Birds 2

Birds 2 consist of birds of a geometric nature concerning their outline, of one motif, formed by the process of subdividing a square tile.

This composition, in terms of its motifs and colouration, is somewhat more intricate than conventional examples. Specifically, it combines two viewpoints of the bird—‘under’ and ‘over.’ Typically, only a single viewpoint is depicted, though it is often possible to represent both views, as here.

Colouration

A minimum of three colours is required for a map colouring; however, four have been used to align with the four orientations of the motif. This also introduces a secondary, more ‘fanciful’ colouration scheme. Since the motif appears in four orientations, each one has a distinct core colour corresponding to the body, beak, tail, and wings. Additionally, for variation, each bird is given a ‘hood’ in the colour that is diametrically opposite to its own, while still maintaining the symmetry of the tessellation.

However, this variation in hood colouration results in a composition that may be considered somewhat unclear when it comes to distinguishing the bird motif. The motif is not immediately recognisable at a glance, making its definition somewhat ambiguous. As a result, its classification as a motif could be seen as ‘borderline,’ given its rather ‘involved’ arrangement.

A bird motif that I consider to be of the highest quality. The main elements—head, wings, and body—are all clearly distinguishable.

Colouration

A minimum of three colours is required for map colouring. While three colours would have sufficed, such a scheme would be considered ‘inelegant’ given the composition’s symmetrical structure, which features order-4 rotation. Therefore, to highlight the four orientations of the motif, four colours have been used.

A bird motif that I consider to be of the highest quality. The main elements—head, wings, body and tail—are all clearly distinguishable.

Colouration

A minimum of three colours is required for map colouring. While three colours would have sufficed, such a scheme would be considered ‘inelegant’ given the composition’s symmetrical structure, which features order-4 rotation. Therefore, to highlight the four orientations of the motif, four colours have been used.

However, rather than a simple selection of red, yellow, green, and blue, the chosen palette is more sophisticated to ensure cohesion. Two contrasting colours—blue and brown—form the basis of the scheme. Additionally, each is presented in both light and dark variations, resulting in a four-colour system that complements all four orientations of the motif.

2 June 2025. Minor revision of existing text from Classic Sites.