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.