![]() Somewhat annoyingly, examples of this type abound a head, in contrast to the multi-elements of a wholeĬreature. Undoubtedly the simplest type of ‘motif’ to compose, as essentially only a single Motifs are ‘heads’, where these are shown in isolation aside from their parentīody, mostly of humans, but also of a wide variety of other creatures. Therefore, the human figure is thus more ‘worthy' because of its inherent difficulty in composing. For example, birds and fish are amongst the easiest types of motifs to compose, whilst in contrast, say, a human figure poses more of a challenge. However, not all of these are to be regarded as of the same intrinsic difficulty. Needless to say, no grotesque ‘protuberances' that bear no relation to the motif can be admitted. Such examples are the most difficult to achieve due to the demands of the different elements, all of which have to be taken into consideration. Categories Category 1 - Animal WorldĮxamples of creatures derived from the animal world, say, birds, fishes or human figures, to name but few, showing the complete figure, with the elements, such as legs, arm, wings in proportion. Each of the categories motifs has been discussed in more detail in Essay 3, Motif Choice. Consequently, I have below placed tessellations into six types or categories, as according to descending degrees of worth. Such a test should ideally be relatively simple to undertake, without the necessity of a long and convoluted process. Therefore, ideally some sort of ‘quality test' should thus be applied to a tessellating motif in order to differentiate unequivocally between inferior and superior examples. Consequently, ‘false credit' often arises, with no distinction being made between motifs that are obviously inferior and superior when duly compared with each other. Regrettably, all too often, I see motifs that are lacking in this most basic aspect, bearing only a passing resemblance, unworthy of the description of a bird, fish or of whatever creature are supposedly being portrayed. However, in practise such a desire is rarely accomplished, with the tessellation being a compromise, to greater or lesser degrees in this matter. Furthermore, ideally this would be indistinguishable from the real-life creature, in effect the tessellating motif being ‘assumed' as a picture in its own right, without any ‘shortcomings' that usually occur, due to the demands imposed by the symmetry arrangements of the lines. Without doubt, the ‘acid test' of a tessellation is to be judged on its resemblance to the creature(s) it is supposedly portraying, of which the likeness should at least be vaguely recognisable.
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