Fuzz Dots: Abstract Art That Is Warm and Fuzzy

Fuzz Dot 1 airbrushed painting by James HoughFuzz Dot 2 airbrushed painting by James HoughFuzz Dot 3 airbrushed painting by James HoughFuzz Dot 4 airbrushed painting by James HoughFuzz Dot 5 airbrushed painting by James Hough

The Fuzz Dot paintings above are original works that I’ve unearthed for my website’s 10th anniversary. The pieces themselves are straightforward enough: they are 11″ x 14″ original airbrushed paintings on heavy watercolor paper. But even the most simple artwork can contain multitudes. There are several art ideas at play in these little works.

Why Fuzz Dots?

Non-objective painting is alive and well.

Fuzz Dot 1 airbrushed painting by James Hough

Manet, Monet, Cezanne, Picasso, Malevich and more artists from 100-150 years ago started to transform the surface of artwork from a fictional window through which you see a picture to a flat space where you see the artist play with paint. Since then, artists have had a blast reducing painting to pure color, pure shape, pure line, and so on.

What I find amazing is that this exploration of painting as a non-picture is ongoing, exciting and explosive! The Fuzz Dot paintings are just one example of pieces I’ve made that participate in the huge arena of non-objective – that is, fully abstract, with no reference in the real world – painting.

Non-objective painting can be off-putting.

Fuzz Dot 2 airbrushed painting by James Hough

As gentle a soul as Agnes Martin seems to be on camera, encountering her work out of context can be trouble. Most of her work that I’ve seen looks like straight, delicately-drawn pencil lines on a white canvas. I have come to appreciate what she has to say about beauty and the sublime through her painting, but the paintings aren’t for everyone.

Fuzz Dot paintings are one of my responses to the fact that non-objective abstract painting can be cold and uninviting. The layering of color and those blurry non-edges just evoke a coziness that I like to look at.

Layers of color are beautiful.

Fuzz Dot 3 airbrushed painting by James Hough

Much of my artwork is, in part, about enjoying the beautiful, subtle, infinite effects you get when you layer multiple colors on one another. The Renaissance period in Western Art is characterized by the invention and master of glazing: layering translucent strokes of paint on top of one another to achieve a blended, luminous effect. In order for an artist not to blaspheme by portraying Jesus, they had to invent an incredibly sensitive and gorgeous method for portraying the spirit-made-flesh, and they did it!

Each of the twelve shapes in a Fuzz Dot painting is made of at least two airbrushed layers of paint. The effect is that each fuzzy dot passes as one color while actually being several simultaneously. I just love this, and I think you might, too.

Structure and looseness are equally appealing.

Fuzz Dot 4 airbrushed painting by James Hough

Agnes Martin’s work is very meticulous and organized, while someone like Willem de Kooning painted in a style that feels much looser, even if he is constructing a careful composition in spite of the slashes and dabs of paint. Fuzz Dot paintings have a little of both: I create a careful, slightly oblique grid then freely paint the circles without stencils or even touching the paper.

Painting without stencils, in 2011 when I made these pieces, was a freeing experience, because I had been making stenciled portraits and gestural abstract paintings, and I just needed to work with color and relax.

Finally, working intuitively can pay off both for the artist and the viewer.

Fuzz Dot 5 airbrushed painting by James Hough

Beyond knowing the general placement of each dot, I never had a plan when I started one of these paintings. Through working slowly, responding to the color and size of the dots I just painted, I slowly built what felt like a balanced composition of colorful, blurry dots. Artists of all kinds know the flow state of this kind of deep work, where you are using your instincts – honed by experience and education – and simply responding to the artwork in front of you until you feel it is finished.

This way of working on instinct does not always yield a product that is user-friendly, but in this case, the Fuzz Dot paintings have been artwork that people continually enjoy looking at and talking about.

In conclusion:

I have been heartened by the reaction that viewers have when they see the Fuzz Dot paintings. They situate themselves nicely both in art history and in front of your eyes. I have experimented with how I can explore the Fuzz Dot without making unnecessary, uninspired copies, and I hope to make some and put them out there for you to see soon.

