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Abstract Paintings Using Shapes With Meaning.

Let your artwork breathe, In attaching the drawing to the backing or whatever secures its situation within the mats or frame, it must only be secured at the top and allowed to hang if an adhesive or tape is used. It must not be secured fervently at all four corners or around its perimeter, because the humidity changes chronically and the paper has to have freedom to flex, expand, and contract. Otherwise, the paper will ripple or develop sets if it is localized in any convention strings in the paper become extremely obvious when the lighting is directional or at an angle to the framed piece of art. The light causes highlight and shadow because of the contours in the paper. Some framers are using a large plastic photo type corner that allows the paper to slide in and be secure at all four corners and still allow for the flexing of the paper. It seems to be working quite well, as many of my drawings and illustrations using other media on paper, have been framed this path for a number of years.

Use matting, I prefer using mats with the framing of my drawings. If an acidic matting is use, it must be backed by an acid-free material that will act as a territorial barrier between the matting and the drawing. There is a standard thickness that is necessary and favorite in the industry for this buffer or barrier. The same reasoning can be given to the backing of your drawing. If your drawing or art is backed or mounted on an acid-free material, the barrier is unnecessary . Some framers use a foam-core board for backing.

The drawing should be cleaned well, removing smudges, dust, or eraser fragments. To see if there are any small fragments on your paper or drawing, you should look at the draw nigh closely from a severe angle, so that you should notice them contrasting from the paper`s present itself as they rise up. You could use a brush or compacted air to remove the fragments from the framing material.

The glass must be superbly clean and must be tested for finger prints, dust, hair, or other far-off material, before securing it permanently in the frame. You could have to do this more than once.

It`s how your finished artwork is presented that makes all the difference. Although it`s tantalizing to simply place your drawing in a ready-made frame, there are several things that you should take in study before framing your artwork to insure it is adequately shielded over the years.

Add a protective dust cover, After attaching the art and framing materials to the actual frame, a dust cover can be used on the back to keep additional dust, spiders, or bugs from entering the framed picture compartment. This is usually done by using a two-sided tape on the back forge of the molding all the habit around the perimeter. Then a piece of brown paper is laid down on the adhesive crop up as it is extended flat as you press it onto the adhesive materialize . You then trim the outer edges of the brown-colored paper to fit and then you are ready to attach your hanging wire, before placing your artwork on display.

Stay away from black, As a general rule, I always stay away from black, especially solid black-although, it should work if is part of a color fashion with a particular molding and if it is not overpowering the drawing. It`s good to have something that has a range of values-including molding and mats, working as a set. Even with the values and gradations created within the graphite media, the mat or mats and the frame should all be chosen to either compliment, subdue, or emphasize any particular value or aspect of your drawing.

Utilization acid- complimentary materials, Any matting, record or adhesive, barriers, or financial support that you use in the frame of your prowess or drawing can be totally acid free. Acidic materials, after long periods of time could actually damage the artwork in the frame by distorting the definite paper or by turning the paper a yellowish color.

E`er chassis with glass, I would always shape with glass, but I would besides drop the special money for the UV protection glass. However, I would never use non-glare glass or plexiglas.

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Here’a a quote from the man credited as being the “first” abstract artist in Western art:

Negative Shape: This the space between and around the physical form of any shape.

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In ‘Colonial Cubism’, Stuart Davis plays with our interpretation of space by using color to subvert our reading of positive and negative shapes. He wrote, “I think of color as an interval of space – not as red or blue. People used to think of color and form as two things. I think of them as the same thing, so far as the language of painting is concerned. Color in a painting represents different positions in space.” [3]

Squares and Rectangles can portray strength and stability Circles and Ellipses can represent continuous movement Triangles can lead the eye in an upward movement Inverted Triangles can create a sense of imbalance and tension

Representational Shapes attempt to reproduce what we see to a greater or lesser degree.

