Anomynous Artist

Anomynous Artist

Op Art started primarily in black and white.  Bridget Riley’s early pieces for example were painted solely in black and white.  Later she introduced shades of grey and later still a limited set of colours.  It’s nice to see the artist ‘Anomynous’ (sic) going back to the roots of Op Art and producing some excellent hand painted black and white pieces all created without the use of a computer.

Symmplicetry
Anomynous
63 X 51 cm
Ink and Acrylic
Paper
Symmplicetry Anomynous 63 X 51 cm Ink and Acrylic Paper
Free to Come, Free to Go
Anomynous
50 X 40 cm (approx.)
Ink and Acrylic
Paper
Free to Come, Free to Go Anomynous 50 X 40 cm (approx.) Ink and Acrylic Paper
Seed in Bloom
Anomynous
63 X 51 cm
Ink and acrylic
Paper
Seed in Bloom Anomynous 63 X 51 cm Ink and acrylic Paper

My work as the artist Anomynous is an experiment of the ideal versus the ego. Through my work I am seeking to communicate a language of proportion based on geometric principles that is not only accessible to the observer, but also challenges them to re-think their preconceived view of reality.

My pieces are designed to seed, grow and animate in the mind’s eye. They are formulas, they are simple principles that are universally familiar and they are reminders of our continued evolution, that this priceless journey of perception and understanding has not yet ended.

Phiral
Anomynous
58.3 X 43 cm
Mounting board (83.5 X 59)
Ink and acrylic
Paper
Phiral Anomynous 58.3 X 43 cm Mounting board (83.5 X 59) Ink and acrylic Paper
Swircle
Anomynous
63 X 51 cm
Ink and acrylic
Paper
Swircle Anomynous 63 X 51 cm Ink and acrylic Paper
Embryone
Anomynous
65 X 50 cm
Ink and acrylic
Paper
Embryone Anomynous 65 X 50 cm Ink and acrylic Paper

Did you study art? If so, where?

I have not had an institutional artistic education; what I know is what has captured my curiosity.

Why do you like Op Art in particular?

I like Op Art as I believe it is one of the few styles that allows for perceptive transgression; it has helped me unlock the way I see the world. What I really love about Op Art is that it is a language of proportions and understanding that language has been a key to my personal evolution as an artist.

Cosmic Sauna House
Anomynous
63 X 51 cm
Ink and acrylic
Paper
Cosmic Sauna House Anomynous 63 X 51 cm Ink and acrylic Paper
Symmevortices
Anomynous
49.5 X 41.5 cm
Ink and acrylic
Paper
Symmevortices Anomynous 49.5 X 41.5 cm Ink and acrylic Paper
Pentacycle
Anomynous
63 X 51 cm
Ink and acrylic/gouache
paper
Pentacycle Anomynous 63 X 51 cm Ink and acrylic/gouache paper

How do you make your art? / What’s the process for making one of your artworks?

I incubate concepts during my time at my non artistic day job, often sketching them out. Later that night I’ll work on handcrafting the concept into a large scale piece. This ‘artisan’ approach involves using a compass (remember those?!), pencils and ruler on paper. I then use ink liners to outline the piece. The final stage is applying acrylic and/or black gouache for the fills.

While it is obvious that digital technology has contributed much to the op art movement, I personally find there is little that can surpass that certain exhilaration of crafting a fully realised piece by hand.

Anonymous - work in progress
Anonymous – work in progress

I have a stage by stage photo method over at my blog for a more detailed review.

Any other art you like and other artists that inspire or have inspired you.

The biggest inspiration for my work is the laws of circle proportion and symmetry; these natural laws have entranced me in a continued deepening exploration.

As for artists, I am inspired by a diverse range of genres and mediums, I am drawn to anyone really who can manifest their emotions into the material world.

I have a heightened respect for masters such as Gaudi, whose work is simply transcendental.

1080 Degree Hyper Piston
Anomynous
59 X 41.7 cm
Ink
Paper
1080 Degree Hyper Piston Anomynous 59 X 41.7 cm Ink Paper
Zeus’ Gift
Anomynous
60 X 50 cm (approx.)
Graphite
Paper
Zeus’ Gift Anomynous 60 X 50 cm (approx.) Graphite Paper
Radials
Anomynous
63 X 51 cm
Ink
Paper
Radials Anomynous 63 X 51 cm Ink Paper

I would love to encourage anyone to learn the simplistic properties of a single radius for themselves and experiment with this boundless power source of raw, creative vibrancy.

