EXPERIMENTS IN LAYERING, USING MODES, PART 5

Chippewah 12 Continued Experiments in Layering, using Modes.   Unfinished.   © by Ruth Zachary

CHIPPEWAH 12 Dancing Around White  Layer 3 in top position. Mode – Saturation.

            Background Layer, Chippewah, Mode -Normal

            Layer 1, KP Mod, - Second from Top position, Mode- Multiply, Changed right  

                 side edge to balance composition. Note, this layer is smaller with space around it.

            Layer 2, Pale Blue Dawn, second up from bottom, Mode- Exclusion

When using this experimental method to create new compositions by layering in Photoshop, the next step after a promising experiment, is to intentionally make changes in the composition. I think the above image could be lighter, and could increase in contrast, with lighter lights, but probably no darker darks.

Because of the contrast shown above, the blue/ purple oval creates a point of emphasis.

The next change would likely be to take a portion of the design and repeat it in a different orientation, by rotating it, and repeat it again smaller, or with an alteration of shape, someplace else in the picture plane, keeping the three areas assymetrical. Uneven numbers of repeated shapes or colors carry the eye throughout the picture plane, without  becoming static, as frequently happens with even numbers
of interest. This change is not shown here. But there are other kinds of adjustments to a composition to make it more interesting. (Maybe a topic for future blog posts?)

One way is to shift the purely flat geometric arrangement to include dominant diagonals.

Chippewah 13,  With a divided layer, plus rotation to create diagonals in the composition. Unfinished.

 

CHIPPEWAH 13 Dancing Around White  Layer 3 in top position. Mode – Saturation.

            Background Layer, Chippewah,  Mode -  Normal

            Layer 1, KP Mod, - second fromTop position, Mode- Difference,  rectangular  

                  shape cut in two parts, rotated  each somewhat, so lines are more diagonal,

            Also Cut out curved openings in several shapes,  to show through to the next layer.

            Layer 2, Pale Blue Dawn, second up from bottom, Mode- Luminosity

The above version is likely one I would complete, with a likely satisfactory outcome.
I like the colors and the dynamic created by the diagonals.

Not shown: Probably I would repeat shapes in the "almost margins" to create irregular extensions in the completed composition. I might also create the finished composition in collage, with possible variations from what is shown here.

Another way to vary the composition might be to cut out organic shapes, as open spaces or as shapes cut out of the image layer showing... in this case, Layer 1 -  KP Mod, shown below

Chippewah 15, Altering the design to improve Composition. Organic Cut-out Areas. Unfinished.

 

CHIPPEWAH 15 Dancing Around White, Layer 3 in top position, Mode -  Saturation.

            Background Layer, Chippewah, Mode Normal. Four areas were cut out, and 

            left white.  If the background was transparent, the effect would be different.

            Layer 1, KP Mod, - Second from Top position, Mode- Color Burn,

            Layer 2, Pale Blue Dawn, second up from bottom, Mode- Lighten.

This is for demonstration only: I would change the color scheme of this arrangement, perhaps add a light valued texture to the white areas, plus add one more organic cutout to this image. This might be a dark shape that intersects the two large cut out areas, creating a point of emphasis. Since it is not finished, and I cannot plan further until more steps are executed, please consider this as an example of how experimentation works, one step at a time and not pre-planned from start to finish. It really is an exciting way to work, and involves risk, because some attempts never work out.

SUMMATION- PART 6 -  NEXT TIME 

Please note: My spelling may not be the best. Since I lost some visual ability a few years ago, I cannot see some letters clearly, and they run into each other, I tend to add or leave out some letters.

Writing and Images on this post are the Copyright © of Ruth Zachary.

WE LEARN FROM OUR MISTAKES. PART 4

CHIPPEWAH 10 , Experimenting with Modes in Photoshop. Unfinished.

 

CHIPPEWAH 10 – This time I ADDED  LAYER 3, into top position. Dancing Around White,  

            Shown below, Mode - Multiply

            Background Layer, Chippewah,  Mode Normal

            Layer 1, KP Mod, - second from top, Mode- Multiply, Flipped horizontally

                    Notice the linear arrangement has changed from the previous orientation.

