SUBJECT TREATMENT, PART 3

COMBINATION OF ORGANIC WITH GEOMETRIC SHAPES

20 a KP Apple Combo 5. Computer Study for Collage                                              © by Ruth Zachary

Notice how this arrangement seems to appear as a map … seen on a wall or from above. Similarity of value, contributes to the impression. The diagonals here might suggest a primitive landscape, by altering the values of some major shapes toward the top and background. Basically, however, depth is not implied.

In these examples of my work, I see a general similarity or trend emerging in them, which has an emphasis on the design of the two dimensional picture plane. This could be the result of working with experimental textures, which often fill the format shape or picture plane I am working on.

This is not neccessarily a bad thing, but knowing this, I could choose to change the approach, and decide to make changes that would contribute to creating depth, while still being aware of design aesthetics on the two dimensional aspect of the format shape or picture plane. It is up to the artist to make changes or not.

Forest Pool, Computer Study for Collage                                    © by Ruth Zachary

DEPTH IN ABSTRACT WORK

Depth is suggested in this image, (also created using textured layers.) The combination conveys the feeling of wooded forest behind, and a foreground pool which implies distance by the seemingly receding textures and values. Depth in any two dimensional picture plane is really an illusion.

The texture that took prominence in this selection was from a photograph of chequed weathered paint on an old door.  Combined with other textures layers, this was one result of trying different modes on different layers. As usual, changes were needed to accentuate elements in the result to achieve the impression I liked.

Images and Writing are the Copyright of Ruth Zachary.

SUBJECT TREATMENT IN ABSTRACT ART, PART 1

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Subject treatment or approaches to creating an abstract or non objective art piece can still be described by the qualities displayed in the work, whether or not the viewer responds to the imagery intended by the artist, or whether it actually contains objective subjects.

Representation of three dimensions in a painting or art work that is flat is only an illusion. A composition may be described as an attempt to reproduce the effect of three dimensions or not. Either approach may be attempted in abstract art, even without recognizable or objective imagery. Much of abstract art has to do with the interplay of characteristics of dimension. 

The elements of design have to do with  the two dimensional aspect of the layout within the picture plane.

Organic Non-objective Composition

The success of abstract art depends directly upon the execution of good aesthetic characteristics, and the study of composition at an early stage of the work is more needed, than when the artist is using nature, and recognizable imagery in creating a piece of art, because with realism, familiarity with a subject often includes an intuitive sense about compositional principles. The study of composition while dealing with realistic subjects can be delayed but not so easily if working with non objective art work.

Organic composition includes shapes, and lines generally found in nature. Usually these elements  are irregular in character. Although completely organic, the above composition seems to lie completely on a flattened surface, (two dimensions) as if looking at it from above or from across a room. There is no attempt to create depth or represent three dimensions in this piece.  Perhaps this is why abstractions work so well in large interior spaces. Note the quiet areas near the edge of the composition, without actually using a mat, spacer or complex frame so that it effectively contains the composition within the central area.

Describing types or approaches of creating abstract art will be the focus of the next few blogs. Study of the characteristics of various works may increase the awareness of the artist or reader, as well as my own, and with it, greater awareness of aesthetics in good composition.

Writing and art work are the Copyright © of Ruth Zachary.

COMPOSITION; A SERIES OF EXPERIMENTS

Watermark 1. This image was made by layering five views of a photo.Unfinished. © by Ruth Zachary

In the last post the above image with a white background was shown. The black background was created by selecting white under the Selection Menu, and filling with black. This left a small outline from the previously white areas, either a mistake or a bonus, depending on how one sees it. The white outlines show in many of the layering experiments I tried later.

Another experiment was to take the different camera views and arrange them differently than just in a horizontal configuration, as can be seen below:

Watermark 4. Vertical and horizontal layering in one composition. Unfinished. ©by Ruth Zachary

I do not find the multiple directions in this experiment as satisfying as Watermark 1. The sharp peaks on the edges looked like fallen and broken formations in a cave, a rather unpleasant image. Rounding many of the sharp peaks still did little to ease the tension and confusion and lack of space suggested by the different directions.

Cropping the whole and preserving the left 2/3 portion of the above image, and turning the remaining part counter clockwise seems like a viable option for rectifying the composition.

Using cutout sections for use in collage might also be very useful.

