![]() ![]() It is the proper implementation of these visual elements that gives power to a work of art. Experiencing representation and abstraction in the same painting allows us to better understand where one leaves off and the other begins.Ībstraction is never an “anything goes” propositionīecause a painting may be non-representational doesn’t mean “anything goes.” Good abstract or semi-abstract painting requires the smart use visual elements-composition, value, color, form, movement, and so on-just as much as good representational painting does. They still retain a foothold in the representational world. The paintings featured in this article are semi-abstract. “Like a good poem, a good abstraction attacks your feelings before your understanding.” “Abstraction generally involves implication, suggestion and mystery rather that obvious description,” said Canadian artist and writer Robert Genn (1936–2014). The fewer cues to objective reality there are, the more abstract we say it is. However, when the narrative becomes less obvious and the visual experience shifts more toward the aesthetic devices themselves, the painting becomes increasingly abstract. ![]() In a representational work, these aesthetic devices are firmly attached to the subject, giving the picture the descriptive structure necessary for it to be recognized as what it is-a house, a tree, a mountain, etc. We all know an abstract painting when we see it, but why do we experience it that way?Įvery painting - whether strictly representational, fully abstract, or somewhere in between-is built with certain aesthetic devices, such as value, color, composition, shape, form, and so on. I use color to depict luminosity, which elevates the light in the scene as the central subject matter.” What Makes a Painting Abstract? Gellatly says, “In these wetland scenes, I am particularly drawn to the way the richly textured landscape is reflected in the adjacent waters, distorting form into pure shape and color. It requires a visual orientation that prioritizes aesthetics such as color, shape, or movement over the representational story. Scott Gellatly, “Light in Refuge” 2020, oil on panel, 21 x 45″Ībstraction is never an arbitrary act. For many artists, however, shifting toward the abstract can be elusive. An abstract aesthetic can imbue a painting with an extra dimension that transcends representation. ![]() Many painters, even those who work representationally, are drawn to the abstract. When we consider nature’s range of light and her many atmospheric personalities, or her variety of colors, shapes, and textures, we realize how much of nature is inherently abstract. The following video tutorial demonstrates how to draw grass with colored pencils.Abstraction isn’t unique to landscape painting, but the natural world does wonderfully lend itself to the approach. Try the "black" mixture in the shadowed areas and you'll notice that it looks more natural. Remember, just like anything else - grass has dark and light values. Instead, try mixing your own, more natural-looking black by mixing dark browns and blues together. Black is such a strong color, that when it is used - it can make a drawing look synthetic and unnatural. ![]() When using colored pencils to draw grass, my suggestion is to stay away from black. Sometimes, manufactured greens can look fake and detract from the drawing. We see millions of colors, so it only makes sense that we need to mix as many of these as we can to create a natural illusion. Experiment with related colors and see what works for the grass that you trying to emulate. Try using yellow ochre and darker blues, and then layer yellow-greens on top. Of course, green should exist in the drawing, but mixed greens will translate better. This is what will produce a natural taper at the end of the line. Typically the pressure that is placed on a pencil lessens as the pencil is pulled after the initial contact on the surface. Begin your lines at the ground and move them up towards the sky. This way the line tapers a bit at the end just like a real grass blade. Marks made for grass blades should be made from the ground up. This should be reflected in your drawing. Take a close look at grass and you'll see that this is how grass actually grows. When you make your marks, let the lines cross over each other. Grass simply does not grow in unifrom lines, so it shouldn't be drawn that way either. In fact, grass grows in a very "hap-hazard" way. Learning how to draw realistic grass is a matter of understanding how grass grows and recognizing that grass doesn't grow as uniform lines. Many people struggle with drawing grass that actually looks realistic, but this doesn't have to be the case. If you want to create a realistic-looking landscape drawing, you need to be able to create the illusion of realistic grass in a landscape. Landscape drawing often requires you to draw grass. ![]()
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