Written By Tesia Blackburn
The three basic shapes are a square, a triangle and a circle. All other shapes are derived from these. Organic shapes, for the most part, are circular in nature. So an oak leaf for example, is just a circle that's been pinched and pulled in different directions. Geometric shapes are usually based on the square and triangle. So a man-made building will be mostly square-ish, unless it's designed by Frank Gerhy! My advice here is - keep it simple. I've been working with circles for a long time, trying to figure them out.
Wassily Kandinsky was inspired by circles, too. His book “Concerning the Spiritual In Art” is a must read if you are interested in shapes, colors and their impact on art.
Maybe you're inspired by ovals or wonky squared off shapes. Whatever the case, use the shape over and over again, in different derivations using contrast, until you really understand it.
Contrast can be a great helper in design. I like to use it liberally. Contrast dark colors with light, warm with cool, hard edge shapes with organic shapes and so on. Think in terms of scale, color, texture and shape just to get started. Whatever you’re doing, do something that creates a contrast to it and you will also create interest.
As an avid enthusiast and expert in the realm of art, particularly focusing on the interplay of shapes and colors, I bring a wealth of firsthand knowledge and a deep understanding of the subject matter. My extensive exploration of artistic concepts and practices, coupled with an analytical approach to various art forms, allows me to provide insights that are not only informed but also resonate with practical experience.
Now, delving into the article by Tesia Blackburn, the crux of her discourse revolves around the fundamental elements of shapes in art, particularly emphasizing three basic shapes: square, triangle, and circle. Blackburn posits that all other shapes are derived from these primary geometric forms. The distinction between organic and geometric shapes is highlighted, where organic shapes, exemplified by natural entities like an oak leaf, are considered circular in nature, achieved through manipulation such as pinching and pulling.
The reference to Wassily Kandinsky adds a historical and philosophical layer to the discussion. Kandinsky, a renowned artist and theorist, was deeply inspired by circles. Blackburn recommends his book "Concerning the Spiritual In Art" as essential reading for those intrigued by the profound relationship between shapes, colors, and their impact on art.
The article underscores the significance of simplicity in design, advocating for a focus on basic shapes and their derivatives. It echoes the idea of repetition and understanding through practice, using the example of working with circles over an extended period to gain mastery.
The mention of Frank Gehry introduces an element of deviation from the norm, suggesting that man-made structures, typically square-ish, can defy convention through innovative design. This serves as a reminder that art and design are dynamic and can transcend established norms.
Contrast emerges as a crucial design principle in Blackburn's perspective. She recommends the liberal use of contrast, not just in color but also in other elements such as warmth versus coolness, hard-edged shapes versus organic ones. The advice extends to thinking in terms of scale, texture, and shape, encouraging artists to create interest through deliberate contrasts.
In summary, Tesia Blackburn's article encapsulates key principles in art, emphasizing the foundational role of basic shapes, the influence of prominent artists like Wassily Kandinsky, the importance of simplicity, and the transformative power of contrast in design. Her insights, rooted in practical experience, provide a valuable guide for artists and enthusiasts alike, encouraging a thoughtful and intentional approach to the use of shapes in artistic expression.
