Towards the end of the 1800s, a dramatic shift occurred in the art world. At the cutting edge, slavishly copying subject matter was replaced by increasing abstraction, which during the 1900s led to movements of purely abstract work, entirely free from recognisable elements. The bug of abstraction has now taken hold in the world of illustration, often as self-initiated fine art-oriented projects, but increasingly as paid commissions. Technology has its part to play, with the tools required for truly generative, organic art now in the hands of the typical designer. However, people – both creators and audiences – are the driving force. Despite a certain amount of technology aiding the bulk of abstract work (such as Illustrator, Photoshop and programming environments for creating truly generative illustrations), and the decorative and mostly subject-free nature of the end result, abstract art has the potential to release creators from the burden of narrative, enabling them to concentrate on engaging the viewer on a purely emotional level. For the viewer, the relationship with such artwork is very different from traditional illustration. Abstracts force you to use your mind and imagination, provoking an emotional response, as opposed to representing a familiar image that’s mere commentary, supporting nearby text. Reactions to abstract pieces are ‘This reminds me of...’ and ‘This feels like...’, not ‘This is...’. A viewer may be further engaged as work is deciphered through their own experiences, creating a unique interactive insight. And the more that’s hidden from someone, the more likely they are to scrutinise the work and engage with it. For the illustrator, abstracts offer something rare in traditional illustration, and often missing altogether. There’s scope for much more experimentation, a freedom to explore a spectrum of shapes, sizes and colours of the type rarely considered when working on the usual fare. In abstract illustration, there’s the possibility of genuinely not knowing where you’ll end up. Generative work – the kind created by algorithms – takes this further, adding a level of randomness that simply doesn’t exist in any other area of digital illustration. It’s not possible to control every little detail from start to finish, which is an exciting prospect for illustrators sick of the overtly disciplined nature of working digitally. Often, by using the simplest of rules, elements will communicate and reinterpret an idea, leading to unexpected but exhilarating results. And although such artworks are apparently highly complex, many use rules found in nature, thereby drawing people in, relaxing them and offering a timeless quality free of outside influences. The aims of many abstract illustrators tend towards those of fine artists, as does plenty of their output. Whether said output actually is art is another matter; it’s open to interpretation and the intent behind each piece of work. Most of those working in the field of abstract illustration reckon it falls between traditional illustration and the fine arts, offering the best of both worlds.
