Geometric Abstracts — A Deeper Look Inside My Creative Process

Geometric Abstracts — A Deeper Look Inside My Creative Process If you read the free edition, you know my geometric abstracts process. It combines structure and fluidity. It balances precision and spontaneity. Here, I want to go deeper. Into my decisions before placing shapes. Into moments of surprise. Into the logic under each composition. I rarely discuss this process publicly. But for those who want to understand more, this is interesting. It explains how and why I create. Choosing the Right Geometry in the Geometric Abstracts Process Not every shape works in every composition. When I begin a new piece in the geometric abstracts series, the first decision is always about form. What geometry does this piece need? Circles create movement and continuity. They pull the eye around the piece. They do not direct it to a fixed point. Triangles introduce tension. They point and push. They create direction. This can energise or destabilise a composition. It depends on their use. Grids offer containment. They are a visual framework. They give the viewer something to hold onto. Watercolour moves freely within their boundaries. Polygons are perhaps the most versatile shapes. They can feel architectural or organic. They can be rigid or flowing. It depends on their sides and orientation. I use them for a middle ground. They are between a triangle's clarity and a circle's openness. The geometry is never decorative. It is structural. It determines how the viewer moves through the piece. Colour as a Decision, Not an Accident In geometric abstracts, colour is where the emotional content lives. The geometry provides the framework. The watercolour provides the feeling. I layer translucent washes. Depth builds gradually this way. I don't achieve final colour in one pass. The finished piece colours differ. They are rarely my starting colours. They result from accumulation. Decisions are made and revised. Washes shift as they dry. Happy accidents become deliberate choices. Gradients are important in my geometric abstracts. A gradient from navy to warm gold is beautiful. It creates a sense of time passing. It suggests shifting light. There is movement even in static work. This sense of movement keeps eyes engaged. It lasts long after the first impression. The Moment of Letting Go Every piece in the geometric abstracts series reaches a point where I have to stop controlling it. The geometry is placed. The initial washes are down. And then the watercolour takes over. This is the part of the process that cannot be planned. Pigment pools in unexpected places. Edges blur where I expected them to hold. A colour shifts in a direction I did not anticipate. And in those moments, the piece either falls apart or becomes something better than I imagined. Recognising these elements is a skill. Trusting the process to unfold is also key. This cannot be taught directly. It develops through repetition. It comes from failure. Occasional pieces arrive fully formed. They leave you wondering how they happened. Why Geometric Abstracts Stay With Me I have worked across many styles and approaches over the years. But geometric abstracts keep pulling me back. There is something about the combination of intellectual rigour and sensory pleasure that feels uniquely satisfying. You are solving a visual problem and making something beautiful at the same time. The two things reinforce each other rather than competing. Explore my full geometric abstracts work. Find the collection at Phillip J Gordon Digital Art Prints. Every piece is an instant download. Print and hang it at any size. It fits your space. For more on geometric abstraction principles, consult this. The Tate Modern's guide to abstract art is a great start. — Phillip J Gordon 🖤 Golden symmetry in vibrant color.

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Geometric Abstracts — A Deeper Look Inside My Creative Process

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