Contents

Introduction

1 Favoured Media

1.1 Watercolour
1.2 Coloured Pencil
1.2.1 Qualities - Artists and Children's
1.2.2 Paper
1.2.3 TheTwo Different Types
1.2.3.1 Dry Pencil
1.2.3.2 Watercolour Pencil
1.2.4 Utilisation

1.3 Inks
1.3.1.1 Black and White
1.3.1.2 Coloured
1.3.2 Paper

1.4 Gouache

2 Unfavoured Media

2.1 Oil

2.2 Acrylic
2.2.1 Impasto
2.2.2 Semi Liquid

2.3 Pencil (Graphite)

2.4 Pastel

Introduction
As there are such a wide variety of paint mediums to choose from, with for example watercolours, oils, acrylics, gouache, coloured pencils, pencils, pastels and inks, to name some of the more popular. Consequently, the appropriate choice/s are obviously of some considerable importance, as this is the bedrock of the application of colour. Therefore, the selection of media should be decided upon before undertaking a finished example. Having thus decided upon a favoured choice(s), having omitted any that are unsuitable, such matters can then essentially be put aside for good. Now, with the various media available, which, if any, are ideal for tessellation purposes? As such, the choice of appropriate paints is of vital importance to the subject of tessellations per se, as these are in their own way unique, consisting of repeating contiguous motifs, without a background in the conventional sense. As such, this is in contrast to any other painted form, such as a portrait or landscape for instance, which has clearly defined individual elements, with a foreground and background.

Simply stated, an ideal medium would be one that can be applied to a relatively large area with accuracy and dries relatively quickly, preferably in a matter of a few minutes, so that neighbouring motifs can be coloured nearly contemporaneously. As such, each medium has strengths and weaknesses in the above aspects, of which the following discusses these in what I consider to be in ‘appropriate’ detail, suitable for a beginner. What follows is an examination of eight of the more popular mediums, separated into two sections of those that I favour, in order of preference (1, 1.1-1.4), and those are considered unfavourable, in no particular order (2, 2.1-2.5).

As this is my own personal view, other people may have different opinions on the subject, and if anyone disagrees with the following, or has anything to add, I would be pleased to hear of their viewpoint.

 

1 Favoured Media

1.1 Watercolour
Watercolour is, without any shadow of doubt, my favoured medium for the colouration of the motifs. Quite simply, its advantages are legion, with any perceived drawbacks of no real consequence. As such, being the favoured medium, to do justice to this in all its aspects requires a more thorough treatment that would otherwise be appropriate for this 'general guide'. Consequently, this discussion is placed separately from such generalities and thus has its own discussion on the following page (3/3).

 

1.2 Coloured Pencil
Coloured pencils can be separated as two distinct types, as dry and watercolour. Put simply, the ‘dry’ type is will be found to be more common, typical of what a coloured pencil is expected to be, whilst the ‘watercolour’ type, is as the name suggests, is used with water, with a ‘painterly approach’ being adopted. Although perhaps of a less popular medium in general than with oils and watercolours, coloured pencils have in their higher quality examples the potential for ‘serious artwork'. Highly recommended is the Berol Company, with their Karisma and Colourcraft ranges, which will be found of a suitable quality. Unfortunately, the top quality Karisma range is relatively expensive, to a degree that initially I would not recommend these to a beginner on cost grounds alone. The Colourcraft range, although considerably cheaper, should not to be regarded as inferior, but ‘different’, and will be found more than suitable for the beginner.

1.2.1 Qualities – Artists and Children’s
As such, although there is no demarcation line, in practise the pencils are available in two different qualities, for artists and what I term as children’s. Here the difference between the two types is most marked, with those of the artist type being favoured, despite their relative high price. The type to avoid is the ‘children's' range, these typically being of very poor quality pigment, with considerable amounts of 'filler' (chalk), resulting in a pencil that has dull colours (of which the pencil has to be ‘scrubbed’ to release the colour) and is thus most unpleasant to use.

