The Arabesque of Paul Barchilon

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1 The Arabesque of Paul Barchilon by Annie Chrietzberg Paul Barchilon s work is covered with complex and precisely laid out pattern. If you delve into his mind, you ll find that there is a structure and reason more complex and expansive than the work itself. Each one of his patterned pieces is an expression of a 0 year old Islamic practice of creating pattern, called arabesque. Paul s mother is a painter, his father was a professor of 1thcentury French literature and is also of Moroccan heritage. During school holidays and for sabbaticals, Paul s family would go to Morocco to visit relatives, where Paul would spend extensive periods of time surrounded by architectural arabesque. He studied ceramics at the University of Colorado, Boulder, but left school early to give his full attention and exploration to observing and practicing arabesque patterns. The arabesque motif, found in mosques and other forms of Enlightened Monarchs, 1 in. (1 cm) in diameter, glazed white earthenware architecture, is an expression of the Islamic view of unity and the with gold detailing. order of nature. Visually it relates to fractals (a rough or fragmented geometric shape that can be split into parts, each of which is, at least approximately, a reduced-size copy of the whole) but the pattern is ultimately done by the artist s hand and eye. Arabesque uses tessellation, which is the laying out of repeating shapes into patterns with no gaps or overlap to cover a surface or plane (think of MC Escher s work). In the geometric mode, which Paul uses, repeating shapes often have an integral symbolism, and the way these shapes tessellate in an infinitely expanding pattern relates to the underlying structure of the material world. This connection between the physical and spiritual nature of the world and art is known as sacred geometry in Western culture. PotteryMaking Illustrated September/October 0

2 Creating Complex Geometric Patterns 1 When creating designs, you have a couple of options. You can either sketch the idea on paper from start to finish (figure 1) or start with a sketch then create the pattern in Photoshop or Illustrator for greater control over the image and more flexibility to create variations on a theme (figures A F). Divide a circle into 1 equal parts. You can see two heptagons, one in blue and one in gold. In the final pattern, there will be two separate continuous lines that overlap each other just as these polygons do. A B Draw lines connecting every fourth point to create a 1 pointed star inscribed within the heptagons. To create radial arms, draw circles around the periphery. These will be connected in the next stage. Next, connect every third point along the periphery. This will create intersections that define the actual pattern. C D Add the spokes of the radial arms (in red) as well as a series of smaller circles whose intersections with other lines help define the shapes along the edge of the pattern. Draw thick lines that join all the intersections you want to use. If working on paper, start by making these lines in pencil then ink only the lines you want and erase the rest. Erase the foundation lines and add in lighter outlines where lines intersect to create the interlace effect. E F PotteryMaking Illustrated September/October 0

3 Generating a Pattern First, determine the number of divided sections you want in your circle. The more divisions, the more complex your design can be. (See page for tips on dividing a circle into six or twelve sections.) To make more or fewer divisions than what s shown, the same principles apply. Here are the steps for drawing a complex pattern. Begin with a circle divided into fourteen equal parts. Once you have the circle drawn and divisions marked, you can choose to create the entire design on paper using a ruler and compass (figure 1), or scan in the drawing of the divided circle, open it in Photoshop or Illustrator, and continue working on the rest of the pattern on the computer (figures A F). Since the pattern is repetitive, Paul finds that he reaches a point where it s more efficient to explore options with a design program. There are an infinite number of shapes that tessellate and it is easier to discover and to manipulate the pattern digitally. Exploring possible color schemes is easier to do digitally as well. Regardless of whether you work on paper or on a computer, each step builds a layer of lines and circles based on the first set of divisions you made. In figure A, you can see two heptagons, one in blue and one in gold. In the final pattern, there will be two separate continuous lines that overlap each other the same way these two polygons do. Next, draw lines connecting every fourth point. This creates a 1 pointed star which is inscribed within the heptagons (figure B). To add parallel, spoke-like lines that radiate from either side of the exact center point of the design, draw circles around each point along the perimeter. They will delineate the spacing between the pairs of radiating spokes (see the red lines in figure D). Connect every third point along the periphery; these lines will create intersections needed to create the actual pattern (figure C). Draw in the spokes of the greater arms (in red) as well as a series of smaller circles whose intersections with other lines help define the shapes along the edge of the pattern (figure D). Draw thick lines that join all the intersections you want to use (figure E). This step takes a very long time to do in pencil and ink on paper, and requires a lot of guidelines to Trace the outlines of the pattern onto the platter using a pencil. Paul uses an opaque projector to display his paper patterns onto his work. Start to build up the image with layers of slips or commercial underglazes. Start in the center and work your way out, painting the color in stages. In between color stages, set the platter on a drafting table. The rope loops around the foot ring and holds the platter in place. Articulate and sharpen the lines with a carving tool and remove any debris with a soft brush. Always wear a mask when scraping on bone dry ware PotteryMaking Illustrated September/October 0

