Only
a percentage of these experiments with layers of textures in Photoshop produce something worth while. If
one thing is gorgeous by the end of one work session, I am usually satisfied.
But I have tried several different approaches to the idea I wrote about on May
28th, and so far none have resulted in the “look” I was trying to
achieve. Above is an example. It would make a greeting card, but the technique doesn't conform to my vision.
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I
believe I know why it doesn’t work. White seems to act as an opaque when
layered in many modes, so often the white areas block out the layers underneath.
In the modes which do not destroy transparency, it seems that the blacks and
whites are inverted. I have not tried making different layers more transparent,
and I will try that too, in my next trials, and share my results.
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But
in the mean time, I think I must work in color… using colored pens, and either
colored pencils or water colors in my “drawn” illustrations for the realistic
sections of my work. I will start small, with small sections only slightly
larger than my eventual illustrations. If the edges are vignetted, (blended)
they may be used in different configurations for future layering, I believe.
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So, On to the next good thing! All this does take time, and so I'm not blogging as much lately.
Beginning a New Project Combining Abstraction and Realism.
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Recently I decided to self-publish some of my poetry, and to illustrate it with about ten images.
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For this project, I decided to continue with the abstract work I have been pursuing for the past year and a half, using the same process of layering different textures etc. over each other.
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I have proceeded with this process to come up with about 35 different textured abstract images that imply an ethereal impression, which suggest figures, natural animals, insects, and other fanciful creatures to me. Using one such abstract “background” I plan to draw over it with layout paper, and create detailed scenes which these creatures inhabit.
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The drawings will be in pen & ink, and colored pencil. They will be drawn in a montage style. Ideally they will emphasize areas which will balance the composition. Once the figurative drawings are scanned into the computer, they will be layered over the composition and treated in the same manner as the abstract work I have previously demonstrated on this blog.
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The overall result I am hoping for is a combination of abstraction and figurative realistic work. Most likely, various selections will be cropped out of the larger image to make up the smaller size illustrations.
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For the next few blog posts I plan to show the process in stages.
I habitually keep making small changes to a composition as long as it is in my possession. I may put it away for a while, and then some new change seems to occur to me, and I get out the paint again. And to add another thin coat of varnish, and photograph the latest version. Again.
It is difficult to hang on to a piece until you are sure it is really finished, because there is always some place to show it before you reach that point. I am probably not going to be able to change that habit. For that reason, I tell people I do often change my work. Once it is sold, I have to let it go as is.
I don’t have any problem letting my work go out into the world. This means it is ready to give others pleasure. That is my reason for creating it. Selling work allows an artist to keep on being creative… sustains us so we can continue to buy materials and to live, and to go on being in that creative mental space.
See my blog of March 29 to see the previous version of Winter Concert. The changes were made using acrylic glazes to deepen the maroons and balance the composition. (I really do believe it is finished, this time!)
The next experiment is to use three layers in the same way as two layers are used in the previous exercise. The “mode” setting is applied to the top two layers in varied combinations.
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Note: It is possible to work for hours and not find one happy accident that has potential to become a finished work of art. Other experiments may produce many images that can be the start of something really worthwhile. This approach can be quite time consuming.
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There are certain elements of composition which make an image more or less effective. When combining layers in Photoshop, using the “mode” setting under the Layers tableau, to create accidental effects, choosing combinations that contain certain elements tend to produce better compositions.
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These include: One layer with fine but varied textures, a second with medium to large shapes that will affect the division of the picture plane, and a third with medium sized patterns. A range of light to dark values in all three layers usually result a more dynamic composition. A combination of geometric and organic shapes will also create more interesting images. Usually. They are accidental, after all!
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A good composition leads the eye of the viewer to various focal points within the picture plane, but creates enough interest to keep the viewer’s attention for a reasonable length of time. An all-over texture or pattern by itself tends not to offer enough variety to maintain that interest. The artist strives to learn what is effective in achieving this.
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In the past demonstration, from April 26, three kinds of images were layered to produce a fourth image. Go back to that post to consider the following points about the process of using modes in Layers. The first textural image feels unbalanced. The second is incomplete, and somewhat unsettling. The third (from a tie-dye) is exciting, draws attention, but is rather symmetrical, almost static, and can quickly lose the viewer’s attention. The fourth version, obtained by combining the previous three layers using mode adjustments is more interesting. The three rectangular shapes were created by copying parts of one area into other areas, but more work was needed to command the viewer’s attention. I would add some other shapes, keeping to an uneven number as this us usually more dynamic. I would like to accent the suggestion of depth.
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Later, I did take example #4, and added shapes to make it more interesting. Then I layered it again with two different textural images, resulting in the image above. One was a crackle texture, originally photographed from an old door. The other was a texture created in Kid Pix, which used paint tools, geometric divisions and outlining of the shapes thus created. Experiments with these three layers resulted in an image close to the one shown above. I made color adjustments, dark and light adjustments, and contrast, to deepen areas of the composition. You can see the resemblance to the tie-dye configuration, but now the picture plane contains areas of emphasis, textural interest, and areas of hazy mystery, with a hint of depth.
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This is a study. At some point I will probably print it out. Other papers of related colors and shapes will be added and moved around until the whole is transformed into a pleasing environment where I want to take a vacation for a while.When it seems finished, I will eventually show the finished collage.
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 documentand 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.
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.
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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)
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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.
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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.
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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.
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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.
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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.
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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!
Combining Geometric with Organic Motifs in Abstract Composition
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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.
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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.
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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.
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.
This Winter Concert played on into Spring! I can't believe it took me a whole month to show the final result of this collage. (And there still may be more minor changes) As you can see the previous stage of planning this piece was not quite satisfactory.
Ideally, changing the initial concept of a piece as the creative urge prompts, allows the most freedom of expression. I have a problem working directly on larger pieces, but working on the computer to make a study where I can make changes is very helpful. It is a matter of scale, and since the change in my vision occurred, I am even more grateful to be able to do some of the work, especially the initial planning, on the computer. If others who see this also have a hard time working on a large scale, planning a composition as a thumbnail sketch may help you too!
Imagining new art is the first step in manifesting it.
I recently left an invitation on my Mission Page to viewers, other artists or visitors to this site to comment, suggest techniques and to interact with other artists on this site for an exchange of ideas. Perhaps visualizing an ongoing commentary was the first step in manifesting that too.
And maybe the first step is for people to simply comment. Someone named John recently left a comment on the site, which was highly complementary. Apparently he was responding to an older post, "SUBJECT TREATMENT: More on the Line" He liked the post and the blog in general.
To John: Thank you so much. Your comments are very encouraging!
