Introduction
Aside from the mathematics and design aspects per se is another important factor concerning tessellations, namely that of the artistic aspect, in which the motifs are coloured or shaded with artistic media upon completion of the above. Although somewhat less important than the design, as such colouring is essentially a mechanical process, requiring limited skills, nonetheless care and attention should be put into this aspect to ones best abilities. To neglect this aspect would obviously result in an inferior standard of finish for any particular tessellation, of which such matters is thus obviously unsatisfactory.

As such, I consider myself uniquely qualified to discuss such matters. Generalising, ’science’ types of people generally have no interest in art, whilst ‘art’ types of people have no interest in tessellation. Consequently, with such restriction of interests, only those with an interest in both are suitable for such a task. As I myself come to tessellation from the artistic and not mathematical side, I thus have an inherent advantage in being familiar with the various medias, without having to begin afresh as people would from a scientific discipline otherwise would. Consequently, for those so thinking of using traditional media who have no previous experience of art, the essays are written with the tyro in mind. What follows is what I consider to be a appropriate overview of the subject, as I see no real need to repeat basic advice/technique that can be found in any one of a myriad of such art books, from which the advice here can thus be followed up upon if so desired.

Unfortunately, as tessellations are of somewhat limited interest (if at all) to most artistic people, conspicuous by their absence is any discussion and instructions as to the application of artistic media. Indeed, I have yet to see any. Therefore, to rectify this shortcoming, the following essays thus discuss the whys and wherefores of artistic media, in all its form – paints, brushes, and paper, along with peripheral material such as advice as to storage. Each of the three essays is essentially independent of each other, although the general premise is of a sequential nature, from generalities to specifics. For the sake of clarity, there is minor overlap of the text:

Essay 1 concerns itself with a ‘broad brush’ approach, with ‘generalities' applied over a wide range of media.

Essay 2 concerns itself with aspects of paint, in which the eight of the more popular mediums are discussed, followed by recommendations.

Essay 3 is a more in-depth look at the intricacies of my favoured medium, watercolour.