Abstract Art: ADG 26.008 Rectangulus 02

Abstract art using ink fineliners on Bristol paper. As an architect, I use traditional architectural ink drafting techniques and design language to create fine art.

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Richard Lasam

6/7/20262 min read

I often don’t have a clear intent when I start a work—I do the incremental approach, in which I start with making the borders, small details, and so on until I reach the central element and decide from there. What usually results is something I like (so far). So, I stick with this method of executing artworks.

For my eighth work of the year (I do a bunch of them at different rates, so the number just means it is the eighth one I started), I decided to try out a new ink fine liner that I found: a Sakura micron with green ink! It was the deep green I have been interested to add to my art for a while, since black and green seem to work well together in certain cases. This is where I (re)learned an old lesson my architectural professor, Architect Joven Ignacio, taught me. During his watercolor classes, I learned that light colors (in this case, green ink) should be applied on the medium before darker ones to prevent color bleed. I learned it the hard way as I did some practice patterns before applying it on work number 8.

This was also one of my few attempts at rectangular works. Generally, I prefer squares because I like absolute symmetry, but symmetry also works in other ways. The primary border element for this work are x squares and squares with central elements, and the prevalence of heavy hatch volumes creates a darker contrast to the green portions of the work. I still used square symmetry for the central element, but with the smaller “border” rectangles, it was still more of a rectangular work than what I usually do. Going forward, I might make more rectangular works given that the frames I can buy for rectangular works are more numerous and varied.

When I layer the artwork with Bristol paper to give it depth, I imagine it as making the work show how the ideas in a designer’s mind are actually an accumulation of iterations that can be revised, rewritten, and reinterpreted before arriving at the current arrangement that you see as the final artwork. Overall, I like how the circular elements of this piece are accentuated by the more rigid elements of the border.

You can watch me draw this one in my Instagram or you can read about my last group gallery exhibit in April.

If you're interested in this work, please feel free to contact us for inquiries.

Rectangulus 02, framed, 42 x 34 cm.