Watermark 7. (Layering other textures with the Cavern-like imagery using modes.)

I also used layering with the original image. Two other textural layers were also altered by changing the modes, and some of these resulted in interesting imagery for carrying to completion. 

Watermark 7 is quite interesting for its landscape qualities. See the white outlines? Once again, I would try retaining the bottom 2/3 of this arrangement, with modifications before considering it complete. If you are interested, one more image was shown on my montage blog of 07-06-14, Experiments and Accidents, which you can access by clicking on this link. http://rzmontage.blogspot.com.

I would welcome comments by other people on these experiments. Leave your comments at the bottom of this post.

Images and writing are the Copyright © of Ruth Zachary.

EYE FOR THE UNUSUAL

Watermarks. The white residue from overflowed water became the image for layering with modes.

Creating Abstractions with Photography is one more way of collecting imagery to use for layering with modes with Photoshop. (process described throughout the month of June)

Collecting interesting papers and images for collage can also be enhanced by letting your imagination notice imagery in close-up view! Photos of ice crystals on a window, or crazing of old paint can expand your collection. Noticing a spill on a glass tabletop where several plants get light from the south window, led to photographing the pattern, and using it to create imagery. The spill became more noticeable as more overflows occurred, and dried so the residue built up in layers. It looked like wax. I even cautioned friends not to clean it up.(The water mark was cleaned off after photos were taken)

Finally I took four pictures of the watermark, from different perspectives, three with the flash, and one where the flash did not go off. Then I processed them on the computer, copying them into  one Photoshop document. The stains were cut away from the plant part of the image, and included some of the dark of the table, and the negative shadows around the plant leaves.

I forgot that it is important when working on a project like this to keep the background completely open. If the images are merged, they cannot be moved around or changed again, nor can a layer be copied into another document without the solid background coming along with it. I found a way around my mistake, and will show that later on.
Actually, I explained it on my Montage blog today. To see how that worked, use this link to that site, post dated July 6, 2014. 

The four different angles were put into different layers, flipped, up, down and sideways over the open background. One was repeated in a fifth layer. More possibilities remained for placing the shapes in other configurations.

The shapes were arranged, so that the composition could be layered in Photoshop as a continuing experiment for use with modes. The dark forms resulted from the photo when the flash failed to go off. The contrast is dramatic, and seems quite amazing and other-worldly to me. Please Note: The Jpg image below has recorded white where transparent would appear in a Photoshop document.

Watermark Abstract created from repeating a photograph of a water stain, by flipping horizontally and vertically. Unfinished.

More variations from these shapes will be shown on the next Post.

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

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.

LET YOUR INNER CHILD OUT!

Scribble Paint 9, Computer Study, Size 8x11"                     © by Ruth Zachary

This composition evolved out of the layering methods previously described, using different layer combinations. The Scribble paint textures from 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, and shared with viewers in hope that others will enjoy the approach as much as I do.

I have just discovered a new technique to use with this methodology, which I plan to share next time.


Writing and Art Images are the Copy Right © of Ruth Zachary.

THREE KINDS OF ABSTRACTION

When asked to bring more art work in to Madison and Main Gallery in Greeley, Colorado, I chose three abstract pieces. The Theme is Finding Home, and for me they represent home in a general way.

I have lived in Greeley for ten years. I chose a painting of the Sodbuster Barn, a landmark historic building of Greeley, a semi geometric piece in the colors of the winter desert, Desert Concert, and another more organic composition, called Where Visions Gather which has the feeling of the foliage so prevalent within this town, and including the mountain views on the Western horizon.

To see these pieces on display, Visit  Madison and Main Gallery , 927  16^th St, Greeley CO.  Open 10 am to 6 pm Tues thru Friday and Saturday 10am  to 4 pm. The theme is Finding Home, on display through April 2014. Ph, 970-351-6201.         

Visit Web Site  -  http://madisonandmaingallery.com to see other pieces that have been featured under my name on that site.

Writing and images shown here are the Copyright © of Ruth Zachary. 

Where Visions Gather, Acrylic Collage, 18x24"  © by Ruth Zachary

Sodbuster Barn, Mixed media 12x16" © by Ruth Zachary

Desert Concert, Collage, Acrylic, 18x24"  © by Ruth Zachary