Methods for Abstraction: Part 1 of 2 Introduction

I am working on an instructional supplement for methods of abstraction.  Following is the introduction.  

In this series, Picasso reduces and simplifies the image of the bull to arrive at the essence, or the spirit of the animal.
Bull, Plates I-XI, Pablo Picasso. Source: NationalGalleries.org

When thinking about Abstraction applied to drawing, there is more than one meaning. In the very act of drawing something, we abstract it, or remove it from a literal experience. We translate it from the “real” world into the realm of drawn lines, shapes and colors. We take it from object to image. Images are innately abstract; they are not “real;” they are artistically created. Abstraction also refers to the inherent process of making art, in the selection of what to draw, and what to include in its representation. It also refers to an art style where the artwork is deliberately designed, drawn, painted, or sculpted in such a way for you to discover something intangible but true about it (Enstice, W. & Peters, M., 2003). At its most fundamental definition—to abstract is to simplify, exaggerate, or distort an idea, image or object. In the next few pages, methods will be presented that will show how to abstract representational imagery to it’s basic essence while maintaining the illusion of its three-dimensional form.  First we will briefly review what abstract art is, explore some methods used to arrive at it and then summarize by considering a list of questions directed towards self-evaluation of the processes and results.

                  Abstract art is imagery that departs from representational 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. We will focus on an area of abstract art called Cubism. In Cubism the subject matter is broken up, analyzed and reassembled in an abstracted form. Pablo Picasso and Georges Braque initiated the movement when they followed the advice of Paul Cézanne, who said artists should treat nature "in terms of the cylinder, the sphere and the cone (Artlex.com 2011).

                  In this lesson, we focus on the concept of abstraction in the Cubism sense of simplifying and rearranging still recognizable objects, the “re-presentation” of the form of objects and their position in space instead of their imitation through illusionistic means; using an analytic process of fracturing objects and space, and like the surgeon dissecting a cadaver (Art & Philosophy, 2011), we will analyze segment (and reassemble) light and shadow, and even color.

 “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 include maintaining an appearance of three-dimensional form. Procedures that will be demonstrated include: Simplification, Extreme Cropping, Contour Continuation/Fracturing, Overlapping/Transparency, Exaggeration/Distortion and Expansion & Compression/Distance of Space. Further abstraction will be explored in Abstraction Part 2 which deals first with Flattening, Simultaneity or Multiple Views, Replacement, Repetition, Texture and Patterning. Most of the abstraction methods in Part 1 and Part 2 can be applied abstraction maintaining form or abstraction resulting in flat shapes. An important issue is that the subject matter remains somewhat recognizable.

Although the methods and procedures outlined to produce abstract art are effective, sometimes the artist still feels a dryness about the work.  Many artists will use prompts to motivate feeling in their abstract work. Conceptualizing expressing an emotion, interpreting an abstract word, such as time, listening to particular music as inspiration or illustrating the sound are some effective leads in combination with the methods (LearntoArt, 2011).

As you approach abstraction in your drawing, it is important to 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.  I agree with the words of artist, teacher and art theorist Gerald Gollwitzer that, “there is never one single correct solution, but many equally valid interpretations”.  You owe it to yourself as an artist to explore many tactics until you find which best allows you to express yourself, whether it is in one approach.

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)