The next place we need to focus our attention is on the stylistic elements, the techniques and the processes that artists from what ever historical period we draw upon, used to create our images, forms, elements, or designs. While these are not as easily identified as the motifs and elements, this stage is all important for our purposes. This is so because it is the techniques and processes – the stylistic flair – which is responsible for producing the artistic nuances that flavor and influence the way in which the motifs and designs are presented that is critical to our understanding of their uniqueness.

     That is why, at the first stage, when discussing the identification of motifs for reference, I would tend to recommend design collections that show illustrations that are flat, one-dimensional, and black and white. I recommend this because it makes this second step in the process easier to visualize, at least at the outset. Therefore, as I said before, Hornung, Koch, and Petrie are therefore preferable at the outset to Owens or Racinet. I prefer the former; because, although they may bear the stamp of their respective culture, time, and place, they are not nuanced in any way by color or shading. The addition of color and shading can be a definite distraction when trying to implement this process. The black and white illustrations are more like Rorschach ink blots, clouds, or wood grain patterns onto which the observer projects substance and form – onto which an observer (in this case the artist) projects their own subconscious imagery. This method is invaluable not only for stimulating the creative process but for working with any images, designs, motifs, and devices. However, at the same time that I mention them, I hesitate to recommend these visualizing techniques using wood grain patterns, clouds, etc. at the outset to someone who is a beginner because it can unduly confuse a novice. Although an aside might be useful to the more aware at this point – this is the method we’ll tend to use after we drop our “training wheels” so to speak. The ways in which we are intending to stylistically alter these basic patterns, design elements, or motifs by using characteristic techniques or methods, we will later use or apply to undifferentiated forms onto which we will end up projecting these processes, techniques, or stylistic methods of rendering images onto or visualize their application on undifferentiated forms that will be characteristically altered by us.

