Sacred Geometry & Knots: 'Geo-Espresso Abstract' series

'Fusion Flight for Cosmic Souls' by Minaz Jantz
The use of Sacred Geometry in fine arts has been used for centuries going back as far as the ancient Egyptian artworks and is as important today to develop successful compositions and good design as it was in art history. 

In the 1980’s I studied for a year of Interior Design and for the first time, I was introduced to the measurement phi, pi, Fibonacci sequence, sacred geometry, and the Golden Mean, which were the basics of learning and understanding the bones of designing interiors.

 'Geo-Espresso Abstract'...an artistic exploration with geometry.
To view, the entire series go HERE

I got itchy to have fun and play with geometry and abstract art while getting away from representational art for a break in my regular routine. The pursuit of art-making is about pushing boundaries and taking risks but it usually starts with some kind of contemplation through feelings and reflections, being inspired by viewing other artists' work and my day-to-day life. I research continually and like to study the old MASTERS and today’s new masters. 

Some dynamic 20th-century abstract artists rely on geometry’s magical, dynamic structures to create illusions with a visual rhythm in the paint. Opt art in the 1960s became mainstream and used in advertising, fashion, interior design, and the new HIP art style of such artists including the famous Victor Vasarely. Math meets art when M.C. Escher takes on his drafting skills to create some of the most mass-produced Opt art today. He was considered not worthy of being called an artist in his time but now he is appreciated for his famous twisted buildings that are illusions and seem to go on forever

In today's era, we have computers to create perfected visual illusions such as computer artist, Ghee Beom Kim from Australia, who has some vibrant computer artworks with insightful explanations. 

Here is a link to Jim Denevan whose earthly geometry uses the earth's surface as his canvas. Sand and Ice are etched by rakes, sticks, vehicles, shovels, etc. to make for beautiful geometry art that will be wiped out by mother-nature elements but not before being photographed and videoed by the aerial view of an airplane or helicopter. 

Fibonacci sequence  given the original pentagon shape

An example of using the Fibonacci sequence
 given the original pentagon.

Following are two videos I enjoyed on YouTube that explain as simply as possible sacred geometry which is the heart of everything in the universe.

In the winter months, I got busy doing the exercises in the textbook ‘Universal Patterns’ by Martha Boles & Rochelle Newman (you can view some results of the exercises’ in 2 of my past BLOG entries). 

After the exercises, I created a series titled ‘Geo-Espresso Abstract’. Geo is Greek meaning earth and measure; Espresso means to express in measured amounts, individually, using a system to keep order and to build relatively quickly; Abstract represents art using lines, colors, and shapes that are usually a nonrepresentational style of the 20th century.

'Tsunami Manifestation',  Bristol paper, pencil and Copic Markers by Minaz Jantz

'Tsunami Manifestation', Bristol paper, pencil, and Copic Markers

ART TECHNIQUE: 'Tsunami Manifestation' Stippling is many small dots or slashes

'Tsunami Manifestation'

Stippling is many small dots or slashes creating an effect on the surface that the eye blends together naturally. In this example, I added several colors within the stippling to fuse and blend for shading and color mixing.

'Theological Transformations',  Bristol paper, pencil, Copic Markers By Minaz Jantz
Theological Transformation, (Bristol paper, pencil, Copic markers) by Minaz Jantz

ART TECHNIQUE: 'Theological Transformations' Stippling fine points of various tones of color

 'Theological Transformations'
Stippling fine points of various tones of color
to create shadow effects and color mixing.
 Cross-hatched marks in red under the pink are added for texture.

Creating such detailed works with geometry, I needed a new medium and discovered a newfound ‘favorite’ medium, Copic Cia markers I bought a few supplies including; tracing paper that’s easy to erase and see-through, graphite tracing paper for coping onto my final paper, acid-free 19”x 24” Bristol Board 100 lb vellum that suits this ink medium very well, and 18 colors of Copic Ciao markers with refills.  The inks were recommended to me by someone over the phone from CURRY’S Art Supply

'Euphoric Shadows Transcending',  Bristol paper, pencil, Copic Markers By Minaz Jantz

'Euphoric Shadows Transcending', Bristol paper, pencil, Copic Markers

ART TECHNIQUE: 'Euphoric Shadows Transcending' Light color inks such as grey beige tone over bright greens  pushes the color tone into the background

 'Euphoric Shadows Transcending'
Light color inks such as grey-beige tone over bright greens push the color tone into the background setting up the brilliance of the pure red more intensely.

' Oracle Utterance in Silence',  Bristol paper, pencil Copic Markers By Minaz Jantz
' Oracle Utterance in Silence', Bristol paper, pencil Copic Markers

I was using the Staedtler pens but quickly ran out of ink working on such large works. Staedtler does make refills but only for a couple of colors and has to be specially ordered. Still, I like to use the Staedtler pens, especially the fine points for outline and texture building, and will eventually buy refills for them too.