            Layer 2 Pale Blue Dawn, second from bottom, Mode Luminosity

 

Hi  Blog Viewers –

In the last post, June 4, 2014, where CHIPPEWAH 7 was shown on my blog?  I explained  I would not use that piece as a finished composition, but only to show the dramatic color difference resulting from mode changes. This was meant to show a technique to be helpful to viewers, but not to be an example of a finished composition.

Although I am pleased that Google is showing my Abstract Art posts and my new images,  clearly I do not know the criteria for what is shown, and usually no text accompanies the images  to explain to viewers what is the bad, the good or the ugly.

The next two pieces were clearly much more satisfying, and I would wish one of them had appeared as a promotion, if that was the intent. The image above is closer to being  finished. Not yet done, I would change the contrast, and perhaps lighten it, among other choices, to feel it is complete.

So in the future, I will place the most satisfactory images at the top of my post, and the sequence of changes may not be in order. But I believe that people learn from making mistakes, and others too, can learn from mine. I will not exclude the steps in the development of an art piece, because readers might learn more by showing the problems that come up along the way to the finished work.

But perhaps the better images will be promoted by placing them at the top of the post. If I were having a show of my work, I would certainly want all of them to be as good as I can make them, and I would want all the images to be a consistent body of finished work. That is not the focus of a blog, but rather to share the process of creating artwork with anyone who is interested

I will show the settings and changes, as usual, and hopefully followers can sort this out.

Dancing Around White, Organic Abstract. Another  Textured Layer Adds to the Variations Possible When Changing Modes.

As can be seen, working with more layers allows even more possible variations. Care must be taken to save the originals and the preferred results as separate documents with unique names.  With many layers it is possible to run out of memory, and the main document must be closed and saved to really preserve the changes made. (Photoshop saves 20 steps or more so the artist can go backward, but
that uses memory.) Closing the document preserves it at the stage of closing.

CHIPPEWAH  11, Another  Change in Mode Settings Produced Another Configuration of Colors. Unfinished.

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CHIPPEWAH 11 – Dancing Around White Layer 3 in top position. Mode – Saturation.

            Background Layer, Chippewah, Mode Normal

            Layer 1, KP Mod, - Top position, Mode- Multiply,

            Layer 2, Pale Blue Dawn, second up from bottom, Mode Luminosity

I would enjoy any feedback from viewers. After all, this is my motivation for sharing my work. If you have questions, please ask and I will try to answer on this blog. Thanks


Images and Writing are the Copyright © of Ruth Zachary

MODE CHANGES IN LAYERS 3

Chippewah 7, Experiment in Layering.         © by Ruth Zachary

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CHIPPEWAH 7- Background Layer, Chippewah. Mode - Normal

            LAYER 1, KP Mod, - Top position Mode Saturation

            Layer 2, Pale Blue Dawn. Middle position,  Mode - Color

The above image may be compared with other renditions shown on the previous post, May 30th, 2014. The mode settings were recorded each time the change produced a significant difference in the image. The main colors above changed from orange tones to blue and green. I would not use the above piece as a finished composition, but only to show the dramatic color difference resulting from mode changes.

Chippewah 8, Experiment in Layering.   © by Ruth Zachary.

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CHIPPEWAH 8- Background Layer- Chippewah, Mode- Normal

            Layer 1, KP Mod, - Top position, Mode -Difference

            Layer 2, Pale Blue Dawn Middle Position, Mode -Luminosity

Mode changes to two different layers produced a dramatic difference from an image resembling the original Chippewah image, to the one above which looks more like KP Mod,  one of the other layers in the experiment.

Chippewah 9, Experiments in Layering Using Modes. © by Ruth Zachary

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CHIPPEWAH 9 – Background Layer, Chippewah, Mode -Normal

            Layer 1, KP Mod, - Top position, Mode - Multiply

            Layer 2, Pale Blue Dawn, Middle Position, Mode -Luminosity

In this case, one mode change was made to the K P Mod layer, but as you can see, the main color scheme has been altered, with brighter colors and with more contrast between light and dark. The design emphasis has changed so much that the two images might seem to be related, but no longer the same composition.

In spite of the seeming ease in achieving so many positive results, the method is not a sure fire guarantee of success. The person creating designs in this way needs to have a good sense of composition, and to be able to see which combinations have produced a promising result. Often after the design looks good, many other adjustments need to be made, with contrast, intensity of color, or placement of shapes.

There are times when I have spent hours experimenting, without producing one composition that met my standards. There were many mode changes that I did not bother to show on this blog, at all.