You can see more of Anomynous’s work at his website.

Into the void @ University of Oklahoma Health Sciences Center

Into the void @ University of Oklahoma Health Sciences Center

UPDATE: This exhibition has been extended by popular demand. It has also now moved to the University of Oklahoma Health Sciences Center, 1000 Stanton L. Young Blvd, Oklahoma City, Oklahoma 73117 and will run until April 2014. Thanks to Theresa Hultberg for the information.

A fantastic new free-to-enter exhibition – “Into the void” – is being hosted by the Fred Jones Jr. Museum of art within the Oklahoma University Campus, in Oklahoma, USA.

The exhibition is ‘student curated’ (by students from the Oklahoma University School of Art and Art History) and features works from the Fred Jones Junior Museum of Art’s collection.  Artists on display include Bridget Riley, Victor Vasarely and Richard Anuskiewicz.

Titan C - Victor Vasarely

Titan C – Victor Vasarely

The exhibition opens to the public on the 9th February 2013 and runs through until the 28th July 2013.

You can find out more about the exhibition here

Fred Jones Jr. Museum of Art
555 Elm Avenue
Norman, OK 73019-3003

Monday:  Closed
Tuesday:  10 a.m. to 5 p.m.
Wednesday:  10 a.m. to 5 p.m.
Thursday:  10 a.m. to 5 p.m.
Friday:  10 a.m. to 9 p.m.
Saturday:  10 a.m. to 5 p.m.
Sunday:  1 p.m. to 5 p.m.

Entrance is FREE for everybody.

The exhibition features a great promotional logo design by Laura Fortner.

Into the void - Laura Fortner

Into the void – Laura Fortner

Op Art Tutorial – Victor Vasarely

Op Art Tutorial – Victor Vasarely

This is the first post in a series to help you create your own Op Art using some common software.  You’re going to need Photoshop for this one.

Today we’re going to make an Op Art work in the style of the great Victor Vasarely.

If you want to see some of Victor Vasarely’s work before we get started to understand his style a bit better then have a look in the Victor Vasarely Gallery.  If you want to read a Victor Vasarely biography to find out more about this great artist then please do!

vasarely-small

What’s important before we start is to work out how big we want the final image to be and how many ‘repetitions’ of the shape we want.  I’m going to create an image which is 1600 pixels by 1600 pixels and I’m going to have 40 ‘shapes’ going across and down the canvas.  So, let’s do the maths:

1600 picture / 40 shapes = 40 pixels per shape

NB – we’re using a ‘square’ shape and a ‘square’ canvas so this is for both dimensions.

First thing we’re going to do is create a pattern that we’re going to repeat over the canvas.  You can experiment with these but we’re going to use a single circle.  We’ve already worked out the size of our shape (40px by 40px) so create a new document of that size.

1-shape

If you’ve picked a small sized shape (like mine) press CTRL and the + sign a couple of times to zoom in (or ‘View’ -> ‘Zoom in’)

To make things a bit easier, I recommend using ‘guide’ lines so make sure under the ‘View’ menu you’ve got ‘Rulers’ and ‘Snap’ selected.  You can now drag a guide line by clicking on the ‘ruler’ at the top and dragging it down to the centre of the canvas we just created.  Do the same on the left hand side ruler.  If you aren’t sure what to do, click ‘View’ -> ‘New Guide’ and set the position to be half of the height of your shape and again for half of the width (e.g. here 20px vertical and 20px horizontal).

We’re now going to draw a circle the full size of this canvas.  Select the elliptical Marquee tool as shown below (NB – you can also see our ‘guide’ lines in place)

2-shape

Normally when you draw a circle in Photoshop you draw from one ‘corner’.  We want to draw from the centre outwards so to do this we’re going to move our cursor right to the middle of our canvas and hold ALT.  Then click and pull the circle selection out to the corner of the canvas.  When you get to the right point, Photoshop will highlight the edges of the canvas.  At this point, release the mouse and you have your circular selection.

We’re now going to fill that shape with a solid colour.  Select the ‘paint bucket’ tool by pressing G on the keyboard.  If it’s set on Gradient tool, right click on the tool icon in the LHS menu and change it to Paint Bucket Tool.  Click on the Set Foreground Colour icon on the LHS menu and set the colour to black.  Now move the cursor to the centre of the canvas and click to fill with our solid colour.  The fill is likely to be quite strongly anti-aliased so it’s worth clicking a few times (re-filling) in order to make it more ‘solid’.