     Although this stage of the operation is far more subtle and less easy to grasp, I’ll describe it here to the best of my ability. At this stage it is all-important to identify the why and the way in which particular patterns or stylizations are being created. At this point we must analyze designs, motifs, elements, brush stroke style, etc. that are indigenous to the period with which we are dealing. It is important to try and identify as many varied elements, conditions, and processes as we can. In the end we want to try to understand what they have in common in order to extract their modus operandi. We want to try to identify the subtleties that exist in these elements beyond the mere outlines of their design or insignia level. We want to try and understand what gives them their peculiar flavor and makes them appear the way they do. In other words, there are many soups made with vegetables but all have very different tastes depending on the amounts and types of vegetables and spice that are added. The following list is not exhaustive but is only meant to give limited insight into both the complexity and the varied possibilities that may be used to conceptualize the ethos of a certain style as it is projected into a particular milieu. First of all our selection of materials will, to some degree, be dictated by the period with which we wish to identify. But what if we change the material not arbitrarily but deliberately? As in the case of the “chromed” sword or the “too perfect” copy of a piece that is supposed to be an artifact? When we decide to alter our choice of “period” materials the choices we make must be careful and judicious. While the category is large and varied, materials are still an important consideration. They are also among the more finite of the selections we need to make. For instance what material will we use: wood, paper, fabric, leather, clay, metal, plastic, stone, etc.? Of course our next choice will be the specific type of material or that we want to use. If we decide on metal, will we choose copper, brass, steel, aluminum, alloy, or silver? So that I can illustrate both the importance and complexity of the choices before us. It should also be noted that various periods initially restrict us to the materials peculiar to that period. By being aware of this we can identify some of the parameters of a particular period but this also allows us to use a particular period as a starting point and then move out of it down a new tangent – a road not taken before. We must deliberately make conscious choices if we are to evolve new forms and new directions – new modes of expression. Let me give just one example, that of an artist creating a painting. In most cases the majority of artists use canvas and it is still the traditional first choice of a surface on which to paint using oil, acrylic, or water color. Still, there are many other flat surfaces on which one may paint: paper, cardboard, glass, board, plywood, fiberboard, pegboard, plastic, or plaster board may be used. Even carpet, metal, or stone could conceivably be used in some instances. If we are going to move beyond traditional boundaries all of these must be taken into consideration as possibilities. Next, the texture or surface treatment should be of great interest to us. What kind of surface do we want to use? Do we want it to be smooth or rough? If, so what degree of roughness is desirable? Is a grainy surface a good choice or do we want it more pronounced – granulated, pebbly, or chunky? Should the texture be regular or irregular? That is, do we want a pattern to appear in the texture such as ridges or crosshatching? Should the shapes which form the texture be rounded, angular, or irregular? Once presented, these options should give initial insights that can be further elaborated. My purpose is to point out and make certain those who read this are aware, to some degree, of the bewildering array of creative choices and possibilities that should be confronting us. By this I’m not intending to confuse the issue but simply pointing out that we should be consistently expanding our parameters; for expansion and growth is the panorama of the visionary. At any point we have the option of changing the properties of the surface which we are using by distressing or weathering it. We can apply this distress at any stage of the creative process: to the initial material, after the color has been added, or after the final finish. The importance of choosing color goes without saying. Certain colors and their combinations are associated with certain movements and periods. Even the type of paint we use may run a gamut of types: acrylic, water color, oil, ink or dye, and so on. Finally colors may be pure or muted, brilliant or muddy according to the era in which something was produced. I haven’t the time or inclination at this point to engage in an elaborate discussion of color. Besides it isn’t really necessary since so many others have treated it in such great depth. But we must also discuss the type of applicator and the way in which the color will be applied. Will it be with a traditional brush? If so, what type of brush will we select or will we elect to apply our color in some other way, such as: sponge, spray, air-brush, palette knife, or squeegee, or even through a screen or from the surface of a plate. The list of choices is endless.  Finally, what method do we use from our endless array of choices to apply it? Do we daub it, streak it, stroke it, or scumble it? With the finish or final surface coating we have still more choices; the first of which is, will it be transparent or semi-opaque? Even the final finish can have a texture embedded in it or some type of distress applied to it. Then there is the obvious question: whether to apply a final finish at all. If we elect to apply this we have a choice of: flat, matte, semi-gloss, or gloss finish. Finally there is the overall stylistic appearance and the general visual impression created in the mind of a neutral observer by the overall characteristics. While this may vary from person to person it should vary within predictable parameters at least according to the dictates of Concrescentism.

     Up until this point, in order to keep my examples simple, I have mostly directed my discussion toward painting, drawing, or working on a flat surface. When form and dimension are added the choices become explosive.

     It is not my intention to discuss all these other choices in great depth here because it would take far too much space and steer us away from our primary topic. But when we move into the area of design, sculpture and functional art, additional categories present themselves. What materials do we use? What are the overall forms of our individual parts? What is their placement? Their proximate positioning? How are they crafted? What types of tools do we use to construct our individual pieces and our forms? The type of tools used in the construction process also influence the character of our piece: some more, some less. What is the overall stylistic appearance of our piece? Lastly but certainly not least we are restricted by “economy.” These are restrictions that appear in the use or creation of particular designs because of the difficulty or inability to reproduce them easily. For instance, curved lines are necessarily harder to produce than straight ones. Calculated forms are more difficult to create than amorphous ones at least in most instances.

     Continue to keep in mind that each period is restricted to using a limited number of materials, techniques and methods and each is characterized by its choices and limitations. One of our tasks is to identify these traditional parameters in order to move beyond their confines along new lines. It would not hurt to produce a few experimental pieces as exercises to help us to further identify with our chosen period. At this point an astute reader would find it invaluable to read Animation from Script to Screen by Shamus Culhane. He treats so many basics of stylization that can be cross-applied to the many arts that it hardly seems worth the effort to recapitulate his explanations. For the less astute the way in which we can use his approach may need further explanation. For the intuitive types it should be fairly obvious.

     Up to this point, all we have done is to lay the foundation for Concrescentism and now we must begin to deal with its specifics and particulars. Once we have reached this stage we have, for the most part completed our analysis. This is the point at which we must move on to the area of synthesis and the production of new forms. But before we do this, it is necessary to advance a brief set of philosophical precepts.