I would like to hear if anyone is trying similar experiments, and if you have any questions.
Please feel free to leave comments.
 

Please note: The copyright imprint on the web images are for publication here. The finished art work does not contain the imprint, and is named and signed in the normal way. Images and writing are the copyright © of Ruth Zachary.

LAYERING EXPERIMENT 2 IN PHOTOSHOP

Chippewah 5, Demonstration of Layering Using Modes. © by Ruth Zachary

This Post is a continuing demonstration of how Using the same basic layers, and how by changing the Modes of the layers, the resulting configuration of colors, shapes and relationships within a composition can be changed. The initial explanation of these experiments began on the previous post, dated May 25, 2014.

The settings for each mode change are recorded step by step:

 

CHIPPEWAH 5. layer1- Chippewah Background at Bottom , Mode- Normal

            LAYER 1, KP Mod, - Top position Mode - Saturation

            Layer 2, Pale Blue Dawn. Middle layer.  Mode – Darken

 

CHIPPEWAH 6 - LAYER 1 Chippewah, Background, Mode - Normal

            LAYER 1, KP Mod, - Top position,  Mode -Saturation

            Layer 2, Pale Blue Dawn. Middle position,  Mode - Saturation

Chippewah 6 ,  Only Layer 2 in the Middle was changed to Saturation.                                            ©by Ruth Zachary

LAYERING EXPERIMENTS IN PHOTOSHOP

Chippewah, Used as Background Layer for Series. © by Ruth Zachary

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A SERIES OF ABSTRACT LAYERING EXPERIMENTS IN PHOTOSHOP

The Series name, Chippewah, came from a nearly disintegrated year-book cover from 1920. The flaked texture and color appealed to me, and is the background layer in this series. This scan has been used  many  times. 

            KP Mod was created in Kid Pix. Pale Blue Dawn was another piece made in another Photoshop series of experiments,  named Where Visions Gather. Dancing Around White was another piece generated in the same kind of process. That piece was completed as a collage on a Masonite panel, and no longer looks like the Computer design-study.

Going through the process step by step may help the viewer to see how changes are achieved on the computer, using modes and other techniques, with many possible versions.  Sometimes the process seems easy, but sometimes I spend a whole day experimenting, with nothing to show for my time. In the explanations given below, I have recorded all steps I have tried myself.

I will continue posting these steps on this blog until they are complete.

KP Mod, Used as Layer 1 in this Series. It Was Also Used in the Imagery of the Previous Post. © by Ruth Zachary

The series began with three layers. Layer 2 was named Pale blue Dawn, shown below.

Pale Blue Dawn. Layer 2 of this Chippewah Series. © by Ruth Zachary

Chippewah Series, #4, Bright Sunshiny Day, First Result of Series,  Using Modes with Layers in Photoshop. © by Ruth Zachary

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CHIPPEWAH 4 – layer1- Chippewah  as Background, Mode- Normal.

            LAYER 1, KP Mod, - Top position, Mode -Saturation

            Layer 2 Pale Blue Dawn. Middle,  Mode Normal 

You will see in the nexr few posts, that a great many of the resulting images from this process are extremely varied and in some cases do not resemble their parents much at all. 

Most of the images measure about 14x17" and are 300 dpi in Photoshop.

From four finished pieces to begin with, a total of seventeen images resulted. Although I would not accept some of them as works to display, all the same they do demonstrate the variations adequately to use as an example of How to. Of course you will want to gather your own textures so the results from your own experiments are completely your own.

Images and Writing are the Copyright © of Ruth Zachary.

LAYERING IMAGE CUT-OUTS

-->  On March 30, I explained I was experimenting with  layering methods, using different layer combinations and different modes on the top layers. The textures originally created in low resolution paint programs were then copied into Photoshop as a means for designing, discovering color combinations and for stimulating freedom and play into my process.


I had at that time,  discovered a new technique to use with this methodology, which I hoped to share in the future. It took longer than I anticipated to return with experiments  creating compositions in this new method, because I needed to work on a theme project with realistic images just then, even though the technique worked equally well with both abstraction and realism.