Now we need to get rid of the selection, so choose ‘Select’ -> ‘Deselect’.

Finally we want to define this as a pattern, so choose ‘Edit’ -> ‘Define Pattern’.  Give it a name you’ll remember.

3-shape

Now we’ve got our pattern defined we’re going to create our actual artwork – create a new document.  I’m calling this one Vasarely and have sized it to 1600 by 1600 pixels. (File -> New)

Now pick a white foreground colour.  Fill the entire layer by pressing ALT + DELETE.

We’ve now got a single layer filled with white.

Now select ‘Layer’ -> ‘Layer style’ -> ‘Pattern overlay’

4-main

Click on the arrow next to the current pattern (1 above) and then click on the circle pattern we created earlier (2).  Press OK and the canvas will be filled with our circle pattern.

5-main-small

We now want to create a selection from our circles pattern overlay.  Click on the Channels bar (1 below) and then click on the ‘Load Channel as selection’ (2 below).  This will select our circles pattern.

6-main-cut

To colour the circles we’re now going to invert our selection.  ‘Select’ -> ‘Inverse’

To avoid having to repeat these steps when you’re experimenting with colours and gradients you can save this selection by choosing ‘Select’->’Save selection’ and giving it a meaningful name.  That means you can come back to it and try different things later.

Now we’re going to fill the circles with a solid colour (but equally we could use a gradient fill or whatever you want).

Choose a foreground colour and press G to get the paint bucket tool.  Click in the image to fill the circles.  I’ve used a very strong red here.  When you’ve filled the circles, you might notice that you can see the previous ‘black’ circles behind the coloured ones.  To deal with this, remove the pattern overlay from the layer below.  Drag the effects on Layer 1 (1)  into the recycle bin (2).  You should see the black edging disappear.

7-main-cut

The next stage is to transform our circles pattern into an Op Art piece in the style of Victor Vasarely.  With our ‘circles’ layer selected click on ‘Filter’ -> ‘Distort’ -> ‘Spherize’.  I’ve put the Amount right over to 100%.

8-main

Click OK and there’s your basic Vasarely picture!

9-main-cut

You can experiment however you want.  Try creating different patterns, using gradients for the background and for the circles and so on.  This is just a basic tutorial to give you the idea – the rest is up to you.

vasarely-small

To create the picture above (for example) I created a similar pattern using the same size of ‘tile’ but made the circles smaller.  I added a layer containing these smaller circles to the original work and  filled them with a strongly contrasting green, applied the same effect (speherize) and moved that layer above the previous circles layer (since the shapes were smaller).  I also applied a radial gradient to the ‘background’ (previously white) layer.

In addition to colours and other layers, there are other interesting distortion filters in Photoshop that you could try messing around with.

 

 

Igor Vojtela

Igor Vojtela

Igor Vojtela is based in Western Slovakia and has a background in teaching Maths and Physics but now works in the field of computing. He produces most of his Op Art pieces using Xara software, although the initial ideas are often sketched out on paper.

Vi
Igor Vojtela
Digital
Vi Igor Vojtela Digital
Soft Op Art Toroid
Igor Vojtela
Digital
Soft Op Art Toroid Igor Vojtela Digital
3x3
Igor Vojtela
Digital
3×3 Igor Vojtela Digital

“When I was born in the last century in a small town in Western Slovakia, crayons, pencils and brushes had already been invented, but nobody even dreamed of computer graphics.  “Scribbling” on paper or in a notebook has always been my favourite form of relaxation from my early youth right up to the present day. Even during my studies in maths and physics I constantly drew crazy figures or surreal landscapes in my notebooks.”

Red White Black
Igor Vojtela
Digital
Red White Black Igor Vojtela Digital
4x4
Igor Vojtela
Digital
4×4 Igor Vojtela Digital

Did you formally study art?

I neither studied visual arts nor computer graphics – it is purely a hobby. I am originally a maths and physics teacher, although I have been working in the IT sector for quite some time now.

Why Op Art?

For me, OP-ART is a symbiosis of geometry, combinatorial maths and art. By combining simple patterns one can create intensely interesting structures, which often do not have a real meaning as such, but can give rise to a surprising optical sensation.  In a way, it is similar to hand drawn humour (which I love), where by joining several lines or objects a new meaning is created entirely different from the original one.

Honeycomb
Igor Vojtela
Digital
Honeycomb Igor Vojtela Digital
Squares on a Trip
Igor Vojtela
Digital
Squares on a Trip Igor Vojtela Digital
Untitled
Igor Vojtela
Digital
Untitled Igor Vojtela Digital

Any other art you like and other artists that inspire or have inspired you?