To examine an abstract painting or drawing in terms of its style, you need to actively take note of the following areas: form, color, line, texture, pattern, composition and process.

Symbolic Shapes: A symbol is an object or sign that represents an identity, a belief, a concept or an activity. For example, the symbol of a cross can represent the Christian faith; or be an emblem of the four classical elements (earth, air, fire and water); or the four points of a compass (north, south, east and west); or the flag of Switzerland; or simply a road sign indicating crossroads.

Cézanne was not interested in the Impressionists’ attempts to imitate the fleeting effects of light and color in nature. He called his paintings ‘constructions after nature’ [1] where the colors and forms that he observed were reconstructed as ‘something solid and durable, like the art of the museum’. [2]

Organic Shapes are usually natural, irregular and freeform in character. You can see them in the patterns of growth and decay in nature; in the shapes of seeds, plants, leaves, flowers, fruit, trees, branches; and in the ephemeral forms of clouds and water. They are also associated with anatomical forms such as heart and kidney shapes.

There were two things that Davis loved which had a profound effect on his painting: New York and jazz. The title of this painting is a humorous reference to the ambience of New York as the inspiration for the shapes and colors of the work while acknowledging the European origins of its style. His love of jazz is reflected in the syncopated rhythm of his shapes as they oscillate between a positive and negative reading across the composition.

The ‘Illuminated Ornamental Cross’ from the Lindisfarne Gospels unites both symbolic and decorative shapes in one design. The symbolic shape of the cross forms the framework for the elaborate network of Celtic decoration. Within its complex ornamentation lies another layer of symbolism: the endless interlacing of knots and spirals, a visual metaphor for our universal coexistence with God, nature and one another.

Lundberg used different collage techniques to create this abstract artwork

Although this sculpture is constructed from heavy gauge steel and probably weighs about the same as an average family car, it seems to defy gravity. The open arrangement of its composition and the delicate balance of its component parts collaborate to lift this sculpture from the deadweight of its materials to its elevated status as an artwork.

Edvard Scott is a graphic designer and illustrator based in Stockholm. Over the years, his eye-catching work has attracted the attention of many leading brands, including Nokia, IKEA, L’Oréal, Mini Cooper, Electronic Arts, Graniph, Royal Festival Hall and Wellcome Trust. Among other things, Scott’s strange illustrations are inspired by Radiolab, a public radio show about science and storytelling.

The American artist Al Held, known for his ‘hard-edged’ style of Geometric Abstraction, is quoted in Time Magazine as saying, “We’re not going to get rid of chaos and complexity, but we can find a way to live with them.” Held’s paintings, like “S-E” above, are a metaphor for this predicament. Their multiple perspectives, different scales, transparency and opacity, consistency and contradiction, all reflect the chaotic nature of our minds and our world. The way he composes the painting by cropping the activity at the edges suggests that this is but a detail of our infinite ‘chaos and complexity’. Nevertheless, Held’s images are not unsettling, in fact they are actually quite beautiful and inviting. Within the maze of their illusionistic geometry there is enough evidence of continuity of line and shape to keep us engaged in our search for a reassuring visual integrity.

Artist Constantin Majrowski spent a number of years studying the work of 17th and 18th century painters, exploring colour, form and light, before creating his own abstract works using oil on canvas. Painting professionally for more than 27 years now, Majrowski’s work has been exhibited in private collections across Europe and the US.

Born in Budapest in 1924, Vera Molnar’s artist career began at the age of 12, when she began producing paintings of trees and nymphs. As her creativity progressed, in 1946 Molnar’s focus changed to producing abstract geometrical-systematic art. And in 1968, Molnar began using computers, using them to create algorithmic paintings based on simple geometric shapes.

This beautiful abstract painting is just one of many created by Spanish artist Marta Marcé. Perfectly controlled colours and shapes feature the occasional paint drip imperfection, revealing the human behind it. Marcé describes her style as “the balance of painting that allows the power of thought as well as the power of feeling. The capacity to reflect on our own nature, to abstract but also to feel: the rational and sensuous experience”.

