10.
Parcelles d'infini by Alain Nicolas Alain Nicolas’s book (in French) is of a wide-ranging, multifaceted approach to (mostly) life-like tessellation. Throughout the book, there is a tutorial intent here, although this is not to say that this is the premise through the entire book. Various distinct aspects of tessellation are discussed, as listed below, and are discussed in detail further below. § Tessellations, all chapters § 35 Isohedral types, Chapter 4, page 41 § ‘Picture stories’, Chapter 6, using the tessellations in the same manner as Escher did with his, 93-112. § ‘Tessellating words’, an innovation of Nicolas’s own devising, Chapter 7, pages 113-148. §
Self-similar tilings, Chapter 9, pages 167 Overview A pleasing aspect to the book is that, in contrast to most other tessellators, he gives explanations with both instructions and diagrams as to how some (but not all) of the tessellations were created. These include (numbers in brackets are numbers of examples): Pages 75 (3), 78 (4), 83 (1), 86 (4), 88 (4), giving a total of 16 explanations. Such a relatively high number thus permits a fair appraisal as to his methods. Of note is that he invariably begins with a geometric tiling (i.e. of straight lines), of a polygonal base, and then upon recognising a potential life-like creature, he then refines this to a more ‘realistic’ motif, very much in the same way of Escher or myself. A frequent feature of these is that the initial tile is, surprisingly, reminiscent of nothing in particular. For example, the ‘seed’ tile for both of the Cowboy and Horse examples (Bucking Bronco) (pages 80-81) just appears to be arbitrary geometric shapes, with nothing a priori that could be said to be cowboy and horse-like. Only in hindsight, having seen the finished tessellation, can the resemblance to a particular motif can be seen. The same finding can be said for very much like of the others. As such, the ability to extricate high quality, recognisable motifs from what appears to be most unpromising beginnings reflects greatly on the artist. Most tessellators would simply dismiss these initial examples out of hand as unworthy of proceeding with (i.e. unsuitable for motifs). His tessellations are mostly of a high quality, some excellent, and occasionally with some of a superlative nature. Particular highlights are the Cowboy and Horse (Bucking Bronco) and Girl Diver. Many others are worthy of considerable praise. For example the human figures as a series in general. However, some are of questionable worth. In particular, I don’t find, for the greater part, favour with the ‘flatfish’ type, pages 68-69, 83, 95, 151, 170, these being somewhat reminiscent of Escher in style, further compounded in that as a category such examples are essentially to be ignored, on account of their atypical fish-like appearance, as well as their generally formless nature. I have concerns of the various dogs which seem a little contrived, pages 33, 168-169 and 178-179, albeit here concession seems to have been made to n-morphic tessellations of pages 168-169, 178-179. The lizards, pages 95, 109-112, 163 are somewhat alike in style to Escher’s, although I have less concerns here than with the flatfish type, as originality is indeed shown. Aside from the relative shortcomings above though, I can find very little to fault here. Indeed, one could be accused of cavilling with the above comments – most other artists would be more than pleased with some of the examples here. 35
Isohedral Types Of note is the concern with the 35 isohedral types, for which Nicolas provides all these with a bird-like tessellation (albeit varying in quality, likely to be expected, given the restrictions involved) in principle, as this is shown, regrettably, as just a single tile. Better would be to show these as complete tessellations, but perhaps given the particular presentation, space for this was not available. Such a preoccupation is most gratifying, as this aspect of challenge is one that most tessellation artists ignore. Indeed, Andrew Crompton is the only other artist to have studied these, and this in a partial way. In contrast, Nicolas examines all possibilities. Picture
Stories Of note is a chapter on what I term as ‘picture stories’, in which the tessellations are used much in the same manner as Escher did with his own. Of note here is that these are of a unifying nature, in that the motifs have a connection, either directly or as opposites. Also, the motifs are all of a ‘sensible’ orientation. A frequent occurrence with lesser artists is compositions of incongruent motifs, without any connection, rendering the composition as absurd, with unwise choices of symmetry, in which the motifs are upside down in relation to each other. Of particular note, and worthy of praise, is ‘Plane and Boat’, page 106. Aside from the inherent good quality of the motifs is the ‘type’ of tessellation here, in that he uses inanimate motifs, something that is rarely seen in other peoples work, due to the difficulties involved, and so this is of more than interest than other wise. Tessellating Words Another aspect to the tessellations is his interest in words as tessellations. As such, I am less qualified to judge on these, as I have not done anything in this field. However, it certainly looks very clever indeed, with much imagination and originality. Self
Similar Tessellations Examples of self similarity are shown, largely of lower tariff motifs, of which for such types is largely a necessity. Multimorphic
Tessellations Although the book is one of not inconsiderable
merit, I do have concerns as to secondary matters, such as the presentation.