The work of great visual artists such as Dalí, Brunovský, Mucha, Escher and Vasarely have undoubtedly had the most influence on my work.

How do you go about creating a piece?

Some pictures begin as sketches on a paper which are later re-created in PC, some are created directly in the computer, most often in XARA.

My pictures are usually made for my friends and acquaintances, but I also do commercial work from time to time. For example, in past I used to illustrate magazines, mathematical books, cartoons and corporate visuals.

Black and White in Colour
Igor Vojtela
Digital
Black and White in Colour Igor Vojtela Digital
Crystalline web (2)
Igor Vojtela
Digital
Crystalline web (2) Igor Vojtela Digital
Hexagonal Vault
Igor Vojtela
Digital
Hexagonal Vault Igor Vojtela Digital

If you’d like to see more of Igor’s work you can do so on his website.

Schneider

Schneider

First update of the New Year is from London based artist Schneider who uses cubes, lines and vivid contrasting colours to “question our perception of space and perspective, producing imagery that echoes the Op Art and Geometric art of the 60s and 70s. “

Curve
Schneider
2011
Acrylic on wood panel
60x60cm
Curve Schneider 2011 Acrylic on wood panel 60x60cm
Shuffle
Schneider
2010
Acrylic on wood panel
60x60cm
Shuffle Schneider 2010 Acrylic on wood panel 60x60cm
Drift 2
Schneider
2011
Acrylic on wood panel
60x60cm
Drift 2 Schneider 2011 Acrylic on wood panel 60x60cm

Did you study art? If so, where?

I’m self-taught

Why do you like Op Art?

Hard to say other than I love pattern, repetition & the concept of lines & colours creating space, depth & movement. I saw a huge Bridget Riley at the Tate Gallery when I was a child and stood in front of it for ages. I get excited about huge blocks of identical high-rise flats for example. Needless to say Manhattan is a source of perpetual wonder.

Unstable Crystal 1
Schneider
2011
Acrylic on wood panel
50x50cm
Unstable Crystal 1 Schneider 2011 Acrylic on wood panel 50x50cm
4 cubes
Schneider
2011
Acrylic on wood panel
50x50cm
4 cubes Schneider 2011 Acrylic on wood panel 50x50cm
Unstable Crystal 3
Schneider
2011
Acrylic on wood panel
50x50cm
Unstable Crystal 3 Schneider 2011 Acrylic on wood panel 50x50cm

How do you make your art?

I use Flash to generate the image and experiment with colours. I save hundreds of the best ideas and keep the ones I like most on my desktop for a while and from these print out the ones that stand the test of time. Something then tells me which ones to paint.

What’s the process for making one of your artworks?

I buy wood panels or get bigger ones made up. I paint them with 4 coats of gesso and sand them down until they are perfectly smooth and then map out the image and paint it. I’m a perfectionist so the work isn’t finished until every edge is perfect. Drives me mad sometimes.

A Simple Cube Of White Light
Schneider
2011
Household emulsion on wood panel
60x60cm
A Simple Cube Of White Light Schneider 2011 Household emulsion on wood panel 60x60cm
Unthinkable Complexity
Schneider
2011
Acrylic on wood panel
50x50cm
Unthinkable Complexity Schneider 2011 Acrylic on wood panel 50x50cm
Wind
Schneider
2011
Household emulsion on canvas
60x60cm
Wind Schneider 2011 Household emulsion on canvas 60x60cm

Any other art you like and other artists that inspire or have inspired you.

The obvious inspirations are early – Bridget Riley & Vasarely, plus I love the primary colours & repetitions of Pop artists like Warhol & Lichtenstein. I have started painting series of the same image in different colours as a result.

Current artists I love include Tauba Auerbach, Aakash Nihalani and James Marshall.

Solid Fluidity 2
Schneider
2011
Acrylic on Wood Panel
30x30cm
Solid Fluidity 2 Schneider 2011 Acrylic on Wood Panel 30x30cm
It Became A Sphere 5
Schneider
2011
Acrylic on Wood Panel
30x30cm
It Became A Sphere 5 Schneider 2011 Acrylic on Wood Panel 30x30cm
Zero Gravity
Schneider
2011
Acrylic on Wood Panel
30x30cm
Zero Gravity Schneider 2011 Acrylic on Wood Panel 30x30cm

If you would like to see more of Schneider’s works, you can do so here.