Coins of the Realm 1. Computer Layered Composition  7.5x10" ©by Ruth Zachary

The layers I chose to combine included two textured abstract layers, a third layer with a Kid Pix geometric design, and then a fourth layer containing a scanned image of various coins. I used the select the white background option in Photoshop on the coin layer, to select and cut out the background around the coins just in that layer. In the above version, it is easy to see how the coins were affected by changing the modes of different layers. Some details in the coins are still visible. Working in a small size allows working faster with many layers, because it is less memory intensive.

Coins of the Realm 2. Computer Layered Composition. 7. 5x10" © by Ruth Zachary

The different colors and values were the result of changes in the modes. Even though the coins have a different appearance, the coins remained in the same relationships to each other and to the dominant design of the Kid Pix geometric composition. To save each version, I used "Save As " to preserve the images I liked. Layers were flattened in each saved version.  Paint textures on some layers can be seen on the surface, as well, although the Kid Pix design was mostly in flat colors to start with.

Coins of the Realm 3. Computer Layered Composition. 7. 5x10" © by Ruth Zachary

Changing the mode of the layers then results in other combinations. In this version, the circular motif seems to shift, although the coins did not change position. Also in this version, the coins have no details. This composition is quite different from the original Kid Pix creation, but has more of the flattened color areas like the original. I think this is the one I like best.

What is new about this method, at least to me, is that the coins were cut out and they have a completely different impact, than working with several full sized, fully filled layers. I have carried this on to yet another step, using photographic cut out images. Cut out drawings, paintings, or separated distorted images offer unlimited potential for integrating realistic or semi-realistic images with abstraction.Since this is something I have been working toward, for a long time, I find this to be very exciting! The next step of this process will appear on my Montage Blog soon.


All Images and Writing are the Copyright © of Ruth Zachary.

IN THE WIND

For four days or so, we have had rather cold dismal weather-  temps in the 50s, too cold for the mower to start, and to mow for the first time this year. Meanwhile the grass and the weeds are gaining by inches every day.

This brings me to say, in spite of best laid plans, one does not always have control of all the factors involved for dealing with daily tasks. I see many yard work responsibilities, which must be addressed when the weather is right, and in a timely manner. Sometimes it is hard to keep up with it all.

Therefore I am probably not going to blog as often as I would like over the summer months. I will write when I can, do art work when I can, with the reduced goal of blogging twice a month for a while.

Ruth Zachary.

TOASTER DOODLE?

White Bread. Computer Design in Kid Pix and Photoshop. 12x16"            © by Ruth Zachary.

This design began using Kid Pix. It started using small KP drawing and paint tools, and another, which outlines droplets, strokes, lines etc. Over the textures created, I added roughly drawn bread slices in a grid configuration. Geometric shapes, and Grids are designed to exploit patterns and composition on a two-dimensional picture plane.

After that, randomly generated tools were applied to the grid pattern, which included some areas of patterned details, and also other diagonally defined blocks of color.

When the grid was copied into Photoshop, open transparent areas appeared between the colored shapes where white appeared in Kid Pix. Another textured (beige) layer was placed behind the grid, to border and fill the transparent areas.

A piece of real gluten free bread was scanned into Photoshop, and the shape was cut out and placed on top.

Please note: I use my art work to illustrate other blogs, Earth Born Health, and R Z Writestuff. This image was posted yesterday on my health Blog. To identify the image as mine, and to show readers how to find my art blogs, I have added the blog address on top of the image. This information is not attached to the actual art work, if anyone is interested in acquiring a particular piece.


Writing and Images are the Copyright © of Ruth Zachary

FROM STUDY TO FINISHED ART

Concert in Blue Flat Minor, Study. 12x16" © by Ruth Zachary

This study was one of several geometric abstractions started by using Kid Pix, and then copied into Photoshop for further development. Although I like the compositions developed in this way, I also like the hands-on approach with painting or collage, and the ability to move actual cut out paper images from one place to another.

The concept of this piece was to express the sorrow I feel over the suffering of all people who are caught up in war. I found an article containing letters from soldiers, and I copied fragments of the letters and collaged them into a piece  based on this earlier study, but on a canvas format that was not as long as the first image concept.

Design elements printed on good papers from the study along with flower images and the letter fragments were adhered to the canvas with acrylic medium. The result is shown below.

Concert in Blue Flat Minor, Acrylic Collage. Size 20x24". ©by Ruth Zachary

As  can be seen, the finished rendition at the bottom is a different arrangement than the first, although in my opinion both versions have compostional integrity and work well. I chose to depart from the strictly vertical direction with a slight slant to the right, to suggest depth.

