibilities. Such potential is caused by the Greek cross possessing two types of symmetry, namely that of rotation and reflection. From this, different placements concerning the motif thus ensue, of which the examples below show a 'representative sample' of the possibilities without any pretence of showing a systematic analysis of 'all possibilities'.

No.1
Here the 'placement' of the motif is shown in the simplest way, of an identical orientation, namely as a translation. However, even within this there is variation, as two distinct views of the bird are shown, of 'belly' and 'back', shown alternatively in 'lines' of the same colour. Colouration Although two colours would have sufficed, for the sake of variety three are utilised. These are shown in 'sloping strips'.




No.2
The bird motifs are again shown as a translation, all of the belly view. Colouration Complementary colours of blue and orange are chosen to give an extreme contrast. For minor variety each birds' eye is shown of the opposite colour.




No.3
This 'rotational' example shows a 'better' placement of the motif, as when compared with the 'translation' type, as here the motif is shown in four orientations rather than the previous one of Nos.1 and 2, this aspect thereby 'fulfilling its potential'. Colouration Complementary colours of yellow and violet are chosen to give the most extreme colour contrast.




No.4
This shows a example whereby the motifs face in opposite directions, albeit of the same orientation i.e. 'upright'. Colouration Of note here is the colouring, utilising three colours in relative complexity by means of variety. Each bird is essentially divided in two, of a vertical manner, in a systematic combination of the three colours. The colouration is of the watercolour technique known as wet in wet where two colours meet and blend. (Discussed in detail in the Essay A Beginner's Guide to Artistic Media, Watercolour.)




No.5
A Translation type. Colouration Of note here is the colouring, utilising three colours in relative complexity by means of variety. Each bird is essentially divided in two, of a vertical manner, in a systematic combination of the three colours. The colouration is of the watercolour technique known as wet in wet where two colours meet and blend. (discussed immediately above).




No.6
The following two examples can be seen to be of an similar, related nature. These examples combine both a Greek cross bird motif along with a bird motif that is derived from the Greek cross by the process of subdivision. No.6 shows a composition in which the motifs appear in two orientations, whilst No.7 shows the motifs in four orientations. Colouration Of interest is the colouration, which utilises three colours (the minimum) rather than the more aesthetic four, which would emphasise the orientation aspect. As discussed with Essay 8, Colouration and Contrasts of Motifs, there are both advantages and disadvantages in this, so no particular example can be considered 'better' than the other.




No.7
For comments and colouration pertaining to this, see No.6.
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