Monday, April 26, 2010
USING PREVIOUS HAND MADE IMAGES IN PHOTOSHOP TO CREATE NEW WORK.
The first three layers, scanned into my computer separately from previous works were layered into one Photoshop document and resulted in the fourth image. To achieve this, I pulled down the menu for various modes in the Layers Tableau, and kept selecting different modes in the box, for each of the top two layers. As each layer was changed, it affected the image seen on the screen. Numerous options are possible with this method. I know how each of the original images was made. The first was begun in KidPix, using the paint tools to create the linear textures. The second was a fabric piece from a hands on tie-dye workshop later sewn into a vest. The third was an abstract painting incorporating collage. Next I saved each desirable image as a separate merged document. The last step was to alter those resulting images by adding shapes, repeating shapes, changing colors, sizes and the orientation of some sections within the picture plane.
Images and Writing are the Copyright © of Ruth Zachary.
Monday, April 19, 2010
PHOTOSHOP CAN WORK FOR PAINTERS, TOO!
If you are an artist who likes experimental techniques, this method offers infinite possibilities! If you have a full version of Photoshop, and a scanner, or a digital camera, you can try this. Start with a stack of paintings that aren’t finished, photographs of nature’s textures, or some experiments with painting techniques. Import the images into your computer, at about half the size you would want a finished piece to be.
I chose a photo of an old still life originally painted in oils, a recognizable subject, to demonstrate the technique will work something realistic or completely non-objective. All my layers were about the same size in inches and the dpi count. This image was 12x18” and 300 dpi. (Dots per inch)
The second layer imported was from a painting experiment with spattered paint, and washes of run and flow in blues and greens. A box will appear showing the two layers.
The top layer was made active. (The highlighted box shows which layer is active.) An eye in both boxes shows that both layers are visible. The active layer will be affected by what you do to it. It may be predictable, but so far I haven’t found controlling the method results in anything better than I have created purely by accident.
The experimental part of the exercise was to change the mode of the top layer. (Look for the little box above the layers that says “Normal”) A pull-down menu will allow you to run through each of the modes, one at a time. The top layer, if active, will create changes with the bottom layer in combination. Try each of the modes to see which version(s) are worth saving.
Do a “save as,” to save the version you like as a jpg, a pdf, or other type of document. The layered version in Photoshop will remain unsaved, so you can keep checking all the mode versions you want to save.
Another method for further experiments is to change the top or bottom layer by rotating it, flipping it vertically, horizontally, or by changing the color. The subsequent versions in the same modes may be completely different than from the first run-through. The examples pictured show the change made to the original still life. Ultimately I saved two versions of the still life.
Some versions may not retain recognizable imagery. It is up to you to decide what to save, and if you like the composition of an abstract versions of your experiments. Ultimately I use the textures or images printed out from these combinations, in collage.
What I love about this approach is that I am not creating an artificial texture by using a filter. I know the painted textures are original because I painted them myself! And the choices are all mine. The computer is my studio, and my set of tools. It maximizes my creativity because it offers unlimited choices!
Writing and Images are the Copyright © of Ruth Zachary.
Tuesday, April 13, 2010
Combining Geometric with Organic Motifs in Abstract Composition
The above composition is an example of the dynamic effect achieved by combining both organic motifs and geometric elements in the same picture plane.
The pale marbleized textures are contrasted to the sharp straight lines of the geometric shapes. The repeated narrow black shapes remind me of piano keys.
The general effect of the geometric shapes is one of looking straight down at a design with the same depth of field, which creates a two-dimensional composition.
The curved lines and shapes, if predominant could create an impression of depth, or three-dimensional space.
In the future I will include examples of organic-geometric combinations, which produce different effects, and attempt to explain how they exemplify particular elements of design and principles of Composition.
Images and Writing are the Copyright of Ruth Zachary ©
Tuesday, April 6, 2010
Composition, whether it contains recognizable imagery or is limited to purely non-objective content, is much the same process. Shapes or forms of varied hues and values, lines, movement, balance, are arranged to create interest, and hopefully to keep the viewers interest for a period of time. Collage is a medium which allows moving shapes, lines and colors around within the picture plane before adhering the papers to a background.
The three images above show the steps this composition went through before the final version was chosen, and also that after choosing the final arrangement, many changes may continue to be made, using acrylic paint. (Not all the images were allowed on this post, but the numbers will identify the order of creation)
In the first is shown the original computer concept. In the second, is the rearranged version, also on the computer. Paper textures scanned into the computer were used to come up with the layout, and printed out with colorfast inks on archival papers. The computer study was printed out as well, as a 4x6” image to work from. Working small initially helps me to overcome the difficulty I often have with larger scale proportions. The floral images were included at the end to convey the idea of a garden concert. The final image was size 18x24.”
Acrylic medium was used to adhere the papers to the canvas, and the finished image, which included tonal washes of acrylic paint to strengthen the composition, and the black border, was sealed with acrylic varnish. The final image was a photograph of the piece. I am having difficulties with my ten- year old camera, and put it on auto focus, which still comes out a little blurry.
The piece expresses a sad theme, using letters written home from soldiers in Iraq, which is why I called it Concert in Blue Flat Minor.
This piece was shown about one year ago in Greeley’s Madison and Main Gallery for the annual Garden Show.
Please note: I have a new blog site, which features Abstract Art Exclusively. Go to Google and ask for Mixed Media Abstract Art by Ruth Zachary.
This site is about the techniques of creating art, especially in photo montage, and in mixed media collage and includes the various kinds of art I have made in the past, or am creating in the present, and includes both abstract art and realistic art.
Images and Writing are the Copyright © of Ruth Zachary.