2.  Born: Minneapolis, Minnesota  Resides: Peñasco, New Mexico  Education: 1994 Santa Fe Institute of Fine Arts; Nathan Oliveira's Master Class 1989 Studied with painter Alvaro Cardona-Hine; Truchas, NM 1981 M.F.A. University of Mexico 1976 B.A. University of Minnesota

3.  Abstract art and nonobjective art (or nonrepresentational art) are loosely related terms. Although they are similar, these terms are not of identical meaning.  Abstract art actually begins with a subject; however, through reducing detail, the subject is simplified (or abstracted) to varying degrees. The end result is that the subject becomes less realistic or less recognizable. This departure from accurate representation may be slight, partial or complete.  Non-objective art does not depict any particular subject matter; rather, it is created solely with one (or more) of the elements of art: color, line, shape, form, texture and or space.

7. See if you can recognize, or determine, what scheme is employed in each painting. Note the different color schemes in each painting.

20.  There are many ways to approach abstract design. The following slides will outline a few. We will try these together in class to get your started.

21. 1. Choose a 2” x 2” section of a drawing or a photograph with a viewfinder (we will make these in class). 2. Sketch a minimum of 5 selections (from different sources) in your sketchbook to build a group of potential designs. 3. Trace your favorite selection and try recreating the design several times—use mirror images, etc. 4. Create visually stimulating abstract designs in varying formats (rectangular horizontals, rectangular verticals, squares, and so forth). 5. You may use your computer drawing program to sketch these designs and flip them in lieu of sketchbook. However, you will need to print the planning page and paste in your sketchbook for grading purposes.

22. Picasso said “There is no abstract art. You must always start with something. Afterward you can remove all traces of reality.” 1. Choose a realistic painting that you like. 2. Use a critique (photographic tic-tac-toe) grid format to reduce the painting to bare bones, simplifying the main shapes to lines and shapes. Forget about the “things” being shown, just indicate the main volumes - the rough shape of a figure, the vertical shape of a tree, a horizon. 3. Re-sketch what you have after reducing the design on a new page. Continue to simplify, emphasizing the shapes, lines and colors that you want to lead to your focal point. 4. Create unity but remember to add some variety for interest.

23.  Use space photos, electron microscope images, DNA sequences, microbes, diagrams, mathematical formulae - these things can have a curious beauty. 1. Create small thumbnails in your sketchbook using varying sizes or shapes of rectangles and squares. 2. Sketch variations of these images until you find a composition that works. 3. Experiment with color palettes on the thumbnails. 4. Limit your palette. Try creating a minimalist palette of adjacent, sympathetic, opposing or random colors. Try one of: Black, brown, beige, off-white in large blocks Cadmium red, dark green, border and bands of black Purple, ultramarine blue, small highlights of orange and so forth.

24.  Choose an abstract artist - look on the net, perhaps one of the Russians like Malevich - who uses simple, strong shapes.  Copy a few of them. Then try to create your own design of simple shapes using those as a starting point!  Make SURE you change the design up at least 60%. I need to see a copy of the painting you chose to copy before I can determine if you have altered the design enough to avoid plagiarism.