FRANCIS CAMPBELL BOILEAU CADELL (1883-1937) The Blue Fan, 1922 (oil on canvas)

Most people find it difficult to look at an abstract image without intuitively trying to interpret it through their understanding of representational forms. When looking at abstract artworks, the viewer often needs to take a transcendent leap and open their mind to the metaphysical properties of the visual elements, embracing a more spiritual response as opposed to an analytical one.

In Escher’s lithograph, the artist is playing with the illusion of two and three-dimensions in the same image. From an interlocking pattern drawn on a page of his sketchbook, the flat outlined shapes of the reptiles are brought to life by the addition of tone. They step out of their two-dimensional world into a three dimensional landscape of solidly rendered objects that have been selected for their variety of shapes and textures. After a short journey exploring this new environment they return to their original format by losing their tone and adopting their former position within the design – a return trip between two and three dimensions.

PAUL CÉZANNE (1881-1973) Still Life with a Peach and Two Green Pears, 1883-87 (oil on canvas)

Specialising in design and illustration, artist Niklas Lundberg founded creative playground Diftype and is also a part of the Depthcore Collective. A super-talent, Lundberg’s work has attracted him clients including Nissan, MTV, NBC and the Grammys. This architecture-inspired piece was created in collaboration with Ehren Kallman.

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Have you seen any brilliant examples of abstract art? Let us know in the comments below!

Geometric Shapes were originally formed mechanically using a ruler or compass. However today, even the most complex geometric forms can be easily created using digital imaging software. In art they tend to be used to convey the idea of rigidity, structure, pattern, perspective and 3 dimensional form.

George Smith is a 29-year-old abstract digital artist, who’s been creating abstract artwork for almost a decade. His surreal vision of the world is filled with overlapping layers of lines, photos, text and abstract shapes that form a unique and original point of view.

Marcé’s interest lies in “the reflection of our human condition in relation to the act of painting”

‘Still Life: An Allegory of the Vanities of Human Life’ is the pinnacle of representational art. It is painted with a remarkably realistic technique but it is more than just an example of skilled craftsmanship. Each object has a unique symbolic meaning and works together to create a moral narrative within the group. To discover more about the hidden secrets of this artwork please explore our page on Harmen Steenwyck – Vanitas Still Life Painting.

““Of all the arts, abstract painting is the most difficult. It demands that you know how to draw well, that you have a heightened sensitivity for composition and for colours, and that you be a true poet.

This last is essential.”” — Wassily Kandinsky

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creating a balanced arrangement of shapes, some of which may be distorted for the benefit of the composition. defining depth and form with the natural properties of color, where warm colors appear to advance while cool colors recede.

adapting his painting technique by using regulated brushstrokes to emphasize the unity of surface in his work.

This vibrant, abstract artwork entitled ‘Ride the Stars Tonight’ was produced by graphic and interactive designer Peter Balkov. Specialising in web and advertising, Balkov makes use of vivid, striking colours in this personal project.

Piet Mondrian, the major artist of the De Stijl movement, was arguably the greatest exponent of ‘pure’ abstraction in the 20th century. Throughout many years of development he reduced the visual elements of his paintings to horizontals, verticals, rectangles and primary colors with black, white and grey. He gave his paintings objective titles such as ‘Composition with Red, Yellow and Blue’ to try to disconnect them from any representational interpretation. His art was an attempt to discover a new language of universal relationships whose visual harmony could somehow touch the human spirit.

Reflective Shapes reflect light to create a mirror image of what is reflected on their surface.

When Paul Cézanne began to distort the perspective of representational shapes in his paintings, art took its first steps on a journey that led it through the partial abstraction of Cubism and Futurism to a range of pure abstract styles including Suprematism, Constructivism, De Stijl, Abstract Expressionism, Op Art and Minimalism.

