Continuing with my abstract exercises, I focused next on line. (Although I’d been using it since the very first exercise.)
What kind of line(s) did I like? What came naturally?
I’m still trying to figure that out. On the grid above, my favorite line is the one top right.
The next assignment was to use two shapes and add a line.
I love that little squiggly line above!
The next exercise required multiple shapes, arranged in a grid format, with line added. By now I found myself leaving space for the future line.
I was beginning to smile more and cringe less at my results. It was beginning to gel in my brain, I think.
Finally, I read (or saw?) something in the book that surprised me. First, some background: I’ve often heard that elements in a composition shouldn’t “kiss.” That is, they shouldn’t just barely touch. They should either clearly miss one another, or clearly overlap. Same for elements in relationship to the edge of the composition.
However, Jane’s work often has elements kissing. So, I decided to test the kissing, non-kissing concept. I cut out similar elements and made two different compositions. The first one had no kissing.
And I was pretty happy with it.
Next, came full on kissing!
Hmm, to my surprise that wasn’t too bad. It had a certain edginess to it. I decided I might occasionally ignore the “no kissing” rule. But not at the edges. I didn’t care for that.
How about you: kissing or not?