This is Survivor (Kresek, Joan 2011), my most recently completed painting that was not a commercial commission. It is 24" x 36", acrylic paint on gallery wrapped canvas.  It follows the theme of Shrine, which I have been working with for the past 15 years.   I grew up immersed in a religious household. Daily, I observed traditional shrines - saints in marble niches at church, homemade shoebox shrines at home, icons in plaster alcoves throughout the Catholic school, bathtub Marys in neighborhood yards and sculptures of martyrs in rock grottos in alleys. I was awed by the presentation. Frequently, when making compositional choices for still life painting, the idea of placing subjects that appealed to me in a shrine-like setting seemed natural.  Although sometimes I used official religious figures, the sacred idols in my paintings are usually nature’s creatures and symbolic portraits of people that have passed through my life, presented in a setting that suggests reverence. I'm sure that I will continue this direction in some way, but am also working with other elements.

I've been away from my blog for awhile, pursuing my Master's Degree at Regis University.  As I approach this fall, I plan on trying some new methods and themes to both my painting, 3-D work and teaching and will be posting some of those explorations here.  Please feel free to comment!

Flattening

2011 Joan Kresek
All images are copyright protected and may not be copied, saved, downloaded,
reproduced, or otherwise used in any way without my written permission.

After the forms have been simplified into shapes, remove any sense of vanishing point perspective, volume via shading, highlight and shadow, or chiaroscuro. It is as though the shapes have no mass or depth, only length and width. It is as though the shapes have no volume.  True flatness is not concerned with the form of the objects, figure/ground, or a focal point or area of emphasis.  Remember to keep the imagery somewhat recognizable.

Note: The method demonstrations will continue to use my still life “Favorite Things” as the source drawing.

    

Simplification

Abstract Figure, Facing Left: Figure S

 Oskar Schlemmer, Etching

Source: MoMA

Simplification The most basic method in abstraction is simplification and stylization of a detailed drawing into a geometric drawing (Brommer, 2009).  Begin by carefully observing your still life drawing.  Decide what the basic geometric shapes of the composition are.  Work them out roughly on sketch paper. Do a thumbnail drawing, representing the shapes as contour lines, without their details. Do as many as you need, but check the original to make sure you are maintaining the essence of the objects.

In Methods of Abstraction: Part 1, it was important to maintain the appearance of three-dimensionality in the forms.   As we employ the first basic principle of abstraction – simplification – in the methods reviewed here, we want to remove the presence of form, reducing the image to Flatness.  This kind of abstraction also has no depth to it.  Cubism was a defining moment for flatness in Modern art. Cubist artists worked to create spatial ambiguity; representation of form without a clear and singular perspective. Greenberg wrote that, "...the Cubist counter-revolution eventuated in a kind of painting flatter than anything in Western art since before Giotto and Cimabue - so flat indeed that it could hardly contain recognizable images." (Chris, 2011). In an attempt to make the objects look flat, the shapes cannot show any sense of depth or where they are in space. Therefore, after the forms have been simplified into shapes, remove any sense of vanishing point perspective, volume via shading, highlight and shadow, or chiaroscuro. It is as though the shapes have no mass or depth, only length and width. It is as though the shapes have no volume.  True flatness is not concerned with the form of the objects, figure/ground, or a focal point or area of emphasis.  There are many levels and combinations between the original still life and the simplified flat abstract drawing.  It is important to keep the imagery somewhat recognizable, and use a number of methods for abstraction. 

Methods for Abstraction: Part 2 of 2 Introduction

Man With A Hat and Violin, Pablo Picasso, newspaper and charcoal.

Source: MetMuseum.org

This is the second part of the supplement Methods for Abstraction. As stated in Methods for Abstraction Part 1, the most fundamental definition of abstraction is to simplify, exaggerate, or distort an idea, image or object. In the following pages, methods will be presented that will show how to abstract representational imagery to its basic essence, first by developing it into its flattened state, beginning with simplification.  After exploring various methods used to arrive at abstraction on a two-dimensional surface there will be a list of questions directed towards self-evaluation of the processes and results.

                  Abstract art is imagery that departs from representaional  accuracy, to a variable range of possible degrees. Abstract artists select and then exaggerate, distort or simplify the forms suggested by the world around them (Artlex.com). We will continue our focus on Cubism, where the subject matter is broken up, analyzed and reassembled in an abstracted form.

