Math ImageryThe connection between mathematics and art goes back thousands of years. Mathematics has been used in the design of Gothic cathedrals, Rose windows, oriental rugs, mosaics and tilings. Geometric forms were fundamental to the cubists and many abstract expressionists, and award-winning sculptors have used topology as the basis for their pieces. Dutch artist M.C. Escher represented infinity, Möbius ands, tessellations, deformations, reflections, Platonic solids, spirals, symmetry, and the hyperbolic plane in his works.

Mathematicians and artists continue to create stunning works in all media and to explore the visualization of mathematics--origami, computer-generated landscapes, tesselations, fractals, anamorphic art, and more.

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burns-complexflow-4.jpg
"Flow of complex valued functions (4)," by Anne M. Burns, Long Island University, Brookville, NYInterpreting a complex valued function as a vector field over its domain provides a wealth of opportunities for producing visually appealing images. Starting with a plot of the vector field over a rectangular grid and assigning colors as functions of length and/or direction we easily discern the multiplicities of the zeros and poles of the function. Plotting the vector field of the function only along certain paths, inventing functions for assigning length and color to each vector produces some beautiful images. See more Flows of complex valued functions at http://myweb.cwpost.liu.edu/aburns/flows/flows.html. -- Anne M. BurnsOct 22, 2015
burns-complexflow-3.jpg
"Flow of complex valued functions (3)," by Anne M. Burns, Long Island University, Brookville, NYInterpreting a complex valued function as a vector field over its domain provides a wealth of opportunities for producing visually appealing images. Starting with a plot of the vector field over a rectangular grid and assigning colors as functions of length and/or direction we easily discern the multiplicities of the zeros and poles of the function. Plotting the vector field of the function only along certain paths, inventing functions for assigning length and color to each vector produces some beautiful images. See more Flows of complex valued functions at http://myweb.cwpost.liu.edu/aburns/flows/flows.html. -- Anne M. BurnsOct 22, 2015
burns-complexflow-2.jpg
"Flow of complex valued functions (2)," by Anne M. Burns, Long Island University, Brookville, NYInterpreting a complex valued function as a vector field over its domain provides a wealth of opportunities for producing visually appealing images. Starting with a plot of the vector field over a rectangular grid and assigning colors as functions of length and/or direction we easily discern the multiplicities of the zeros and poles of the function. Plotting the vector field of the function only along certain paths, inventing functions for assigning length and color to each vector produces some beautiful images. See more Flows of complex valued functions at http://myweb.cwpost.liu.edu/aburns/flows/flows.html. -- Anne M. BurnsOct 22, 2015
burns-complexflow-1.jpg
"Flow of complex valued functions (1)," by Anne M. Burns, Long Island University, Brookville, NYInterpreting a complex valued function as a vector field over its domain provides a wealth of opportunities for producing visually appealing images. Starting with a plot of the vector field over a rectangular grid and assigning colors as functions of length and/or direction we easily discern the multiplicities of the zeros and poles of the function. Plotting the vector field of the function only along certain paths, inventing functions for assigning length and color to each vector produces some beautiful images. See more Flows of complex valued functions at http://myweb.cwpost.liu.edu/aburns/flows/flows.html. -- Anne M. BurnsOct 22, 2015
circular-celtic-knot.jpg
"Circular Celtic Knot," by Gwen Fisher (www.beadinfinitum.com)Materials: size 11° and 15° seed beads and thread. 34 mm diameter.

Beaded knots are quite flexible. You can turn them inside out, and they can be worn as finger rings, of flatten them to make rosettes for pendants or earrings. This knot is a Brunnian link, meaning that if any one component is removed, then the remaining pieces are unlinked unknots. --- Gwen Fisher (www.beadfinitum.com)
Oct 22, 2015
beaded-quilt-18-detail.jpg
"Beaded Super Right Angle Weave Quilt for a Group of Order 18 (detail)," by Gwen Fisher (www.beadinfinitum.com)Materials: seed beads in sizes 8°, 11°, 15°, thread, silk and cotton fabric, and batting. 13 inches square.

This piece began as a study in color for what I call Super Right Angle Weave (SRAW), a bead weave based upon the regular tiling by squares. Each beaded patch is 6 square by 6 squares of the tiling. I weave loops of four beads in each square face and attach these loops across the edges of the tiling with a single bead between the loops. For this set, I use a coloring with three bead types (two types for the faces and one type for the edges). I chose three colors in each of three sizes, for a total of nine different bead types. The 18 patches are arranged in sets of three, where each row uses the same three bead types, but arranged differently. The patches of beadwork correspond to a group of order 18, and Tom Davis identified this group as the generalized dihedral group for E9. --- Gwen Fisher (www.beadfinitum.com)
Oct 22, 2015
beaded-quilt-18.jpg
"Beaded Super Right Angle Weave Quilt for a Group of Order 18," by Gwen Fisher (www.beadinfinitum.com)Materials: seed beads in sizes 8°, 11°, 15°, thread, silk and cotton fabric, and batting. 13 inches square.

