| I want to go into a little more detail of
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| | paper ... even newspaper will do. You
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| the different ways you can approach the
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| | will need plenty of Red, Blue, and Yellow
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| enigmatic task of producing an
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| | (remember the practicals in Part I)
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| abstract.In this article we will look at
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| | acrylics or cheap powder paints will be
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| the Anarchist and the Abstractist.If you
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| | fine. A one fairly thin paint brush, and
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| have an anarchistic attitude within you
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| | one fairly thick. With the first attempt
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| then abstract art is for you. You will
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| | do not "think" of anything other then
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| never run out of ideas - in fact even if
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| | lines. Place the paints in easy reach for
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| you had NO ideas then your temperament
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| | you to work quickly. Ready? Thin brush
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| alone would find a most fundermental mood
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| | first - dip it deep into any colour then
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| swing or dark (and maybe on more rarer
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| | quickly bring the brush into contact with
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| occasions - light) moment to enrap you
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| | the paper - do not stop moving. Move in
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| within its aggressive drama and painful
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| | any direction. Paint faster. Paint one
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| colours. Willem de Kooning's "Gotham
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| | continual line. As soon as the brush
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| News" is a good example of anarchistic
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| | starts to run dry dip it into paint - any
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| abstraction - just look at this:
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| | of the colours. Keep doing this until you
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| ArtStart/sKooning.html. Wild movement
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| | have filled the paper with a mass of
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| mixed with such vigorous aggression.
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| | scribbles. Try this about five or six
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| Anarchists tend to be wildly
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| | times - not caring what is produced (you
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| demonstrative in their approach to ...
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| | can throw it away - no one needs to see
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| everything! They have the potential to
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| | it ... or you might want to frame
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| be able to utilize almost anything at
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| | it!).Now repeat the above practical only
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| hand that might provide them with
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| | this time try using what is sometimes
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| contradictory ideas and totally original
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| | called "short stroke" - which is
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| materials.However, there is a big "down"
| |
| | precisely that. Rather than one continual
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| side to what might be seen as the almost
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| | line, produce lots of short lines - you
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| perfect abstract artist. An Anarchistic
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| | decide on the length. But make sure you
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| attitude tends to come from a tremendous
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| | are still acting as though it is one
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| sense of lacking in many areas. So things
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| | continual line - you are just lifting the
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| like confidence can be a very fearful
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| | brush at the appropriate time. Repeat
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| barrier to the power of a creative flow.
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| | this a few times.Next decide which you
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| Therefore I believe that by working on
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| | felt more at home with. Produce another
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| some of the practical ideas written below
| |
| | image in that way only this time look for
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| obstacles like shyness and fear can
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| | shapes. When you see one, load your brush
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| slowly be weakened until finally the real
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| | and paint the outline of the shape - very
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| artist begins to rise out from the depths
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| | quickly. Finally get the thick brush and
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| of darkness or light in an increasingly
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| | load it with a colour and roughly fill in
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| "louder" manner.The Abstractist is in
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| | the shape. Carry on mark making - even if
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| many ways similar to the Anarchist. The
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| | it runs over any painted shapes.Finally
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| difference here is that the Abstractist
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| | try again with line and shapes, and this
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| mind has a colder capability of "seeing"
| |
| | time adding something else - you decide.
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| completely non-representative imaginings.
| |
| | If you really cannot think of anything
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| And although both the Abstractist and the
| |
| | try choosing any of the following:
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| Anarchist generally produce work from
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| | Screwing up the whole paper, then
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| deep within. The Anarchist cultivates a
| |
| | unfolding it and carrying on painting;
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| more physical "anti" approach, whereas
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| | rip or cut holes into the paper - and
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| the Abstractist appears to have the knack
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| | carry on painting; spatter (a well used
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| of actually visualizing dots, lines, and
| |
| | favourite) paint onto the paper; find
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| shapes when looking at every day
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| | rice, spagetti, sand, earth, dust ...
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| objects.Notice the similarities between
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| | anything - pour it or sprinkle it - then
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| de Kooning's "Gotham News" and Peter
| |
| | carry on painting ... the list is
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| Lanyan's "Wreck" Then take another look
| |
| | endless.Of course you might not be at
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| and seek to find any differences. "Wreck"
| |
| | home with this ... too messy you might
|
| is very anarchistic, but there are at
| |
| | say. Then, perhaps you might be a
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| least two variants. First the colours of
| |
| | Surrealist - or maybe a Visionary ...
|
| "Wreck" give off an almost tangible
| |
| | that will be the next article.Tim Seaward
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| "landscape" feel. And secondly, Lanyan
| |
| | is the author of "How to produce an
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| seems to have made decisions when placing
| |
| | abstract image II - From Anarchy to
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| of lines and shapes. This is a classical
| |
| | Abstraction". He is also a practicing
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| abstract attitude. Howard Hodgkin is
| |
| | fine artist living and working in the UK.
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| another excellent example of an
| |
| | Visit his site to find out exactly what
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| Abstractist.OK lets practice. Get
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| | he paints.
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| yourself a large piece of paper - any
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| |
|