                   “An abstract artist can simplify or exaggerate the features of his subject to make an abstract painting, drawing, or sculpture. Abstraction in art can be literally explained as the removal of some parts or qualities of the subject as you can see it in reality, in order to discover its inner essence” (Drury, F., & Stryker, J. (2009). With this in mind, this supplement will present examples of abstraction methods, using your own realistic still life drawing as reference.  All of the examples will be based on Flatness, which strips even more reality from the objects by discarding not only details and unnecessary elements, but all traces of form as well; thus, reducing the objects to their basic geometric shapes.

Procedures that will be demonstrated include Flattening, Simultaneity or Multiple Views, Replacement, Repetition, Texture and Patterning. Many of the methods explored in Methods for Abstraction Part 1: Simplification, Extreme Cropping, Contour Continuation/Fracturing, Overlapping/Transparency, Exaggeration/Distortion and Expansion & Compression/Distance of Space can also be applied to abstraction beginning with flat shapes. It is important to remember that the subject matter remains somewhat recognizable.

Again, as you approach your drawing with abstraction methods, keep in mind the principles of design such as Unity, Unity with Variety, Emphasis/Focal Point, Balance, and Rhythm as well as design elements of Shape, Line Quality, Texture, Illusion of Space, Value, and Color (Lauer & Pentak, 2002). The design choices you make contribute to how your intention is expressed. 

Remember the words of artist, teacher and art theorist Gerald Gollwitzer that “there is never one single correct solution, but many equally valid interpretations”.  As an artist, you owe it to yourself to explore many tactics until you find which best allows you to express yourself, whether it is in one approach or a combination.

All color demonstration drawings here use color schemes of a dominant analogous series with a complimentary accent color. An accent color is less than 25% of the overall color used.  The color schemes are:

·       Red / Red-Orange / Orange + Blue-Green

·       Red-Orange / Orange / Yellow-Orange + Blue

·       Orange / Yellow-Orange / Yellow + Blue-Violet

·       Yellow-Orange / Yellow / Yellow-Green + Violet

·       Yellow / Yellow-Green / Green + Red-Violet

·       Yellow-Green / Green / Blue-Green + Red

·       Green / Blue-Green / Blue + Red-Orange

·       Blue-Green / Blue / Blue-Violet + Orange

·       Blue / Blue-Violet / Violet + Yellow-Orange

·       Blue-Violet / Violet / Red-Violet + Yellow

·       Violet / Red-Violet / Red + Yellow-Green

·       Red-Violet / Red / Red-Orange + Green 

·       Black, white, gray and any of the brown earth colors like raw or burnt umber can be used, either as line or mass.

Collage can be also used, as long as the color adheres to the dominant analogous color schemes and does not exceed one third (1/3) of the overall picture plane.

History of Still Life Painting Exercise 1: Umber Underpainting Technique

History of Still Life Painting Part 1 Exercise: Umber Underpainting Technique

Materials and Equipment 

·       Soft vine charcoal and a soft graphite pencil

·       16”x20” stretched canvas or canvas board

·       acrylic Paints: 

o   The six double primaries: cadmium red medium, alizarin crimson, cadmium yellow medium, lemon or hanza yellow, pthalo blue (green shade), ultramarine blue (red shade), burnt umber, black and white

·       acrylic matte painting medium

·       brushes: a small pointed round and a medium filbert    

·       palette, water bucket, Masters brush cleaner, lint-free rag

·       objects and drapery

·       shadow box: a cardboard box large enough to comfortably hold all of the objects in  the set up.

·       clip-on lamp with a 75 watt light bulb and an extension cord

Subject:  Three to five opaque objects with a matte sheen.

The goal of this exercise: to experience the Indirect Painting Method of Umber Underpainting -applying all darks first with the classic umber wash, continuing to build color semi-transparently and opaquely.  This painting method was used by many of the master painters of the Renaissance, including Leonardo da Vinci.

Step by step proceedure:

1).  Assemble your objects in your shadow box (a shadow box is a box, usually cardboard, that is big enough to hold your set up with extra room around it). The purpose of a shadow box is to shield your set up from ambient light, emphasizing the one light source effect on body shadow and cast shadows.  You want to be able to see the following tones on the objects:

·       The highlight/centerlight, where the brightest light is, where the object is in a direct line with the light. The surface texture affects the appearance of light, for instance, a shiny object will have sharp highlights and a rough object will have a centerlight area that has soft edges.