'Fast Finish at the Beginning',  Bristol paper, pencil, Copic Markers By  Minaz Jantz

'Fast Finish at the Beginning',  Bristol paper, pencil, Copic Markers

'Fibonacci Fish in the Deep Blue Sea', Bristol paper, pencil, Copic markers By Minaz Jantz
'Fibonacci Fish in the Deep Blue Sea', Bristol paper, pencil, Copic markers

Copic Ciao markers are colorfast inks that come as a pen with two styles of nibs on one pen and can buy the matching refills. Copic Ciao also has a clear base fluid pen and refill that acts like an easer or lightens the tone of previous inked areas but don’t rely on it taking out all the pigments as some darker colors will only lighten an area, not remove it completely.

'Fusion Flight for Cosmic Souls',  Bristol paper, pencil, Copic Markers By Minaz Jantz

'Fusion Flight for Cosmic Souls', Bristol paper, pencil, Copic Markers

'Dog Blanket in Stitches', Bristol paper, pencil Copic Marker By Minaz Jantz

'Dog Blanket in Stitches', Bristol paper, pencil Copic Marker

I recommend buying the three-pack metal tip funnels for easier refilling the Copic Ciao ink pens. The funnel tip fits the refill container then you slide the metal funnel tip into the edge of the marker’s pen nib and lightly squeeze the refill container till you think the pen is full. This is the trial and error part…overfills will happen so I learned to put in less than more and let the pen sit on its side for a moment before using.  

Watch out when you open the newly refilled pen to see if the ink has overfilled the nib looking obviously very wet also filling the cap…too much ink can splat on you and paper. This has happened so I have a spare scrap paper to unload the excess. I clean the funnel tips immediately after use by running rubbing alcohol into the tip over a sink until it flows clear while also wiping with a paper towel to clean thoroughly so you can use another color with them.  I use rubbing alcohol for cleaning my hands too as it can get messy or you can wear gloves.

'Moroccan Sunset',  Bristol paper, pencil, Copic Markers By Minaz Jantz
'Moroccan Sunset',  Bristol paper, pencil, Copic Markers

I also found out that hand sanitizer has alcohol in it for some creative mark-making by brushing it onto the inked paper surface to remove the color, creating texture with a sponge, for example, …trial and error! 

The Copic inks themselves can be treated in an application much like watercolor with its transparent fluidity and vibrant hues. The refill inks can be used and treated like paint with any type of tool such as brushes, sponges, and or the Copic Ciao pens. I layer the colors on top of each other to get a glazing action much like watercolor and for color mixing, changing the overall tone, and or creating texture. It’s important to have very light colors to use for glazing over the more intense hues.

'Nascent Fertility',  Bristol paper, pencil, Copic Marker By Minaz Jantz To view entire series go HERE

'Nascent Fertility', Bristol paper, pencil, Copic Marker

I would like to add more of the color selections offered in Copic Ciao pens and add them to my ever-expanding art-making collection and will also take them as my traveling drawing kit.  I recommend definitely the refills with the pens because you can go through a lot of ink when filling in the large spaces.

'Spring into Paisley',  Bristol paper, pencil, Copic Markers By Minaz Jantz

'Spring into Paisley', 
Bristol paper, pencil, Copic Markers

ART TECHNIQUE:  'Paisley in Spring' Using the wide nib of the pen, I stroke blocks of color in a variety of  directions and with various colors

ART TECHNIQUE:  'Paisley in Spring'
Using the wide nib of the pen, I stroke blocks of color in a variety of directions and with various colors for visual eye mixing and for texture. The blue around the yellow daisy was lightened by using the Copic clear fluid that takes away color.

NOW for the art-making, I start off drawing some basic grids to get all the lines as straight as I can with my drafting triangle and ruler, while measuring for some eventual complex patterns. I want to play around with ideas on the transparent paper that measures the same size as the Bristol paper which will be for my final drawing. 

I work out my design using my drafting tools, and an eraser to take away the basic grid lines eventually I can see the pattern developing, then darken the lines I like with a softer pencil, plan color themes, build up textures, etc. until I get something that looks interesting to me. 

Sometimes I work it all out in this stage while other times I work out the details once traced onto the Bristol board. Once I get most of the design drawn out on my see-through paper, I will transfer the image with graphite tracing paper making sure both papers are lined up with the Bristol paper on the bottom. 

NOTE: The graphite tracing paper will leave marks on your final paper and can not erase so I trace lightly and only trace out the outlines, leaving textural details out for the final drawing as the graphite tracing paper will show up under some of the lighter tones of inks.