1.2.2 Paper
The choice of paper (support) is another aspect of coloured pencils that is of importance, as quite simply such a decision has a bearing on the finished work. As such, it is insufficient to use any arbitrary paper, such as cartridge or sugar paper, which is typically utilised (at least with children). Papers are produced that are made with the attributes of coloured pencils in mind, of which those with a degree of ‘tooth', such as Ingres paper (available also as board) will be found to be appropriate.
Furthermore, with coloured pencils naturally utilising paper, this permits the ‘satisfactory' transfer of the tessellation design, in contrast to the inherent difficulties of opaque board or canvas as with oils.

1.2.3 The Two Different Pencil Types:

1.2.3.1 Dry Pencil
As regards their application, there is a multiplicity of ways of using them, ranging from a light and airy pastel-like drawing to a more intense approach, with the pencil being applied in a more forceful manner. As such, I tend to favour the latter, this ‘style' having evolved from the former. However, such a ‘painterly' approach is arguably not strictly what they were intended for, as by their very nature, being a tool more appropriate for line drawing, such an application may be thought ‘incorrect’. Indeed, when utilised in such a ‘painterly’ manner, it is obvious that their application is limited to relatively small-scale work, as it would be impractical to cover a large area with effectively a point source. Therefore, if such usage is indeed contemplated, the scale and the number of motifs is best kept relatively low, of which a ‘4 x 4' format that I favour (as previously discussed) being of a practical size for this purpose.

1.2.3.1 Watercolour Pencil
These combine features of both watercolour and coloured pencil in that upon having applied the colour as with a drawing, a brush charged with water can then be applied over this to give a watercolour-like appearance. Alternatively, the pencil can be dipped in water and used like a brush.

Quite simply, I dislike the use of such an approach, finding it inappropriate for my purposes. None of my finished works or studies has utilised this style of usage. Artistically, I tend not to favour this, as it is appears to me to be neither one thing nor another – if a watercolour-like painting is desired, why not use watercolour itself? Likewise, if coloured pencil effects are desired, why add extraneous factors?

1.2.4 Utilisation
As such, although I greatly prefer watercolour as a medium, occasional use of coloured pencil has been undertaken. (Incidentally, before my interest in tessellation, this was the medium I favoured in my surreal artwork where colour was concerned, and upon being familiar with its inherent strengths and weaknesses, I duly applied it to my ‘early' (1987-1990) examples of tessellation.) Examples of this media include Birds 2, No.1; Fish 2, Nos. 3 and 4; Human Figures, No.1. As such, the quality of finish is very pleasing, with most realistic 3-D shading possible. However, due to the above drawbacks (of a practical sense), and not inherently of the medium itself, this is utilised somewhat less frequently than I would otherwise like.

 

1.3 Inks
Again, a distinction must be made here, as inks can be obtained for artistic purposes in two distinct types, namely opaque, as with black and white, or translucent, with colours, reds or yellows, for example. As both of these types are fundamentally different, these are thus discussed separately. For tessellation purposes, of note is to how the inks will be utilised, as essentially ‘colouring-in areas’ occurs. As such, this very much goes against the inherent purpose of ink, as it is intended (and formulated) for line work, rather than ‘colouring-in’ per se. Consequently, as one is using the media in the way it was not intended for, its shortcomings in this aspect should not be though of as an inherently unsuitable medium per se.

1.3.1 Black and White
When so utilised, the paper itself can be used as ‘white', as there is simply no need to add white ink on to an existing white surface. Consequently, the use of white is thus utilised in a secondary way aside from ‘colouring’, with it used to denote the markings (such as eyes) of the black motifs.