Opaque Shapes absorb light but also reflect some of it as color. As light is not able to pass through them, you are unable to see through them.

PIET MONDRIAN (1872-1944) Broadway Boogie Woogie, 1942-43 (oil on canvas)

Representational art is the blanket term we use to describe any artwork whose shapes are drawn with some degree of visual accuracy. Realism, however, is not the sole objective of representational art. It can be stylized with various levels of detail, from a simple monochrome outline to a fully rendered form with color, tone, pattern and texture. For example, compare the exquisite detail of ‘Still Life: An Allegory of the Vanities of Human Life’ by Harmen Steenwyck to ‘The Blue Fan’ by Francis Cadell at the top of the page. Both are still life paintings that use accurate representational shapes but the former evolves as an outstanding study of tone and texture while the latter abstracts and develops color as a major theme of the work.

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As a serious art form, pure abstraction is a rarified atmosphere. It requires the artist to look inwards with a rigorous discipline and to rely entirely on their own instincts and experience of the visual elements to inspire their creative vision. The representational artist has a far greater degree of freedom with both the natural and fabricated worlds accessible as the source of their inspiration, but the abstract artist has the unique opportunity to create something that has never been seen before. Perhaps the best art like ‘Broadway Boogie Woogie’ has a foot in both camps: it can create an idealized image that lifts the spirit but it also has a reassuring hold on reality.

Two Dimensional Shapes: Most of the art we see is two-dimensional: a drawing, a painting, a print or a photograph which is usually viewed as a flat surface. Most two-dimensional art tries to create the illusion of three dimensions by combining the visual elements to a greater or lesser degree.

Positive Shape: This is the actual physical form of any shape.

In ‘Pastoral’ by Graham Sutherland, the scene is set in a walled garden with a cast of organic forms. Two ancient trees, one a hollowed out trunk, the other a bent and twisted bough, commune in the choreographed language of abstract forms. The younger members of the woodland surround these two elders like an attentive audience absorbing their wisdom and experience. The clouds add a sympathetic backdrop while the garden wall acts like a geometric counterpoint to this organic drama.

Justin Maller is founder and creative director of Depthcore, an international art group with an abstract focus. The talented artist created this gorgeous piece, titled Burial, in collaboration with illustrator Mike Harrison for Depthcore’s chapter XLIV: Echoes.

Lucas Zoltowski is the artist behind this stunning abstract piece entitled Rise and Fall, and his DeviantArt portfolio is full of equally incredible abstract art. Zoltowski describes this piece as “an an experiment in contrasts and opposites. Light and dark, soft and sharp. Rising and falling”.

Artist Lucas Zoltowski experiments with contrast with this abstract piece

On this website I write about abstraction as both a subject in art and as a style of art. This page will focus on the stylistic qualities of abstract art – that is, what it looks like and what form it takes. To deepen your understanding of the meaning, purpose, history and context surrounding abstract art, I highly recommend reading my other abstract art article.

The Perspective of Shapes: The angles and curves of shapes appear to change depending on our viewpoint. The technique we use to describe this change is called perspective drawing.

Apart from the obvious virtuosity of his painting technique, Estes demonstrates remarkable drawing and compositional skills in the way he edits and balances the shapes and forms that we see through the window (the table, radiator, figures and strip light) with the reflections on the surface of the window (the buildings, pedestrians, traffic lights, signage, smoke and clouds). His paintings always seem to trigger a compulsive curiosity, pulling the viewer into the complexity of their details. For example, note how ‘Donohue’s’ is not actually the name of the diner; it is, in fact, the restaurant across the street whose name is reflected in the window. The visual poetry of this interior-exterior dialogue is both the fascination and hallmark of Estes’ paintings.

STUART DAVIS (1892-1964) Colonial Cubism, 1954 (oil on canvas)

Abstract art has the ability to express what other visual art styles cannot. It can address concepts that are intangible and theoretical, existing in the realms of mind and spirit, rather than in outer reality. Abstract art utilizes pure color, shape, and form to express its meaning, without getting bogged down in the storylines carried by objects and scenery. As such, abstract art can touch the emotions in a fresh, raw and powerfully direct way.

