1 ESTABLISH AN ETHOS
When making abstract art, the most important thing to remember is that you can’t go “wrong”.
My students are often concerned that when they are drawing from the figure, the whole history of formal life drawing is weighing upon them and the right or wrong way to do this can haunt them. They will often have a fixed idea about what makes a good or bad drawing and arrived at a point where they feel their work has become too rigid. If this sounds like you and you also wish to loosen up, it’s important to establish the right mindset, one that takes the pressure off having to produce a perfect, exhibition-ready piece.
In order to do this, I like to give myself some tenets to work by – things I can bear in mind during the creative process, such as “concentration is essential”, “in order to draw you have to start from innocence”, or “if you know what you’re doing, you aren’t doing it properly”. You might want to write your own tenets out and pin them to your wall while you work.
2 REMEMBER TO PLAY
Being playful is the most radical thing you can do. I find that in order to successfully start making an abstract artwork, I have to be open to all the possibilities and directions in which the work could take me. In doing so, I am allowing the process of making work to govern the outcome, rather than being overly analytical and critical of what I am doing.
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Denne historien er fra June 2020-utgaven av Artists & Illustrators.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
Allerede abonnent? Logg på
Still life IN 3 HOURS
Former BP Portrait Award runner-up FELICIA FORTE guides you through a simple, structured approach to painting alla prima that tackles dark, average and light colours in turn
Movement in composition
Through an analysis of three masterworks, landscape painter and noted author MITCHELL ALBALA shows how you can animate landscape composition with movement
Shane Berkery
The Irish-Japanese artist talks to REBECCA BRADBURY about the innovative concepts and original colour combinations he brings to his figurative oil paintings from his Dublin garden studio
The Working Artist
Something old, something new... Our columnist LAURA BOSWELL has expert advice for balancing fresh ideas with completing half-finished work
Washes AND GLAZES
Art Academy’s ROB PEPPER introduces an in-depth guide to incorporating various techniques into your next masterpiece. Artwork by STAN MILLER, CHRIS ROBINSON and MICHELE ILLING
Hands
LAURA SMITH continues her new four-part series, which encourages you to draw elements of old master paintings, and this month’s focus is on capturing hands
Vincent van Gogh
To celebrate The Courtauld’s forthcoming landmark display of the troubled Dutch master’s self-portraits, STEVE PILL looks at the stories behind 10 of the most dramatic works on display
BRING THE drama
Join international watercolour maestro ALVARO CASTAGNET in London’s West End to paint a dramatic street scene
Serena Rowe
The Scottish painter tells STEVE PILL why time is precious, why emotional responses to colour are useful, and how she finds focus every day with the help of her studio wall
Bill Jacklin
Chatting over Zoom as he recovers from appendicitis, the Royal Academician tells STEVE PILL about classic scrapes in New York and his recent experiments with illustration