HELP! combining Real and Abstract

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  1. #1
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    HELP! combining Real and Abstract

    Guys please help me to figure out what to do in my style... i'm a big fan of Gustav Klimt and I really like his style in painting... combining Real and Abstract Designs but something bothers me, my professor I don't know if he is right or what that Real and Abstract Painting can't be combined as one piece but really how come? Art supposed to mean to explore, to create, and to be imaginative? why it has limitations I don't believe that s****. I just want to clarify if this is acceptable and can be commercialized please give me enlightenment :')

    here are some of his works please give me tips and tricks on this im really concerned if I must continue my style or just put it in vain :'(

    HELP! combining Real and Abstract

    HELP! combining Real and Abstract

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  3. #2
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    here are some of his works in addition

    HELP! combining Real and Abstract
    HELP! combining Real and Abstract

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    I love this just explore and your own uniqueness will came (bad english heheh)

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    Dont listen to your professor he is wrong
    this guy combines cowboy art and abstract painting and sells his wok for tens of thousands of dollars and is very successful. While it doesn't look like your work the idea is sound

    http://www.olegart.com/

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    I don't really think there 'is' proper ways of putting artwork together. Of course there's proportion, and things like that- but you can really combine anything. Personally, I like the style you have going. It has a tint of Andrew Jones in it, but more organic and traditional looking.

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    Here is something you can try;


    (May be very different then what you are used to)

    look at images in a magazine, book, online, ect and crop around the image to find some interesting shapes.

    Then draw, with (paint, charcoal, graphite, doesn't matter) that abstract cropping. Look at it and see what would fit or what it reminds you of. Then into that cropping draw something realistic into it.

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    Real is abstract that is in context/relates to the things around. And Abstract is real without any context or relation to the world around.
    If you see a tree for the first time, you will find it completely abstract.
    So theres no topic of discussion whether real and abstract can be mixed or such.

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    Perhaps you are looking for Symbolism?

    I think your professor is wrong in the sense that realistic and abstracted elements are not mutually exclusive - they can be combined in many different ways. But you must also think about why those abstract elements are in symbolist art, since they are usually used to represent something, like symbolism in literature. You might want to look into surreal art too.

    Just experiment and keep on drawing!

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    wow! this is amazing all of the advises are overwhelming ... thankyou i also believe that it can be mixed together abstract and real... coz i believe ART has no limitations its all in the endless imagination and creativity of men... God really is good to us all artist are gifted with this you guys put an optimistic view for me to continue my ARTISTIC REAL AND ABSTRACT PAINTING STYLE...

    in our country in the Philippines no artist that I knew that there style is more on like this with GUSTAV`S Paintings... I want to be the 1st I`ll keep it up and I will make good progress

    THANKS ALOT

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    I believe your professor might be talking about the definition of abstraction or abstract. Abstraction or abstracting can contain elements of realism or representationalism, but true abstract art is non-representational. There are no elements of realism. So this may be just a matter of him trying to communicate the literal definition of abstract or non-representational.

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    Painting by nature is a process of abstracting, so your professor's advice sounds strange to me.

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    Ignoring most dictionary definitions of abstraction, think of it as a simplification of reality to the point of nothing but visual existence. A realistic drawing will always be at least a partial abstraction since it's an attempt to depict four dimensions in only two, and carrying this process even further automatically makes the image created even more and more abstract. For example, the human face can go from a person standing in front of us to either a photograph or drawing of that face that captures all of the details of that face to the point that we can recognize it as the original person.

    Abstracting beyond this, the face becomes less personal in a literal sense, but can still retain the personality of the original model if an emotional/symbolic non-literal image is created that allows us to still recognize the original model, at least to some degree. The perfect way to NOT demonstrate this would be to draw a laughing bouncing image full of implied happiness and enthusiasm, and saying it's obviously Abraham Lincoln. This would make you look like an idiot.

    The further the face is carried into abstraction, the less specific that image becomes as an individual and the more it becomes a metaphorical symbol for a certain type/stereotype/emotion/belief/generalized group in like circumstances. For example, you don't need 500 recognizable faces to get across the concept of slavery, and in such an image-rich emotionally-charged situation, you can carry abstraction to the point that you don't even need faces or even the human figure at all.

    At some point in your distillation toward abstraction, you will loose all realistic imagery and end up with pure mood/emotion/ideas conveyed by only color/shapes/design (shape arrangement), and even the lack of everything, if you can pull it off in the proper context. For example, death is the crowd of mourners at a funeral, and also the total lack of all human presence in an environment that would normally be full of human life. In art, NOTHING can be something.

    The imagery the OP is dealing with and inspired by consists of recognizable human beings immersed in an environment that has abstracted to the level of pure decoration without meaning other than "looks nice/interesting." This extends to the decoration of the figure's dress, making the figure even less separate from the environment, and in many cases, the figure is beginning to be abstracted into positions that can't exist in real life, adding to the abstraction even further without loosing the "realistic" aspects of the model.