Although a black and white colouration is theoretically 'ideal' as the pinnacle of contrast (as discussed in Essay 8, Colouration and Contrast of Motifs), in practise I find it has shortcomings in a technical sense. As such, the black ink tends to dry slightly unevenly (whichever brand is utilised), resulting in a ‘non-uniform black', albeit this effect is only visible when examined close-up. Furthermore, the white ink, when applied over the black, is never quite truly opaque, resulting in lines that are not as distinct as they would ideally be. Therefore, because of these perceived drawbacks, I tend not to utilise this particular contrast choice as much as I would like.

Occasional use of this medium has been utilised, which can be seen in Birds 3, Nos.1-8.

1.3.2 Coloured Inks
As regards coloured inks, I find these to be noticeably lacking in quality for colouration purposes of the whole motif. As such, the ink is less opaque than black and white, and If so utilised as the latter, the ink will be found to quickly settle into the paper before the whole motif has been coloured, of which it will then dry in a blotchy manner, resulting in a most unappealing appearance. Consequently, as regards colour, this medium is thus effectively ruled out.

None of my finished works or studies has utilised coloured ink. Quite simply, I dislike the use of such media, finding it inappropriate for my purposes.

1.3.3 Paper
The choice of paper is of importance, as quite simply, any ’convenient’ paper that is to hand simply will not do. Essentially, a relatively heavy paper is required, as if too thin the paper will buckle and the ink will pool, resulting in an unwanted blotchy appearance. Furthermore, some papers are simply inappropriate, such as sugar or cartridge paper, the latter of which is frequently said to be ideal for ink, whist in practice this will be found to be not so. Available are papers that are specially designed for ink, have been highly calendared, albeit examples of this type are more properly intended for line work rather than ‘colouring-in’. As such, watercolour paper in general will be found suitable, indeed even ideal, that although not designed for this particular use.

1.4 Gouache
Gouache can broadly be said to be of the same type of media and composition as watercolour (and furthermore can utilise watercolour paper), the difference being that white has been added to the pigments during the manufacturing process so that it is then made opaque, in contrast to watercolour, which is transparent.

Such a medium has potential for application as regards tessellation, as it has similar advantages in use to watercolour, namely that as a quick drying medium contiguous motifs are a ‘practical' proposition. Similarly, the same papers and brushes can also be utilised.

In contrast to watercolour, in which a defining black outline is regarded as a ‘practical necessity’ for such a less inherently ‘unsubstantial’ colour medium, for gouache this will be found to be not strictly required, as the colour itself is of a 'substantial' nature. Therefore, when so coloured, the motifs are more inherently ‘substantial’, thereby rendering such outlining as unnecessary. Indeed, this aspect can, depending upon circumstances, be considered as an advantage over watercolour in terms of reality, as the 'unnatural' defining black line is not required i.e. the motifs are thus more life-like, as no real-life creature possesses such an line.

Although I do indeed utilise gouache, in comparison with watercolour such usage is insignificant, upon reflection perhaps unfairly so, considering its inherent suitability. Examples of usage concerning this media are Birds 1, No.10 and Birds 2, No.4.

 

2. Unfavoured Media

2.1. Oil
Quite simply, I consider oil paint has few merits with many disadvantages. As it is of a slow drying medium (typically of many days, and in a technical sense of months), it is not therefore possible to colour neighbouring regions (motifs) of different colours, as they would blend at their respective borders, thereby rendering the motifs indistinct. However, if possessed enough of patience, oil colour could indeed be utilised, whereby upon having completed the colouration of the motifs of one colour, and then left to suitably dry, from which the other colour could then be subsequently applied. Indeed, despite the above drawbacks, oil colour does have the potential for a most photo-realistic finish, as, for instance, any high quality, highly detailed portrait shows. However, as detailed in the ‘colour rendition' text, the ramifications (in terms of exhaustive time involved) behind such a choice of finish must be borne in mind. Furthermore, as oil paint traditionally requires a canvas or canvas board, this in itself can cause difficulty as regards the practicality of the transfer of the tessellating design. Therefore, in matters of practicality, oil paints and their support leave a lot to be desired, and so this then effectively rules out their usage.

