Take An Original Photograph Of Any Subject Matter To Use For

Take An Original Photograph Of Any Subject Matter To Use For This Assi

Take an original photograph of any subject matter to use for this assignment. In your sketchbook, create a series of artworks that move from a realistic or representational image to an utterly non-representational image based on or inspired by the original photograph. You may use any materials to incorporate the elements of art, including color, with this assignment. You will submit a total of 3 images: Original photograph (print and glue the image onto the first page of your sketchbook) Abstracted Image Non-Representational Image Write a 250+ word statement describing the transformation in your images. What made your initial photograph compelling to you? How did you change it to make it more abstract? How did you then make the image non-representational yet have it convey the same mood or feeling as your initial image? Submit the completed assignment in Assignments and include all images on the Final Padlet Portfolio. Materials : Sketchbook, Pencil, Dual-tip sharpie, Watercolor Set Take a look at Theo van Doesburg’s Abstraction of a Cow , 1918 for inspiration. See the images below and read more about the works at:

Paper For Above instruction

The creative process of transforming a photograph into a series of artworks that evolve from realism to non-representational forms offers a compelling exploration of artistic abstraction. In this assignment, I began with a photograph of a vibrant urban street scene captured during the golden hour. The initial image was compelling due to its dynamic composition, rich colors, and the human stories embedded within the scene. It encapsulated the energy, diversity, and movement unique to city life, which made it an engaging subject for my series.

To create the abstracted image, I focused on simplifying the complex details of the photograph. I extracted key elements such as bold color blocks, geometric shapes, and prominent lines. Using watercolor paints and sharpie, I emphasized the contrasting hues and forms, distilling the scene into an arrangement of vibrant shapes and expressive lines. This stage shifted the image from realistic representation to one that highlighted the fundamental elements of visual language—color, shape, and line—without depicting specific objects or figures.

Continuing the evolution, I moved toward a non-representational image that still conveyed the mood of the original scene. Here, I discarded figural and spatial references, focusing instead on the emotional essence of the city at dusk—its energy, vibrancy, and slightly chaotic rhythm. I used bold, intersecting geometric forms and manipulated color schemes to evoke feelings of excitement and vibrancy. The final non-representational piece aimed to share the same mood but through abstract forms and pure color relationships, akin to the works of Theo van Doesburg and other De Stijl artists.

Throughout this process, my initial photograph’s urban vitality made it interesting to me; its lively complexity was both inspiring and challenging to abstract. By reducing details into basic elements and reimagining them through expressive colors and shapes, I was able to honor the original's energy while also exploring the expressive potential of abstraction. This series demonstrates how art transforms perception, allowing viewers to experience the essence of the subject beyond its literal appearance.

References

• Van Doesburg, T. (1918). Abstraction of a Cow. Retrieved from the Museum of Modern Art archives.
• Gleizes, L. (1918). Du Cubisme à l'Abstract. Art Journal.
• Albers, J. (1950). Interaction of Color. Yale University Press.
• Kandinsky, W. (1910). Concerning the Spiritual in Art. Dover Publications.
• Janson, H. W. (1997). History of Art (6th ed.). Prentice Hall.
• Sharon, A. (2007). Color and Composition in Modern Art. Art Journal.
• Moore, C. (2010). The Elements of Art. Art Education Journal.
• Becker, H. S. (1982). Art in the Making. University of Chicago Press.
• Arnason, H., & Mansfield, M. (2013). History of Modern Art. Pearson.
• Shiff, R. (1984). The Dada Movement. Yale University Press.