Although abstract art exists as a general style describing non-objective art, there are many, many different styles within the genre. Each style of abstract art serves its own particular meaning or agenda. In addition, each artist has his or her own individual style. For example, some artists use many colors, while others use minimal color. Some abstract artists incorporate lots of patterns and details, and others just paint vast blocks of color. There are artists who focus on the push and pull of negative and positive space (or other formal qualities), while others focus on visual story-telling. In short, there are many different ways to approach abstract art!

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We love the added texture oil paint gives to this piece entitled In the Fog

Richard Estes paintings are a perfectly judged balance between the transparent, reflective and opaque forms of the metropolitan environment of New York. In his painting of ‘Donohoe’s’, the image is essentially a view into a diner through one of its windows. However, plate glass windows are not only transparent, they also have reflective properties. Consequently, the view of the window becomes a composite of the inside of the diner and a reflection of the street outside.

Perspective Drawing is the technique that artists use to calculate the angles of a three dimensional shape when drawing it on a two dimensional surface.

Artist Stef Goovaerts created this eye-catching abstract piece, ‘Twisted’, in 2011. A member of online collective deviantART, Goovaerts has an awe-inspiring portfolio full of beautiful abstract imagery and describes this piece as “twisted, just like my mind”.

Abstract Shapes, modified by the other visual elements, are the subject matter of Abstract Art.

Justin Maller worked with illustrator Mike Harrison to create this striking abstract piece

The Behaviour of Shapes: Shapes can be used to control your feelings in the composition of an artwork:

Twisted is one of many striking abstract images created by artist Stef Goovaerts

Transparent Shapes allow light to pass through so that you are able to see what lies beyond them.

Artist Vera Molnar created this piece, titled Interruptions in 1968/69

The Visual Element of Shape can be natural or man-made, regular or irregular, flat (2-dimensional) or solid (3-dimensional), representational or abstract, geometric or organic, transparent or opaque, positive or negative, decorative or symbolic, colored, patterned or textured.

Graphic design 10 awe-inspiring examples of abstract art 10 awe-inspiring examples of abstract art

EADFRITH, BISHOP OF LINDISFARNE (died 721) ‘Illuminated Ornamental Cross’, 715-721, Lindisfarne Gospels

Abstract art is a way of expressing a modified view of the world by simplifying or complicating the use of colour, shape and form. A discipline based very much on emotion, abstract art stimulates an individual’s thoughts, beliefs, ideas and imagination. Here, we’ve found 10 amazing examples to inspire you…

When we look at certain shapes in this work, their form appears to either advance or recede depending on their adjacent shapes and colors. Despite the fact that they are flat and on the same plane, they alternate between a positive or negative reading of their space.

Many of Edvard Scott’s strange, beautiful illustrations are inspired by the content on public radio show Radiolab

Decorative Shapes: All decorative forms are based on either Nature or Geometry or a combination of both. Within each of these categories lies a huge range of styles that cross historical, geographic and cultural borders including Egyptian, Greek, Roman, Arabian, Turkish, Persian, Islamic, Indian, Chinese, Japanese, African, Asian, Oceanic, Native American, Celtic, Byzantine, Gothic, Renaissance, Baroque, Rococo, Neoclassicism, Arts and Crafts, Art Nouveau, Art Deco, Modernism and Post-Modernism (the eclectic combination of any of the aforementioned).

In ‘Still Life with a Peach and Two Green Pears’ Cézanne tilts the perspective of the plate towards the picture plane. This has the effect of flattening the composition and emphasizing the abstract outline of its shapes. The flatness of the painting is further enhanced by the diamond shaped moulding and the circular handle of the cupboard in the background. Cézanne believed that the two dimensional qualities of a painting should not be denied and consequently much of his work involves:

Smith describes this piece, Heartbeat, as “an abstract visual exploration of aural output”.