In the meantime, at the time of publishing this post, two out of the five pieces are still available, so consider adding a Fuzz Dot painting to your collection.

10th Anniversary of jimpublic.com

collage of James Hough artwork with classic European paintings

I started this website ten years ago and posted my first blog on January 19, 2011, titled Come on in, the party’s just started! The post consisted solely of the above picture.

I was clearly full of pep and vigor about the accessible and affordable artwork I intended to sell to people who don’t have art budgets. Using airbrush and handmade stencils, I made fan art portraits of some of my favorite authors and gestural abstract paintings with stylized versions of oil paintbrush strokes. I also painted pieces I called Fuzz Dots, which were blurry, colorful dots airbrushed onto a white background in kind of a tweaked grid pattern.

2011 feels like it was a very long time ago. I continue to paint, but most of my energy has gone into becoming a better cartoonist, and I have self-published three books since 2013.

But looking back at that first batch of Jim Public artwork in 2011, I am so happy to discover that I still like the art. These works on paper have an optimistic lightness to them. Hoping that if I still like these pieces then maybe you will, too, I just built an online store where the remaining pieces from 2011 are available for you to browse and purchase.

My three books are available there, too, and I have more paintings and fan art coming soon, including illustration-style portraits of Lorde, M.I.A., Taylor Swift dunking on Katy Perry, Sleigh Bells, Dallas singer-songwriter Maya Piata, and more.

Check out my store and help me celebrate ten years of jimpublic.com! The online store is brand new, so if you run into any problems with it contact me so I can take care of it.

Visit the Shop

A Few Digital Sketches, Soon to Be Finished Paintings

Below are a few digital sketches that represent a snapshot of what has been going on in my painting studio lately. Working digitally like this has the huge benefit of offering infinite flexibility when working with colors. I also love to dig for intuitive geometric compositions in my paintings, and Adobe Illustrator is well suited to this kind of sketching.

two horizontal painting studies, 2016, by James Hough

This sketch should be a finished painting by now, but I keep revisiting it, tweaking the colors to try to achieve the balance of light/dark and intensity that it needs. I ended up going with the top design with the chain of small rectangles running across the diagonal.

Red, Pink, White, Blue painting concept, 2016, by James Hough

Continuing to play with the red/pink/white/blue palette and simple—bordering on obvious!—geometry.

Austin painting commission concept, 2016, by James Hough

I am currently making the painting that is depicted in this digital concept photo. I created the palette after spending some time at the collectors’ land in west Texas, home of big skies, cedar, mesquite, and earth. When finished, this painting will be an important piece of the collectors’ newly remodeled home!

Orange, Green, Red painting study, 2016, by James Hough

This sketch did not make the cut for the above commission, but it has found a place in my painting queue. It uses the west Texas palette, and does some of the things with simple color, light and space that keep my eyeballs coming back to look again.

Believer, 2013, by James Hough

Believer, James Hough, acrylic on canvas, 31" x 47"
Believer, 2013, by James Hough, acrylic on canvas, 31″h x 47″w

My most recent painting takes a turn toward representation. I used additive and reductive painting techniques to create the image, as I have been doing in my non-objective works, but this time I was evoking a still life by Henri Fantin-Latour, whose intimate paintings are so quiet, yet sculptural, in the way he uses light and shadow to create space.

Plus, finally seeing the Cy Twombly Gallery at the Menil Collection was a huge inspiration as I approached this painting. Looking at Twombly and Fantin-Latour is humbling and uplifting at the same time, and this painting owes its swirling circular shapes and its palette to both painters.

Burger Night, 2013, by James Hough

Burger Night, 2013, by James Hough
Burger Night, 2013, by James Hough, 55 1/4″ x 45 1/4″, acrylic on canvas

I worked on this painting off and on for a long time. In fact, after my attentions progressively made it worse, I was driven into a brief retirement from painting altogether.

“Who needs paint anyways!” I shouted silently to myself. “It’s just stupid goo!”

But I pulled through and finished it, thanks mostly to my wife for her encouragement and a little bit to myself for remembering that I actually do like paint.