None of my finished works or studies has utilised this medium. Quite simply, I dislike the use of such media, finding it inappropriate for my purposes.

 

2.2. Acrylics
Acrylics can be said to have arisen in an attempt to overcome the inherently long drying length that can be regarded as a ‘shortcoming’ of oil paint with a considerably faster drying formulation. Such a ‘drying out’ process occurs in a matter of minutes, or even sooner, depending on the thickness of the paint layer. Therefore, in contrast to oil colours, such a medium has practical potential for tessellation purposes.

Acrylics can be obtained in two distinct types, namely of an impasto (in tubes), of a similar consistency as with oil paints, and requiring a canvas or board support, or as a liquid (in bottles), to be used as a watercolour would be (of which watercolour paper is thus used). Consequently, these are thus essentially inherently different despite their common source. Such distinctions must be borne in mind when purchasing and using. As both of the types are distinct, these are discussed separately:

2.2.1 Impasto
As such, the impasto type is similar to oil paint in consistency, it thus has some of the drawbacks as discussed there. More advantageous is its quick drying capability. Again, ideally it requires a sturdy support, canvas or board as with oil, of which as detailed above, in itself causes difficulties as regards the drawing of motifs onto such a surface. Therefore, despite the advantage of quick drying, I still refrain from this type of media.

None of my finished works or studies has utilised this medium. Quite simply, I dislike the use of such media, finding it inappropriate for my purposes.

2.2.2 Liquid
As such, the liquid type is very much like watercolour in its consistency, and indeed its usage is synonymous in every with this media, including its choice of support, watercolour paper and the time taken for the paints to dry. Indeed, so alike is this media with watercolour that for practical purposes there is no difference. Therefore, it seems somewhat redundant to use both mediums, albeit of course for the sake of variety a different medium makes a refreshing change.

None of my finished works has utilised this medium, although for experimentation purposes some usage has occurred. In general terms, having started with watercolour and therefore having experienced its many ways, I thus prefer to utilise this rather than a ‘new' media of a similar nature that essentially repeats an existing medium.

 

2.3 Pencil (Graphite)
Pencil will be found to be only of limited use, albeit in special circumstances it does indeed have advantages. Essentially, with this medium one is working with shades of black and grey, and so consequently, in matters of differentiating the motifs such contrasts are not necessarily practical or ideal. However, the potential offered by a range of different degree of intensity from ‘black to white’ by this can indeed be utilised. More specifically, this applies to the stage beyond the tessellation drawing, namely with counterchange and development, of which by appropriate usage these aspects can be emphasised.

None of my finished works has utilised this medium, although it has indeed been used in conjunction with 'black, grey and white' studies of which I set out the ‘theory and practise’ of counterchange and development.

 

2.4. Pastel
Although pastel is a relatively popular medium in general, for tessellation purposes this media will be found in practise to be most limited. Perhaps the biggest drawback is its manner of application, with a ’blunt’ stick, which is obviously not conducive to exactness typical of tessellation purposes.
Furthermore, its also has drawbacks in matters of practicality. Utilised ‘properly’, namely that of a ‘light' approach results in the pastel barely attaching to the paper. Although it is possible to obtain certain sprays to fix the pastel more firmly, this is not an ideal solution; as such spraying can alter the intensity of the colour. Another practical difficulty concerns storing finished work. Ideally work of this medium would be best placed in a frame behind glass (their traditional storage), thus giving a degree of protection against the inevitable knocks in storage it would normally receive, which would otherwise dislodge the pastel particles. Although such methods of storage may be a practical proposition for an occasional example, as I have many hundreds of drawings (of varying degrees of finish), such matters are thus impractical.

Consequently, none of my finished work or studies has utilised this medium. In matters of both usage and storage, it has serious shortcomings.