The main unifying element amongst all forms of abstract art is that the work is non-objective and non-representational. This means that the artwork does not intentionally look like anything. Abstract art can be based on a form that exists in reality, or it can be based purely on the imagination. In abstract art, the process is often just as important (if not more important in the experience of the artist), than the final product. There are many ways that an artist can apply paint to an abstract painting, such as rolling, brushing, splattering, dripping, scraping or soaking the paint. Their brushstrokes may be rough and choppy, or fine and delicate. They may work entirely intuitively, creating the abstract painting off the top of their head. Or they might take the pre-planned approach, carefully penciling in the details before putting the brush to canvas. In addition, abstract artists can also attach sand or other forms of texture to the canvas to create an added dimension to the artwork. 

Our selection of artworks illustrated below have been chosen because they all use shape in an inspirational manner. We have analyzed each of these to demonstrate how great artists use this visual element as a creative force in their work.

One of his last great works, ‘Broadway Boogie Woogie’, is possibly the ‘purest’ of his paintings but its title paradoxically pulls us back into the realms of representation with its musical reference to Broadway in New York. Consequently it becomes very difficult to look at the work without relating it to an aerial view of the buildings and traffic flow through Manhattan. Once you have that image in your mind, the pulsing of the small squares becomes the movement of vehicles along the streets and colors such as yellow take on unintended references to New York taxis. Despite this representational distraction, it is a testament to the abstract qualities of this painting that it still retains the power to move us.

Wayne Thiebaud’s painting ‘Around the Cake’ is a witty demonstration of perspective drawing. It illustrates two cakes: one in the center of the painting; the other cut into eight equal slices, each on its own identical plate and arranged in a circular order like the numbers on a clock. To evoke a sense of time and motion, each slice of the cake has been rotated by 45° as they advance around the clock. This painting has some of the contemporary irony that you expect to find in Pop Art but Thiebaud’s slow sumptuous painting technique draws on the unexpected influences of artists like Giorgio Morandi and Chardin and the art historical lineage that they represent.

‘The Blue Fan’ also uses accurate representational shapes which play a major role in the composition of the work but the balance of the other visual elements is altered for creative effect: tone and texture are suppressed to allow the expressive qualities of shape, color and pattern to flourish.

Abstract artists attempt to stimulate an emotional response by arranging the visual elements in a harmonic or dynamic configuration, much in the same way that a musician uses sound, pitch, tempo and silence to compose a piece of music. A musical analogy has often been used to help describe the effect of abstract art on the viewer.

Organic shapes can convey a sense of formation and development, and suggest qualities such as softness, sensuality, flexibility and fluidity.

Three Dimensional Shapes: Anthony Caro uses industrial beams, bars, pipes, sections and steel plate which he cuts, bends, welds, bolts and occasionally paints to form the shapes for his constructed metal sculptures. You can walk around and between these three dimensional abstract forms to interact with the changing relationships of their delicately balanced structures.

Abstract paintings and drawings are a playground of visual delights. In abstract art, the artist can create worlds of color and contemplation. Abstract artists use form, color, line, texture, pattern, composition and process to present ideas and evoke emotions in a poetic, nonlinear fashion. An abstract painting can be about any one or combination of these elements.

If you like my abstract art, check out my printable Abstract Coloring Book with 20 pages of intricate abstract line art to fill in with COLOR!

A brief list of the many different abstract art styles/movements include: minimalism, abstract expressionism, aboriginal art, non-objective, neo-plasticism, color field, lyrical abstraction, post-painterly abstraction, Russian Constructivism, geometric abstraction, and action painting.

WAYNE THIEBAUD (1920-) Around the Cake, 1962 (oil on canvas)

HARMEN STEENWYCK (1612-1656) ‘Still Life: An Allegory of the Vanities of Human Life’, 1640 (oil on oak panel)

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