A Beginner's Guide to Making Abstract Art E-Book

Laura Reiter

• Herausgeber: Batsford
• Kategorie: Lebensstil
• Sprache: Englisch
• Veröffentlichungsjahr: 2024

Seitenzahl: 106

Beschreibung

A practical and inspirational resource for any visual artist who wants to paint in a less figurative way and take their first steps into the realm of abstract art. Through practical projects and easy-to-follow demonstrations, renowned artist Laura Reiter shows you how to create beautiful and unique abstracts in mixed media. Whether you want to simplify a subject into its abstract elements, or experiment with colour, line and form to make something completely new, this book will help you find an approach that works for you. It covers how to use materials creatively, focusing on watercolour, acrylics and combining different paint media, and how to have fun with colour and composition to create something unique. The author explains how to find sources of inspiration and build up a mark-making repertoire, bringing in texture and collage, and includes a wealth of playful exercises to help you develop your own individual abstract painting style. Beautifully illustrated with the author's vibrant abstract compositions, the book also features stunning examples from other leading artists whose work is partly or wholly abstract. This fascinating book is all any artist needs to successfully make the move into abstract painting.

Leseprobe

MADE BY HAND

Mixed media on canvas, 61 x 61cm (24 x 24in)

On a trip to South America I came across many handmade items made by local people. This painting remembers the people and their wares, but also refers to the ancient artefacts we found in museums. The gold object is one of these.

Contents

INTRODUCTION

1 HOW ABSTRACT DO YOU WANT TO GO?

2 GETTING STARTED

3 ADVENTURES WITH MATERIALS AND MARK MAKING

4 TEXTURE, COLLAGE AND SIMPLE PRINTING

5 COLOUR AND MEANING

6 DESIGN AND COMPOSITION

7 SOURCES OF INSPIRATION

8 FROM REALITY TO ABSTRACTION AND BEYOND

9 DEVELOPING A PERSONAL LANGUAGE

INDEX

Introduction

Wassily Kandinsky, the so-called ‘father of abstraction’, famously declared: ‘There is no must in art because art is free’. This is, indeed, an inspiring and noble thought, but finding this freedom can seem like a daunting task. I hope that this book will help you to find your way – how to produce what lies beneath a subject, not just what it appears to be on the surface. It will show you different materials and how you can use them, suggest ideas and starting points, and describe potential projects, which will help you to get results that are surprising, personal and exciting.

SUNGATE

Mixed media on canvas, 31 x 31cm (12 x 12in)

I visited some ancient ruins in a place called Tiwanaku in Bolivia. You could look through this archway with its carved figures and feel the spirit of the people who had once lived there.

So what exactly does ‘painting accessible abstracts’ actually mean? Thanks to the innovative artists of the past, artists of today can paint a multitude of subjects – landscapes, people, still lifes – and can make paintings about thoughts and ideas. In fact, anything and everything is acceptable in art today.

The emergence of abstract painting

The late 19th and the 20th centuries saw art change at an enormous rate, beginning with the Impressionists and Post Impressionists (such as Manet, Renoir, Monet and Cézanne) who, after the invention of photography, found themselves no longer responsible for reproducing a record of the ‘real’ world. Instead, they were set free to improvise in their work, focusing on colour, light and emotion. Subsequently, other groups began to emerge – the Fauvists (such as Matisse and Derain) and then the Cubists (such as Picasso, Braque and Léger). More artists followed, and in the 1940s the Abstract Impressionists emerged in New York. This group, which included Mark Rothko, Hans Hofmann, Robert Motherwell and Jackson Pollock, changed painting forever, making way for artists to become experimental. Whereas in the past, art had originated from the outside, using the real world as starting points, now it became acceptable for artists to paint from within, concentrating on expressing themselves in the actual process of painting.

Thanks to all these painters, printmakers and sculptors, we artists today can be as abstract, inventive, innovative and expressive as we wish – there’s a place for everyone.

Who is this book for?

Everyone knows the word ‘abstract’ and that it is associated with a type of art. This book is for students and artists who feel that they would like to move on with their work, to try to paint abstract paintings, and who want to explore ways to be more personally adventurous and expressive but are not quite sure how to do this.

Many of my students say to me: ‘I’ve got no imagination’ or ‘I’m really not creative in my work’. I will show you how, by being adventurous and taking some risks, by experimenting with different materials and techniques, and by following some simple projects, there are many ways in which you can learn to paint abstract paintings. If you can try sometimes to think ‘outside the box’ it is possible to find this creativity and imagination – it just needs to be released.

Each chapter will take you on a personal journey to new and exciting possibilities, encouraging you to keep moving and make new discoveries. This book will help you to experiment with old and new materials, to be prepared to try out new ideas, to work from outside and from internal sources, so that in time you will be able to use these ideas in ways that are entirely personal to you.

Good luck. Enjoy the journey and keep in mind the following Chinese proverb: ‘To get through the hardest journey, we need to take one step at a time – but we must keep stepping.’

1 HOW ABSTRACT DO YOU WANT TO GO?

All good paintings, be they figurative or abstract, have an abstract element, although it is more obvious in some cases than others. Paintings are not just painted – they must be designed within the rectangle of the picture plane. Their design can be described as the understructure and concerns the colour, shapes and lines that are used to create the whole. If you turn a realistic painting upside down, it is possible to ‘read’ it in terms of these elements. By doing this, you are not only less likely to be influenced by the reality of the objects, but you will also be able to see if they relate to each other and to the edges of the rectangle (the ‘world’ in which they are living). Try doing this with a painting by Edgar Degas, for example, who was a realistic painter but also a master of design.

