If the Fibonacci numbers have special properties
we can’t just use the symbol for each number.
We need to use them in a way that examines
their properties, a way that sees the number
two as two objects and not just a symbol.
The question is how to approach this task.
In previous lectures we have looked at another
example of incorporating numbers into artwork.
When we looked at the rule of odds we were
working with numbers.
We used odd numbers to define how many objects
we would have in the piece.
This raises the question; can we use the Fibonacci
numbers in a similar way?
Let’s explore if this is possible.
I began with a canvas and two abstract shapes.
This is one and one, the first two Fibonacci
numbers.
There are other ways I could’ve begun.
We’ve already looked at the canvas as a
shape and my first shape to represent the
number one could’ve been represented by
the shape of the canvas.
In this image I decided not to include the
canvas in the sequence of objects that would
represent a Fibonacci number.
The next number in the sequence is two and
for this I chose two yellow shapes.
These shapes cut into the shapes underneath,
but they don’t divide them
because each object is shaded.
This creates the impression of one object
behind another.
If each abstract shape was a flat color with
no variation in shade it would create a problem.
In that scenario the yellow would cut the
abstract shapes into a higher number.
Look at the interaction of the yellow and
purple shape in the left of the image, it
If those were block shapes the purple object
would become divided into two objects.
The object that represents the number one
would be divided into two.
The next number in the sequence is three.
I’ve chosen to represent three with three
blue abstract shapes.
I’m still focusing on adding shading to
those shapes to make sure they are seen as
complete objects even when other shapes are
placed on top.
The next number is 5 and I’ve chosen 5 orange
shapes to represent this.
The next number is 8 and I’ve chosen green
abstract shapes to represent this number.
I’ve chosen 13 red shapes to represent the
number 13.
I hope that you’ve noticed that during this
process
I’m not just thinking about the numbers.
I began with purple and balanced it with yellow
which is a complementary color.
I then chose blue and balanced it with orange
which is its complementary color.
I’ve been thinking about color throughout
the process.
I’ve also been thinking about balance in
terms of where each object should be placed.
I’ve been constantly asking the question,
does anything in this image need an anchor?
Something we explored in the C1 Art Composition course.
As an artist there is a lot to think about.
If you focus too much in one area the other
aspects of the composition will suffer.
I used white shapes to represent the number
twenty-one.
One of the problems of using these numbers
is they get large very quickly.
We’ve gone from 13 to 21 and the next number
adds the previous two together, so the next
number is 34.
I would find in difficult to add another 34
shapes.
The number after that is 55.
These large numbers become very difficult
to work with, so when I got to this level
I merely responded to what was already present
on the canvas.
This is the final piece of artwork.
I’m satisfied with the image, but it could’ve
been better.
Using the Fibonacci numbers in this way, it was restrictive.
Every abstract form needed to be created as
a solid object that has its own layer on the canvas
and I purposefully tried to stop any
later layers from changing the objects underneath.
This approach removes some of the tools the
abstract artist has at their disposal.
Earlier, when we looked at layering the numbers
it showed us how simple shapes could lead
to greater complexity when we use some transparency.
In that example we allowed each layer to merge
with every other layer and the image became
more interesting and complex.
I’m not suggesting that every piece of abstract
art
should use transparency in every part of the image.
It is part of abstract artist’s toolbox
and it should be used when the image requires it.
There were times when I felt that this image
required transparency.
I wanted to let new shapes be created, but
I held back
because I was trying to use the numbers.
This isn’t the best way to use the numbers
because it doesn’t aid the creative process.
I felt that it restricted that process.
This is a nice piece of artwork, but I could’ve
gone further if I wasn’t trying to retain
each shape as a complete object.
This process doesn’t lead to something more
interesting.
I hope these examples have shown you some
of the problems of incorporating these numbers
into the artwork.
I don’t think it’s an easy thing to do
and I felt that trying to use them disrupted
my creative flow, but I don’t want to say
that it can’t be done.
I couldn’t find a way of doing it, although
that doesn’t mean that another artist can’t.
When trying to do this I felt that the numbers
pushed forward and became subject matter,
instead of a tool for composition.