'Kaleidoscope Tango',  Bristol paper, pencil, Copic Markers By Minaz Jantz

'Kaleidoscope Tango', Bristol paper, pencil, Copic Markers

View the entire series go HERE

Working on the final drawing with the inks, I follow my guideline ‘free hand’ meaning I no longer use the ruler to draw the lines. WHY??? I find that it has an organic vibe to the drawing and doesn’t feel like it computer designed. 

My past Russian art teacher expressed vehemently, with her intense Russian accent, “Computers should design rooms for only computers, people should draw freehand for rooms that contain people!!!” …this was back in the ’80s when CAD designer software was just being developed and the drawings all looked sterile…she hated it and I agreed. Funny, now they hire artists to draw out the computer drawings because the average Joe is not responsive to these PERFECT drawings. Thankfully I learned to do it all by hand.

I found on YouTube a documentary series called 'The Code' by BBC on math and its beautiful relationship with the universe. I recommend watching it. My favorite was part 2 where they featured a Bubble Blowing artist to demonstrate Sacred Geometry!

BBC 'The Code'…

Empowered by Math...Minaz Jantz


Unknown said...

It's funny this is your first post. I had a few weeks ago try some of my own geo art. I saw the pin on pinterest it's where you draw a squiggly line down the middle of the page. Than you draw wavy lines vertically than fill them in with lines. BUT after all of that you color it in and it looks very cool.
I tried to find the link but NO DICE! I would LOVE to see what you put together will you be posting it up?

Unknown said...

I just did some of this medium the other day. Have dyslexia so it was a CHALLENGE. I dare NOT show it!!!
I can't wait to see what you come up with! I signed up for your e-mail so hopefully I won't miss it!!!!!

Unknown said...

I just did some of this medium the other day. Have dyslexia so it was a CHALLENGE. I dare NOT show it!!!
I can't wait to see what you come up with! I signed up for your e-mail so hopefully I won't miss it!!!!!

Artist Minaz Jantz said...

Answering your first comment about drawing squiggly lines then dividing the page up..think this is termed Zentangles or something to that word. I have in Pinterest some samples..much more freedom for expression with out the techy tools and knowledge to create the above drawings. I have some scratch board that I will try the ZENTANGLE idea for fun. Thanx for stopping by and signing up to my artgirlgallery e-notes!

Artist Minaz Jantz said...

Sacred Geometry is not easy to do at all but well worth the study if your a self motivated person who likes to solve puzzles. I actually do have dyslexia and maybe it helps me to understand the other dimensions that geometry challenges. It certainly helps with my other painting styles and a better sense of keen observation in ALL things on this earth plane...it is esoteric in nature, for sure...very trippy stuff once you get into it..your into music writing and playing??..to learn geometry is to see it in all creation..ok will stop there before I ramble toooooo much more, ENJOY!

Unknown said...

My dyslexia does help me as much as it hinders me. I am TOTALLY inept at ALL things Mathematical or Numeric. But have made up for it with self deprecating humor and blather!

I kind of have a weird out of body experience when I write or make art. I don't know where it comes from and when I am done I look back and think.... OH where do I come up with this stuff???
I am always Amazed.

Do you have that same experience or are you among the lucky to have consistent methodical working habit?

With your Dyslexia do you have a problem with writing or math or both? I feel very lucky to be dyslexic but if you had asked me that in school you would have gotten a different answer! like

Very lady like (I know)

Artist Minaz Jantz said...

Let me reflect on dyslexia... I was better at teaching myself, quietly in a room without others around. MATH & any thing that required memory was BAD for me. If the teacher was creative and passionate I did OK. As an adult I learned some techniques for studying and memorizing that worked and even ended up with a Business Math Science Degree holding top grades but still can not read a clock, bus schedule, calendar, count change, or anything in a list format, recall phone numbers unless its by patterns..I could go on but found out there are two types of math, I am super at conceptual concepts...stop here. Yes, I love the creative vortex my brain goes into when creating, no concept of time and not feeling like I am on planet earth but some where floating... channeling the true spirit of being. No I am not methodical but developed those skills over the years as it is a necessary evil to produce more than once. Teaching craft, and dance also helped me to be able to relate to all types of learning and adjust my very creative way of communicating to help others understand. Speaking of creative writing..I wrote and illustrated my version of what happened to Cinderella, which I call Spinderella Soap...www.spinderellasoap.com I used the rhythmic sounds of Dr. Suess and invented words to tell Spinderella's story..so yes, dyslexia for me has enhanced the creative way that is unique, expressive and the ability to problem solve. BUT at times very embarrassing when I show up somewhere weeks early, too late, or can not rely on clocks so I live on instinct..so being smart in some ways and completely dumb in other ways, keeps me humble!!!!..super to chat with you!

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