Indeed, some of these are minimalist in nature, with no detail whatsoever, and some have just an eye without any other detail. Nakamura’s motifs are generally simple in detail. Escher's motifs are generally ‘working drawings’ rather than finished works of art per se Who is right? Is their even a right or wrong? Perhaps this can be best explained as regards the difference in styles, as although all three of us use stylized motifs, each of us is slightly different:Įscher’s motifs show relative detail and are broadly consistent throughout the years, with the interior elements added, even from his very first, rudimentary drawing. So, as all three of the above artists are people with obvious ability, arguably on a par with each other, and so what explains, in relative terms, this enormous difference of usage? As such, usage ranges the whole gamut, from nothing at all (Nakamura), minor use (Escher), and extensive use (Bailey). Therefore, for example with human figures, of which the size of the eye compared to the body is very small, there is simply not enough ‘room’, and so this is then omitted. As one is drawing a large number of motifs, the individual motifs has to be of necessity to be of a rather small scale. Occasionally, it is not possible to do so, due to the scale of the motifs. In my more mature period, I now invariably show this wherever possible. However, these examples are of relatively early works, in which I did not consider the matter. On occasions, some of my finished works do not possess such a feature, and so at first sight it would appear that I contradict myself here. This highlight feature is undeniably small, but nonetheless I consider it greatly enhances the tessellation. As ever, the aim of quality tessellation is, or should be, the accumulation of advantages of portrayal, no matter how small (such as with the serration effect as discussed in essay**). This device is invariably used in my own work, as I consider it adds a ‘zest’ to the finished work.
Curiously, Nakamura does not use this feature at all in his 250+ works. Unfortunately, he did not mention this aspect in his writings. Evidently, he did not consider this aspect to be too important. Interestingly, he used this feature on some of his tessellating based prints (with Bool catalogue numbers): 360, New Year’s Greeting Card 364, Fish and Frogs 372, Predestination 422, Plane Filling I 422, Plane Filling II 433, Fish and Scales.Īs can be seen, Escher only rarely used this feature. As such, this aspect is left somewhat ambiguous by Escher.
Note that No.27 possibly has a highlight on the insect of Insect/Fish. 83, Thirty- Six Different Motifs, 1951 (some motifs with eye highlights, but not all)
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