A simple way to describe the term abstract would be to use words like essence, summary, extract, distillation or visionary. An abstract landscape is one where the image has, by varying degrees, been stripped bare of unessential details in such a way as to make it more profound. This process is undertaken to generate more impact and to reach for something more fundamental than mere surface portrayal. The abstract process begins with the idea, the objective of the painting and how best it can be expressed. Choose which form or combination of forms would give the strongest impression. Decide whether to have a limited tonal range or an extensive one; muted colour or strident; whether to include texture. Your eye and instinct will tell you what works best and your mood, the time of day and the subject matter will influence how the painting evolves. Some paintings consist of simple geometric forms that are very suggestive, witness the paintings by Paul Klee and Mondrian, others have little or no form at all. Veils of monochromatic tones can evoke a mistiness that is both suggestive and mysterious. By contrast slashes of jazzy, vibrant colour can express an altogether different mood.

DEMONSTRATION: Winter

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STAGE ONE

I used photographs to obtain some basic forms that relate to the landscape and then cut them out in stiff paper. You can have as many or as few as you wish, but it is best to have fewer forms to begin with, otherwise you will not know where to start.

STAGE TWO

This shows how convex and concave forms can be generated from the basic geometric shapes.

STAGE THREE

Two-dimensional forms can be broken down into basic geometric shapes that can be varied with subtle changes to their profiles, as shown. The colours on the left are muted, so appear recessive. The colours on the right are high key, so demand the attention of the viewer and come forward in space. Playing with shape, colour and tone is at the root of abstract work.

STAGE FOUR

Here are some arrangements of forms derived from the original photographs of the landscape scene in stage one. I used contrasting toned card as a background and an old mount as a frame. Notice how the mount overlaps the shapes to create interesting negative images. This process will spark ideas for drawings that can be worked up into pictures.

STAGE FIVE

Having decided on an arrangement you need to make a drawing – you could trace it or, if you are good with computers, play with it in Photoshop. Then rearrange the forms and make further drawings while your imagination is fired.

STAGE SIX

Consider colour and tone. I selected one my drawings and chose colour themes inspired by nature: winter, spring and autumn. There are numerous variations of colour and tone that can be explored.

STAGE SEVEN

Think about texture. From left to right are: brush twisting, brush flicks, flat brush, salt, striations with hog bristles, dry scraping with paper, splattering, ragging. There are many other possibilities including waxing and scratching, or invent your own. Be inspired by nature – tree bark, leaves and rock, for instance.

STAGE EIGHT

The abstract painting can involve all kinds of tools. Here I have a flexi curve, which can be used with a small round brush or pencil; masking tape for clean edges; a pair of compasses with a cut-down brush attached for cyclic shapes; a retractable scalpel with various blades for scratching or scratching out and cutting shapes in masking tape; a compass cutter for cutting out circles or part circles in masking tape for positive or negative shapes; a straight edge: hold down the bottom edge with masking tape while you raise the top edge to slide a brush along for straight lines; folded paper for applying paint (I use paper in many ways to produce all kinds of textures and images); a natural sponge for softening edges and textures and a hog hair fan brush for stippling, splattering and striations. There are other options such as masking fluid, sprays and salt. You could try anything.

STAGE NINE

This is where all the playing comes together. I selected the winter colour scheme and worked out a sequence of operations to produce an image. I used masking tape to reveal the forms that sit in front of the others. The upper form had some masking fluid rubbed in with folded paper and was then painted over with another piece of folded card. The lower form also had masking fluid applied and brushed in with the blue and violet. While the paint was wet I scratched the lines (reminiscent of tree branches) with a scalpe

FINISHED PAINTING

Winter, watercolour on Saunders Waterford 140lb (300 gsm) Not, 83⁄4x121⁄2in (22x32cm).

When the paint was dry I removed the masking tape and used a finger to rub off the fluid. I then masked out other forms where necessary and, using my preliminary sketch as a guide, I painted, rendered and textured them to reflect my feelings and observations about winter: ice, snow, dark and so on.

This extract was taken from an article by Paul Riley, The Artist April 2009 issue. 

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