For example, the plane tilings are more or less scattered throughout the book,
impinging on different subjects/chapters. Better would simply to have had a
single chapter here. However, any perceived shortcomings in presentation are
simply overridden by the sheer quality of the tessellations and their
offshoots, either as, the 35 isohedral tessellations, picture stories, word
play and self-similar tilings. Critiques
of the Individual Tessellations: Due to there being so many tessellations, I don’t have the time to give an exhaustive appraisal as I would like, therefore at present the critiques below is an initial thought, pending subsequent addition. That said, the comments here should suffice to give a general indication as to the merits of Nicolas’s tessellations. To quickly enable an overview, these are described initially with one word descriptions, from six categories: Unacceptable, Poor, Reasonable, Good, Excellent, Superlative, which speak for themselves. Occasionally, some are borderline between two categories; these I signify with a hyphen, such as ‘Good-Excellent’. These are then generally followed by explanatory discussions and comments. To clarify the titles, I have put a description in English of the respective tessellation. 1. Reynards à la lune (Fox and Moon), page 15 3. Karaté, page 17 4. Fraternité (Man Running with Outstretched
Arms), page 18 5. Lucky Blanchepatte, mon Chien (Dog), page
19 6. Birds, page 22 top 7. Birds, page 22 below 8. Birds page, 23 9. Birds page, 23 10. Birds, page 24 11. Colombes (Doves), page, 27 12. Demi-tour de carte (Playing Card), page
28 13. Octopus, page 29 14. Birds, page 31 15. L’athlete, page 32 16. La Sirène (Mermaid) page 32 17. Le Lézard (Lizard), page 32 18. Le Chaton (Cat), pages 32 and 35 19. L’oterie (Seal), page 33 20. Le Coq (Cockerel), page 33 21. Le Chien (Dog), page 33 22. Le Gorille (Gorilla), page 33 23. Le Papillion (Butterfly), page 34 24. Le Canard (Ducks), pages 34 and 37 25. Le Rainette (Frog 1), page 34 26. Le Puxxle du fou (Man with odd hat), page
39 27. Not titled. Boy in Vest, page 40 28. D’Escher (Escher Portrait), page 40 29. Runner, page 74 30. Salutations Respectueuses (Marcher), page
76 31. Montagne (Goat), page 77 32. Indienes (Indians on Horseback, page 79 33. Cow-boy (Bucking Bronco 1), page 80 34. Rodéo, (Bucking Bronco 2), page 81 35. Emulation (Man with Guitar), page 82 36. Bears, page 83 37. Plongeon en eau trouble (Girl Diver), page
84 38. Échec (Chess Knight), page 85 39. Fish, page 86 40. Monkey, page 86 41. Judo Player, page 87 42. Lizard, page 88 43. Frog 2, page 88 44. Gentil/Merchant (Two Heads), page 89 45. Mimétisme (Fish), page 90 46. Puppet, page 92 47. Fish and Lizard, page 95 48. Rabbit and Leaves, page 96 49. Regard d’Infant (Bird and Squirrel). page
108) 50. Lizard, page 109 51. Léxards au Carré (Lizard), page 110 52. Rosace aux Léxards (Lizard), page 111 53. Léxards (Lizards), page 112 54. Cascade (Flatfish), page 151 55. Bees, page 151 56. Plouf (Frog), page 151 57. Not titled (Lizards), page 163 58. Not titled (Dog), pages 168, 169 59. Flatfish, page 170 60. Butterflies, page 173 61. Dog, page 178 Agree/disagree? Email me.
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