When I print out computer images, I use a light weight paper capable of retaining photographic detail.

When adhering papers to the surface, I coat the foundation surface with medium, soak the paper briefly in water, blot it briefly, and then place the cut or torn paper on the surface and smooth the air pockets toward the edges. Sometimes wrinkles are left for texture, but if not wanted, the brief presoak on both sides is enough for the paper to shrink and bond to the foundation. After it is dried, the surface is finished with two coats of acrylic matte varnish. 

(Note - some papers will allow ink colors to run, or blur or turn too dark. This feature can be used to an advantage, but it is best to know what the outcome will be beforehand.)

The frame was made by a friend from wood, and the frame was painted to complement the artwork.

Writing and Images are the copyright © of Ruth Zachary.

COMBINING REALISM WITH ABSTRACTION

RUTH ZACHARY MONTAGE

Polkadot Pig. 8x11" Computer Composition.  © by Ruth Zachary

Ultimately, I think my goal as an artist is to be able to combine recognizable imagery and abstraction.
After years of combining realistic images in a montage presentation, I felt my work lacked spontaneity, but I found it hard to return to present the images in any approach but realism. I have struggled a long time to be able to be able to express my art in a the way I would wish.

EPIPHANY WITH A POLKADOT PIG

In the previous Post and Abstract experiment, I had just discovered that a cut out subject transplanted into a composition could be integrated into the character of the previous work by layering it into the background by applying different modes.

Recently I have also been working to create more realistic work with a bicycle theme, and had already cut out a bicycle in great detail, with a blank background. I moved the bicycle to a new document, and adjusted the size so it would fit into Scribble Paint 9. (Layer 1)  The  realistic bicycle worked pretty well without changing the mode because of linear qualities in the abstract background.

I liked Scribble Paint 9 as an abstract piece, but I could also envision a pink pig, riding the bicycle, outlined in yellow, painted in the splashy style of the abstract Apple Works paint strokes. Layering, using modes on the pig could make the pig consistent with the rest of the composition. I created the pig twice before copying it into the composition. Then I tried all the modes available on the pig cut out, some of which worked and some that didn’t. I adjusted the pig to 90% opacity, so some of the paint strokes beneath showed through, which helped a lot.

What  I learned in that moment was that I had been painting my subjects so realistically, that the subject or the background were no longer consistent in character. I want to maintain an image that is true to the realistic form, but not necessarily photographically detailed, as in my Bicycle Café painting, shown in sequence on my Montage Blog. I need to paint in a manner consistent with the surrounding impressionistic elements of the painting. It requires seeing the whole in a different manner.

ANOTHER EPIPHANY

The act of putting a cut out object into the abstract setting, could have ended with the same sort of inconsistency, not integrated into the whole. But using cut out shapes with Layers in Photoshop offers infinite possibilities for integrating realistic images into an abstract composition. And what is learned can be applied to hands on painting! Or not. The choice is up to the artist.

More adjustments were required.When the pig cutout was copied into the image, I needed to adjust the size and perspective of the happy little creature. When applying different modes, the pink pig with yellow outlines was changed to pink and purple with white outlines, but the new colors still worked with Scribble Paint 9. In one part of the  pig’s surrounding area (a semi transparent apricot tone) was  cut out, copied back in as a fourth layer, and flipped vertically and horizontally so it dominated the top of the composition, with the intention of seeing if the modes helped.

The original orientation of Scribble Paint 9 (layer 1)was flipped horizontally, as was layer four.  I tried different modes on the top two layers. Eventually, I deleted small areas of the top layers so the composition retained some of the original color and character of the background retained in the normal mode. I decided eventually to change the mode of the bicycle, which in this variation, picked up the other colors of the composition.

Eventually I rejected the pig composition, as too busy, which is the price of experimentation, and yet the rewards are so many, I can't complain. Finally I took another Abstract, Scribble Paint 8 and layered the bicycle into that.

Scribble Paint 8 with Bicycle. 8x11". © Ruth Zachary

To see the bicycle paintings and another version of this post, follow this link to 

Ruth Zachary Montage. However, blogger adds a %20 to my Url, and it will not take a viewer
to the correct site. Every time I re enter the Url, it does the same thing again. I don't know why.

Writing and Images on this blog are the Copyright © of Ruth Zachary.