    Pure abstraction is the absence of all visual reality other than that which the viewer wishes to confer on it. Pure "realism" (in an artistic sense) is as close as you can get to no abstraction without jumping back to true reality. Where you want to work on the line stretched between those two points is up to you, and your decision can change second to second if you feel it's necessary to do what you want. You are the creator. You are the brakeman on your personal little street car...

    No position or belief, whether religious, political or social, is valid if one has to lie to support it.--Alj Mary

    Ironically, the concept of SIMPLICITY is most often misunderstood by simple-minded people. --Alj Mary
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  16. #13
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    Quote Originally Posted by Ilaekae View Post
    Ignoring most dictionary definitions of abstraction, think of it as a simplification of reality to the point of nothing but visual existence. A realistic drawing will always be at least a partial abstraction since it's an attempt to depict four dimensions in only two, and carrying this process even further automatically makes the image created even more and more abstract. For example, the human face can go from a person standing in front of us to either a photograph or drawing of that face that captures all of the details of that face to the point that we can recognize it as the original person.

    Abstracting beyond this, the face becomes less personal in a literal sense, but can still retain the personality of the original model if an emotional/symbolic non-literal image is created that allows us to still recognize the original model, at least to some degree. The perfect way to NOT demonstrate this would be to draw a laughing bouncing image full of implied happiness and enthusiasm, and saying it's obviously Abraham Lincoln. This would make you look like an idiot.

    The further the face is carried into abstraction, the less specific that image becomes as an individual and the more it becomes a metaphorical symbol for a certain type/stereotype/emotion/belief/generalized group in like circumstances. For example, you don't need 500 recognizable faces to get across the concept of slavery, and in such an image-rich emotionally-charged situation, you can carry abstraction to the point that you don't even need faces or even the human figure at all.

    At some point in your distillation toward abstraction, you will loose all realistic imagery and end up with pure mood/emotion/ideas conveyed by only color/shapes/design (shape arrangement), and even the lack of everything, if you can pull it off in the proper context. For example, death is the crowd of mourners at a funeral, and also the total lack of all human presence in an environment that would normally be full of human life. In art, NOTHING can be something.

    The imagery the OP is dealing with and inspired by consists of recognizable human beings immersed in an environment that has abstracted to the level of pure decoration without meaning other than "looks nice/interesting." This extends to the decoration of the figure's dress, making the figure even less separate from the environment, and in many cases, the figure is beginning to be abstracted into positions that can't exist in real life, adding to the abstraction even further without loosing the "realistic" aspects of the model.

    Pure abstraction is the absence of all visual reality other than that which the viewer wishes to confer on it. Pure "realism" (in an artistic sense) is as close as you can get to no abstraction without jumping back to true reality. Where you want to work on the line stretched between those two points is up to you, and your decision can change second to second if you feel it's necessary to do what you want. You are the creator. You are the brakeman on your personal little street car...
    so what are you trying to say Sir that I`ll make the figurative representation as part of the design or to be a design itself so that the whole thing would be connected as a fair subject and style ?

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  17. #14
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    "so what are you trying to say Sir that I`ll make the figurative representation as part of the design or to be a design itself so that the whole thing would be connected as a fair subject and style ?"

    If I read what you're saying correctly, I'd say yes...


    Actually, I was referring to the particular examples posted. In many cases, there is NO difference in realistic figure images and pure abstraction. chose a random photo of a nude, for example that is more complex than just a standing figure (maybe someone curled up), or any photo of a person wearing an elaborate costume or something that has incredible texture to it. Then go in and severely crop out a part of that image that retains the feel of a "body" but actually consists of just an abstract pattern when you force yourself to forget that it started as a figure and see it as such a pattern. You should be able to get over a hundred such abstractions out of a single photo.

    Abstraction DOES NOT necessarily mean distortion. It could simply be the result of a particular narrowed viewpoint, or may come about because so much of the original image is lost due to deep shadow or extreme burnout from a high light level. This new image derived from the original is just as valid a piece of art as the original was.

    Try to think of abstraction as a particular viewing angle or view point rather than as something physically being distorted, though this often done in abstraction.

    Cubism, for example, was not an attempt to DISTORT, it was an attempt to SEE MORE. Not understanding this is where naive artists make the mistake of thinking creating "cubist" art is simply turning everything boxy or angular. Wrongo, Kemo Sabe! It was actually an attempt to put down in two dimensions what the artist KNEW existed beyond and behind the figure surface he was able to see in front of him. It's mental exercise to see even more "reality," not a visual/physical exercise to turn something into something else. Children do this subconsciously when they try to show a face from the side--they KNOW there are two eyes on a face, so they insist on putting both in, even though adults understand where the other eye is.

    No position or belief, whether religious, political or social, is valid if one has to lie to support it.--Alj Mary

    Ironically, the concept of SIMPLICITY is most often misunderstood by simple-minded people. --Alj Mary
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