4 Arabesque uses tessellation, which is the laying out of repeating shapes into patterns with no gaps or overlap to cover a surface or plane (think of MC Escher s work). be drawn in. Using a computer, this step can be completed in just a few hours. Finally, hide all the layers with foundation lines (in Photoshop) and add in small white lines to create the interlace effect (figure F). This process takes about 0 hours of designing, drawing, and then completing the pattern on the computer. Transferring and Painting the Pattern When the pattern is finished, print it out and use an overhead opaque projector to project the image onto an unfired platter. Carefully trace each shape with a pencil or sharp tool (figure ). Wipe away any excess debris with a soft brush and then begin to apply commercial slips or underglazes (Paul uses Duncan Cover Coat and Amaco Velvet Underglazes) to build up the pattern in color stages (figure ). Paul recommends sitting in a slightly reclined position and using large pieces of foam to support the work comfortably in your lap. In between each color layer application, move the piece to a drafting table (figure ) and use a sharp tool to refine the edges and lines (figures & ). Alternate stages of decoration between applying color and carving the patterns lines to sharpen them and clean up the edges. The articulating of each line removes any messy painting lines (figure ). This alternating process of painting and refinement allows for a high level of detail in the finished piece (figure ). Paul uses two commercial clay bodies red and white, purely for aesthetic reasons. He lets the color of the clay show through and it becomes part of the pattern. He bisque fires after painting the patterns, then applies a clear glaze and fires again. He occasionally uses gold luster on the glazed ware and fires a third time. n Annie Chrietzberg is a ceramist who, among other things, teaches workshops in the US and Canada. You can keep up with her at Paul Barchilon is an artist and teacher in Boulder, Colorado. He finds endless fascination in the mysteries of the circle, and was seduced by the magic of fire and earth at a young age. To see more of his work visit PotteryMaking Illustrated September/October 0 With each new layer, the pattern expands. The refined edges of various shapes are visible as lightly carved lines. For all designs, alternate between building up the color layers and refining the lines of the pattern. Starlight, 1 in. (1 cm) in diameter, glazed earthenware, by Paul Barchilon.

5 Dividing the circle into six parts H F G N F G I M E A B E A B D C L D O C J fig. A fig. B Geometry 1 by Paul Barchilon From any point A with any radius, draw a circle. To divide into twelve parts, center your compass on point G. To divide a circle into six equal sections, first draw a circle from any point (A) with any radius (figure A). Using the same radius, place the compass on any point (B) on the circumference and make marks at (C) and (G). Place the compass on point (C) and make marks at points (D) and (B). Continue around the circle, marking in both directions, until you have made small Xs. To divide a circle into parts, place your compass on point (G). With the same radius, make a mark outside the circle. Then center the compass on (F) and make a second mark, so that the two lines intersect at (H) (figure B). Repeat this procedure around the circle until you have Xs. Next line up your ruler between any two of these points (e.g., H and K) on opposite sides of the circle. Make marks on the circumference at (N) and (O). Repeat this with the remaining points (J) and (M), (L) and (I). After dividing the circle into, number your points. It s now possible to make several unique and complex patterns simply by connecting lines between the numbers (figure C). You may also combine different sets of lines, and create smaller lines inside of a given shape. Tip: To save time later, make copies of a circle with any number of equally spaced marks around the circumference so you can easily try variations of a pattern without having to measure all over again. K fig. C 00 Paul Barchilon PotteryMaking Illustrated September/October 0