When Bridget Riley first exhibited her dizzying black and white abstracts in the 1960s, people were amazed at how the lines and shapes appeared to move and vibrate right off the canvas. It was like she was painting with electricity itself! In 1967, she introduced Seurat-inspired color applications, and her paintings advanced in complexity and effects… but to keep this post from getting too long and the #30SAL challenge getting too complicated, I’m going to stick with Riley’s black and white artworks for today.
Bridget Riley’s work was part of the Op Art movement, short for Optical Art (not related to Pop Art). Op Art uses colors, shapes and patterns to create optical illusions. Below are some examples of her black and white paintings, arranged chronologically from 1961-1966.
Some artists who got up on the wrong side of the linen might feel Op Art is less art and more design, or visual science. The same was said about Seurat, and I admit there are some rough days when I am inclined to agree. If you relate to this view and you’d like to stretch out of it a bit, try thinking of it this way: painters use varying amounts of optical illusions in their artworks all the time. Painting itself is an illusion of something that is not flat (such as a still life), applied to something that is flat (such as a panel). For example, a painter might use perspective to make a table look like it’s coming forward in space, or apply a glaze to give an effect as if there is depth where there isn’t. A portrait drawing might implement contour lines to make the subject’s nose, cheeks, and chin look plump, or put a bit of bright red to pop, and attract the viewer’s eye. What sets Op Art apart from these more traditional artworks is that Op Art shifts the subject of conversation from the table, air, or face to the subject of human perception with line and color. Edited from the canvas has been the picture, not the soul of art itself. Look at a Bridget Riley painting in person and you will experience energy, time, depth, movement, vibration, and whether you admit it or not – you might also experience some happiness… or nausea. Either way, they are powerful artworks.
Bridget Riley, an interview from June 2, 2021
Today’s 30SAL VOCAB Challenge
Create a piece of black and white Op Art.
If you need a little help, below are some tutorials to get you started.
Materials are artist’s choice
#opart #30sal
Tutorial for an easy, and effective project (for people with paper and pen)
Tutorial for a quick, easy, clean, and effective project (for people with computers)
Tutorial for a slow and meditative project (for people with lots of time and patience)
Post it
To be eligible for prizes (yes prizes!) at the end of the month, post your work to Instagram with #30sal and #opart so we can find your post.
To find more followers for your page, you can cut/paste these to your post:
I’m in Portland, taking a 3-day figure drawing intensive with Fran O’Neill. Saturday was Day 2 of my intensive, and though about mid-day I was cranky, I ended the day on a high. I did not want to stop. I learned a new way of drawing. Isn’t it thrilling that I can draw for so many years, …
Pouncing is a technique used for transferring an image from one surface to another. It is similar to tracing, and is useful for creating copies of a sketch outline to produce finished works.
Today is the 26th day of our 30 day creative challenge. Wednesday is specifically a word challenge. Today’s word is an art vocabulary word, great for drawings and paintings. Sometimes when you draw with soft graphite and then erase your drawing, you can still see a some of the previous lines on the paper. Those …
Among his monotype and pastel works, Degas did a series featuring a young model bathing in private interior scenes, many with the light coming in from a window. The model appears to be caught midway into a movement, making triangles with her body. While the bathing models make a variety of shapes in various …
Day 13: Op Art #30SAL
Bridget Riley’s Op Art
When Bridget Riley first exhibited her dizzying black and white abstracts in the 1960s, people were amazed at how the lines and shapes appeared to move and vibrate right off the canvas. It was like she was painting with electricity itself! In 1967, she introduced Seurat-inspired color applications, and her paintings advanced in complexity and effects… but to keep this post from getting too long and the #30SAL challenge getting too complicated, I’m going to stick with Riley’s black and white artworks for today.
Bridget Riley’s work was part of the Op Art movement, short for Optical Art (not related to Pop Art). Op Art uses colors, shapes and patterns to create optical illusions. Below are some examples of her black and white paintings, arranged chronologically from 1961-1966.
Some artists who got up on the wrong side of the linen might feel Op Art is less art and more design, or visual science. The same was said about Seurat, and I admit there are some rough days when I am inclined to agree. If you relate to this view and you’d like to stretch out of it a bit, try thinking of it this way: painters use varying amounts of optical illusions in their artworks all the time. Painting itself is an illusion of something that is not flat (such as a still life), applied to something that is flat (such as a panel). For example, a painter might use perspective to make a table look like it’s coming forward in space, or apply a glaze to give an effect as if there is depth where there isn’t. A portrait drawing might implement contour lines to make the subject’s nose, cheeks, and chin look plump, or put a bit of bright red to pop, and attract the viewer’s eye. What sets Op Art apart from these more traditional artworks is that Op Art shifts the subject of conversation from the table, air, or face to the subject of human perception with line and color. Edited from the canvas has been the picture, not the soul of art itself. Look at a Bridget Riley painting in person and you will experience energy, time, depth, movement, vibration, and whether you admit it or not – you might also experience some happiness… or nausea. Either way, they are powerful artworks.
Today’s 30SAL VOCAB Challenge
Create a piece of black and white Op Art.
If you need a little help, below are some tutorials to get you started.
Materials are artist’s choice
#opart #30sal
Post it
To be eligible for prizes (yes prizes!) at the end of the month, post your work to Instagram with #30sal and #opart so we can find your post.
To find more followers for your page, you can cut/paste these to your post:
#30sal #opart #opticalillusion #bridgetriley #vnotes #creativechallenge #januarychallenge #drawingchallenge #drawing #art #sketch #artchallenge #artist #draw #artistsoninstagram #sketchbook #instaart #artwork #drawingoftheday #dailydrawing #oilpainting #mixedmedia #drawingsketch #artoftheday #creativity
Padlet
Don’t have Instagram? Post your work to Padlet.
DAY 13: OP ART https://seattleartistleague.padlet.org/SAL/ky6dylz5wp7vi7uq
DAY 12: GEORGE WASHINGTON https://seattleartistleague.padlet.org/SAL/ewht7nr1bszm24sy
DAY 11: BEFORE AND AFTER https://seattleartistleague.padlet.org/SAL/dvmaz3zn3za0146v
Deadline for Prizes
Deadline for submissions: 3 days after each challenge post.
January prize winners will be announced in February.
To learn more about the 30SAL Challenge, click here.
Related Posts
Measured Marks
I’m in Portland, taking a 3-day figure drawing intensive with Fran O’Neill. Saturday was Day 2 of my intensive, and though about mid-day I was cranky, I ended the day on a high. I did not want to stop. I learned a new way of drawing. Isn’t it thrilling that I can draw for so many years, …
Pouncing
Pouncing is a technique used for transferring an image from one surface to another. It is similar to tracing, and is useful for creating copies of a sketch outline to produce finished works.
Day 26: Pentimento #30SAL
Today is the 26th day of our 30 day creative challenge. Wednesday is specifically a word challenge. Today’s word is an art vocabulary word, great for drawings and paintings. Sometimes when you draw with soft graphite and then erase your drawing, you can still see a some of the previous lines on the paper. Those …
Hopper’s Influences in Printmaking
Among his monotype and pastel works, Degas did a series featuring a young model bathing in private interior scenes, many with the light coming in from a window. The model appears to be caught midway into a movement, making triangles with her body. While the bathing models make a variety of shapes in various …