·       The bodytone (halftone), the local value (the lightness or darkness of the object when not affected by strong lighting) of the object, located between the light and the body shadow.

·       The body shadow (core shadow, basetone), where a form’s shape is turned away from the line the light. This is the darkest tone on the object.

·       The reflected light which is relatively weak light that has bounced off a nearby surface onto, and near the edge of, the shadow side of the form.

·       The cast shadow is connected to the shapes: The cast shadow, where a form stands in the way of the light. It is often the darkest area in the composition and will be darkest and have the sharpest edges closest to the object casting it.  It follows the surface it is cast on.  Notice how it changes direction as it goes from a horizontal surface to a vertical surface.  According to Helen Van Wyk, these are the five tones necessary to represent a three-dimensional object on a two-dimensional surface.

2).  Direct a light from the top left or top right, a little in front, so that the three-  dimensional form of the objects is clearly seen.

3).  Stage your set-up, trying out a variety of objects and positions of the objects.

4).  Slide the shadow box to the left or right until you can see the set up and still look directly at your painting surface.

5).  Using a viewfinder, observe your set up and choose a view.

6).  Do a rough, gestural drawing with charcoal, very lightly on your support first by simplifying your shapes to ovals, indicating their placement on the support.

7).  Next, accurately but lightly, draw in the contour of the shapes with umber paint thinned with water, using a small pointed round brush or a soft graphite pencil. When the paint is dry, dust off the remaining charcoal.

8).   Observe the set up by squinting so that you can see three values: light, middle and dark.

• Now continue the underpainting as a glaze: acrylic paint mixed with acrylic painting medium, which has a viscous consistency, creates a glaze—it will be transparent but unlike a watery wash, it will stay where you apply it, even on a vertical surface.

     9). Mix burnt umber paint with acrylic painting medium to get a very transparent umber color. Apply this umber color to the drawing on your support very transparently.   Glaze the background if your set up has a middle value or darker background or drapery.  See Illustration #1.

     10). Paint an underpainting by applying the transparent umber color to the shadow side of the objects, a little lighter than you think they should be. While wet, soften the dark edges where they need to transition into the light areas.  See Illustration #2.

     11). Now you want to “heighten with white” – that is, find the areas in the set up that have very light colors, very bright colors and highlight areas and add extra opaque white paint in those areas of your painting.  You need to be sensitive to the edge treatments: soft on curved plane changes, hard on sharp plane changes.  Let this dry completely.

     12). Observe the color in your set up. Apply the colored glaze to the middle value areas.  This is where the local color and value is.  Apply the glaze over the dark areas also, but leave the lightest areas white. Layer additional color to strengthen the existing dry color, or to warm it, cool it and or neutralize the intensity by adding that color’s complement.  See Illustration #3.

13). Add opaque white highlights.  Using opaque paint, add final details and accents. See Illustration #4.

2011 Joan Kresek
All images are copyright protected and may not be copied, saved, downloaded,
reproduced, or otherwise used in any way without my written permission.

References for Methods of Abstraction, Part 1

References

Art & Philosophy: Leader of a Creative Revolution. Retrieved from

http://www.govhs.org/vhsweb/gallery.nsf/Files/Thinkers+Who+Shaped+the+Twentieth+Century:+Picasso/$

file/art.html

McCully, M. (2011) Pablo Picasso retrieved from www.biography.com/articles/Pablo-Picasso-944002&part+3#59631

Brommer, G. (2009) Creating Abstract Art with Gerald Brommer. Crystal Productions DVD

Drury, F., & Stryker, J. (2009) Drawing: Structure and Vision. Upper Saddle River: Pearson    Prentice Hall

Enstice, W. & Peters, M. (2003). Drawing: Space, Form, and Expression. Upper Saddle River: Pearson Prentice

Hall

Lauer, D. & & Pentak, S. (2002). Design Basics. Roanoke: R. R. Donnelley

Seven Exciting Exercises in Abstract Art (2011) Retrieved from

http://www.learntoart.com/index.php/archives/art-general/7-exciting-exercises-       in-abstract-art/ 
www.Artlex.com (2011)