FISHING BOATS AT ESSAOUIRA

Mixed media on paper, 31 x 31cm (12 x 12in)

Essaouira is a fishing village in Morocco. Its harbour was jam-packed with blue-painted boats all lined up next to each other, reflecting the blue sky, and contrasting with the coloured nets and light sand-coloured buildings.

How do you begin?

If a painting is to be successful, the viewer must understand exactly what the artist has tried to say. For some artists, it is important to describe, in detail, all the contents of a painting, so if it is a still life, all the objects will appear as realistic as possible. However, do remember that since this is a painting of the objects and not the objects themselves, we are already one step away from reality.

Even in this scenario, the artist will have decided such things as which object is the most significant, or if the relationship between two of the objects is paramount. This will become the focal point of the painting, and the artist will set about making it more important by, say, making it central in the picture, or having other objects ‘pointing’ towards it. To create a picture that is more to do with the essence of the subject, the artist then may begin to eliminate details and emphasize aspects such as colour or pattern. Now the artist is beginning to abstract.

What elements define an abstract painting?

Contrary to public opinion, it is possible to go a little bit abstract, or a bit more abstract or, indeed, go the whole way and be completely abstract.

What this chapter will explore is how, when and why you might decide to create an abstract picture, be it very much or only a little bit. A painting that has been abstracted in some way, or which is a completely abstract creation, is, like all other paintings, an object or entity in itself – only more so.

A realistic interpretation of a still life set-up with a sunflower, pots and pear, using watercolour.

Degrees of Abstraction

Abstract paintings can be approached from two opposite ends. The first derives from recognizable subject matter, simplifying the subject or creating motifs from it. This approach has a huge range of possibilities, ranging from simplifying shapes by removing detail, to extracting so much detail that only a tiny element of the recognizable remains.

The other end of this spectrum of abstraction is when an artist starts the painting without any visible subject in front of him, but begins by exploring the qualities of line, colour, form and texture. Sometimes the end result is as abstract as it was at the beginning, leaving responses entirely up to the viewer. As the artist proceeds, a subject may emerge – for example, if the colours are, say, ranges of blues, a watery subject may push its way forward. At other times, an artist may paint instinctively, finishing the painting when it feels right. This kind of abstract artist may be happy to let the viewers decide for themselves what they see in the picture and how they interpret it using their own experiences. The Sunflower (see opposite and here) and In a Moroccan Garden (see here) sequences featured in this chapter are examples of the first option. Examples of the second appear later in this book (for example, see here).

Materials and their contribution

If paint alone is used as a material, brush marks will make an important contribution to the overall look of the painting. In other words, lively, thick, energetic marks will give the impression of movement and energy. If the surface is smooth, a quieter ambience is created. The same is true if soft or oil pastels are used exclusively.

However, using mixed media and changing the surface of the painting in some way will enhance the picture, encouraging it to take on a more independent self and become an object in itself. But, in the same way as when we use paint alone, the way in which the collage is applied – using tissue, coloured paper, texture gels or other materials – will also have something to say about the subject. If the subject or focal point of the painting is treated differently in some way – for example, if a bottle shape is shown as particularly textured or smooth compared to the rest of the painting – the eye will be drawn to this shape, making it clearer that the picture is about this bottle, and it is therefore the most important element in the painting.

The objects are still recognizable, but all the shapes, including the shadows and pattern, are simplified. Colours remain essentially true to the objects. There is still a sense of space and three dimensions on the picture plane. Watercolour has been painted as a base, and then pen, oil and soft pastels have been applied on top.

When is your painting finished?

The easiest (and the most difficult) way to know this is by using your instinct. This is the case with any kind of painting, although when you have real things to cling to it is easier to assess when they might look real enough. Even so, with a realistic painting, the considerations for completion are essentially the same:

• Does the design work? Is the eye being led around the painting and back again?

• Is the focal point clear?

• Does anything need to be added or (especially) subtracted to strengthen it? ‘Less’ is so often ‘more’.

• Have you captured what you want to say?

The shapes and forms have been simplified to more basic elements. The sunflower is reduced to three circles – petals and two areas of central seeds. The leaves are reduced to triangles as is the lid of the pot. A sense of space is maintained by keeping the drawing of the vase in perspective and placing dark purple behind the complementary yellow of the sunflower. Candle-wax resisting watercolour and soft pastels have been used.

Using the Photoshop program on the computer, outlines of the objects are drawn, again in a symbolic way, and then scanned. The shapes are coloured using the ‘filler’ tool. Colours still refer to reality but outlining is dominant.

The objects have been reduced and simplified to dominant shapes and colours. The striped vase is just that – stripes – and the petals and seeds of the sunflower are presented as symbols, using teardrop shapes, zigzags and circles. The pots and pear are flattened, although it is still possible to have an idea of what the original objects were. This painting has been made in acrylic paint.

Finally, using acrylic paint and direct and lively brush marks, the favourite elements of each object and the overall appearance and appeal of the still life have been portrayed. Yellow still suggests the sunflower, together with some green. The vase is grey with a suggestive curve superimposed on top, and the forms of the pots (and vase) have disappeared altogether. The sunflower seeds are strong, dark dots – the only real reference to reality. Being darker, stronger and smaller than any other part of the painting, these dots are the selected, most important element of the set-up. The objects and their surroundings have been reduced to show the artist’s favourite area of response.

In a Moroccan garden