This piece began as a study in color for what I call Super Right Angle Weave (SRAW), a bead weave based upon the regular tiling by squares. Each beaded patch is 6 square by 6 squares of the tiling. I weave loops of four beads in each square face and attach these loops across the edges of the tiling with a single bead between the loops. For this set, I use a coloring with three bead types (two types for the faces and one type for the edges). I chose three colors in each of three sizes, for a total of nine different bead types. The 18 patches are arranged in sets of three, where each row uses the same three bead types, but arranged differently. The patches of beadwork correspond to a group of order 18, and Tom Davis identified this group as the generalized dihedral group for E9. --- Gwen Fisher (www.beadfinitum.com)
Oct 22, 2015
beaded-hyperbolic-tiling.jpg
"Hyperbolic Tiling," by Gwen Fisher (www.beadinfinitum.com)Materials: size 11° seed beads and thread. 63 mm diameter

This is a beaded version of the hyperbolic rhombitetrahexagonal tiling. This tiling is composed of squares and hexagons with three squares and one hexagon around every vertex. I made two of the types of squares green to emphasize the stripes in the tiling. The other type of square is purple, and the hexagons are pink. To make this tiling with bead weaving, I used an across-edge weave. In particular, for the squares, I weaved loops of four beads of the same color for each square, and loops of 6 beads for the hexagons. Then, I attached the loops with one bead per adjacent pair. So the holes of the beads that lie on the edges of the tiling are perpendicular to the the edges. --- Gwen Fisher (www.beadfinitum.com)
Oct 22, 2015
unlikely-dodeca-2.jpg
"Unlikely Dodecahedron (View 2)," by Gwen Fisher (www.beadinfinitum.com)Materials: size 15° and 11° seed beads and thread. 23 mm on an edge, 58 mm diameter.

I applied the beading techniques I used to turn Impossible Triangles into beaded art objects to a dodecahedron. The Unlikely Dodecahedron generates no corresponding optical illusion. The faces form ten distinct paths that twist around the sculpture in unexpected ways. --- Gwen Fisher (www.beadfinitum.com)
Oct 22, 2015
unlikely-dodeca-1.jpg
"Unlikely Dodecahedron (View 1)," by Gwen Fisher (www.beadinfinitum.com)Materials: size 15° and 11° seed beads and thread. 23 mm on an edge, 58 mm diameter.

I applied the beading techniques I used to turn Impossible Triangles into beaded art objects to a dodecahedron. The Unlikely Dodecahedron generates no corresponding optical illusion. The faces form ten distinct paths that twist around the sculpture in unexpected ways. --- Gwen Fisher (www.beadfinitum.com)
Oct 22, 2015
unlikely-tetra-2.jpg
"Unlikely Tetrahedron (View 2)," by Gwen Fisher (www.beadinfinitum.com)Materials: size 15° seed beads, 3 mm bugle beads, 3 mm Swarovski crystal, thread. 34 mm on an edge.

I applied the beading techniques I used to turn Impossible Triangles into beaded art objects to a tetrahedron. The Unlikely Tetrahedron generates no corresponding optical illusion. The faces form three distinct paths that twist around the sculpture in unexpected ways. Each beam includes all three colors of faces, with one color on two opposite faces. Like a Möbius band, as you follow a path around the piece, sometimes when you get back to a beam, you return to the opposite face. Thus, it feels like you have to travel around the sculpture twice just to get back to where you started. --- Gwen Fisher (www.beadfinitum.com)
Oct 22, 2015
unlikely-tetra-1.jpg
"Unlikely Tetrahedron (View 1)," by Gwen Fisher (www.beadinfinitum.com)Materials: size 15° seed beads, 3 mm bugle beads, 3 mm Swarovski crystal, thread. 34 mm on an edge.

I applied the beading techniques I used to turn Impossible Triangles into beaded art objects to a tetrahedron. The Unlikely Tetrahedron generates no corresponding optical illusion. The faces form three distinct paths that twist around the sculpture in unexpected ways. Each beam includes all three colors of faces, with one color on two opposite faces. Like a Möbius band, as you follow a path around the piece, sometimes when you get back to a beam, you return to the opposite face. Thus, it feels like you have to travel around the sculpture twice just to get back to where you started. --- Gwen Fisher (www.beadfinitum.com)
Oct 22, 2015
wormhole_1_-_medium.jpg
"Wormhole," by Kerry Mitchell. ©Kerry MitchellThis work was created using a technique very similar to that used in Penrose Pursuit image, also in this album. However, instead of drawing the lines forming the pursuit curves, this image was rendered buy shading the areas inside of the tiles. --- Kerry MitchellSep 29, 2015
proud_-_medium.jpg
"Proud," by Kerry Mitchell. ©Kerry MitchellThis image is in my Mandelbrot and Julia sets collection of images showing the dynamics of a formula under repeated iteration. I often find simple images to be the most compelling. I like to let the structure be the focal point, not necessarily the coloring methods of the color palette. --- Kerry MitchellSep 29, 2015
penrose_pursuit_-_medium.jpg
"Penrose Pursuit, 2011," by Kerry Mitchell. ©Kerry MitchellThis is a tessellation of Penrose tiles. In this set, there are two different tile shapes, a fat rhombus and a thin rhombus. Penrose tiles are remarkable because they can be arranged (as they are here) such that the tiling never repeats, no matter how many tiles are used. Also, each tile is filled with four pursuit curves, the dark curves from each corner to a point near the center of the tile. Imagine a mouse in each corner of the tile. At the same time, each mouse begins moving toward (pursuing) the next mouse. The tracks of the mice are pursuant curves. --- Kerry MitchellSep 29, 2015
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