Phyllis Franklin
02-11-2001, 05:06 PM
<center><FONT COLOR="Red"><FONT size="4">On Seeing the Work</FONT s></FONT c></center>
One important variable I am noticing in the process of creating
paintings, revolves around the viewing distance from the viewer to
the painting (lighting and light temperature also play an important
role, but let's assume a well lit studio).
The painter must paint close up, rendering form, value, and color
from the distance at which they hold their brush or whatever. I have
noted the furthest my eyes get from my work with a brush, pastel,
pencil, etc, to be about 30 inches, if standing uncomfortably
stretched at an easel. The `natural' distance from my eye to the
paper, when working without thinking about it, is somewhere between
12 and 20 inches.
When working at a table on a flat sheet, the distance between my eye
and the work is approximately 15 inches.
Although this distance is where I must work, few paintings are viewed
from this distance once they find a gallery wall. In fact, I would
venture to say that if observed, a group of viewers strolling through
a gallery would typically find a viewing comfort zone, somewhat
relative to the size of the work perhaps, but a definable zone
nonetheless.
Artist, students and other experts may approach close to examine
brush marks and such, but in general, if the typical viewing comfort
zone (I suggest 4-12 feet for work of 20" x 30" as a possible
range), then there are certainly adjustments that must be made by the
artist working at 15 inches from the surface of the work. The clouds
that look odd at 15 inches, may burst into life when viewed from 5
feet. And it may also be true that the work that looks great up
close, may lose it’s heartbeat at normal viewing distances.
So then, if this is so, the artist is painting illusion and not the
thing itself. The painting process is loosened or altered to capture
the qualities that will work for the viewer at normal viewing
distances, where the eye naturally blends color, light and edges in a
very different way than it does at painting distances. I think this
is why some of the masters work seem almost childishly simple and
sparse when viewed close up. I think this is why a free flowing line
may be more expressive and emotive than a layout that is
painstakingly ruled in. Not always of course, I know it depends on
the intended style and subject.
When you are painting, do you take painter vs. viewer distance into
account? Do you step away before making form, value, and color
decisions and adjustments? About how far do you step away? How far
away are you when you say this is right, or that needs fixing? Have
you learned to paint "for far away" while being close up?
I know there is no "right" answer to these questions, and please
insert all necessary disclaimers and delete all judgments here, but
I am interested in comments of how you work. I believe there is a
very powerful key in this topic, and I would like to learn more about
it. If anyone knows of any studies or websites that address this
topic please let me know. Thanks, Jim Shepard
------------------
Phy...llis Franklin
Create every day
Blackberry Ridge Studio & Art Gallery (http://prf.artistnation.com) <----my shameless plug.
Click here to sign up for 1 of the Community Projects! (http://www.wetcanvas.com/Community/Projects/) Another shamless plug.
One important variable I am noticing in the process of creating
paintings, revolves around the viewing distance from the viewer to
the painting (lighting and light temperature also play an important
role, but let's assume a well lit studio).
The painter must paint close up, rendering form, value, and color
from the distance at which they hold their brush or whatever. I have
noted the furthest my eyes get from my work with a brush, pastel,
pencil, etc, to be about 30 inches, if standing uncomfortably
stretched at an easel. The `natural' distance from my eye to the
paper, when working without thinking about it, is somewhere between
12 and 20 inches.
When working at a table on a flat sheet, the distance between my eye
and the work is approximately 15 inches.
Although this distance is where I must work, few paintings are viewed
from this distance once they find a gallery wall. In fact, I would
venture to say that if observed, a group of viewers strolling through
a gallery would typically find a viewing comfort zone, somewhat
relative to the size of the work perhaps, but a definable zone
nonetheless.
Artist, students and other experts may approach close to examine
brush marks and such, but in general, if the typical viewing comfort
zone (I suggest 4-12 feet for work of 20" x 30" as a possible
range), then there are certainly adjustments that must be made by the
artist working at 15 inches from the surface of the work. The clouds
that look odd at 15 inches, may burst into life when viewed from 5
feet. And it may also be true that the work that looks great up
close, may lose it’s heartbeat at normal viewing distances.
So then, if this is so, the artist is painting illusion and not the
thing itself. The painting process is loosened or altered to capture
the qualities that will work for the viewer at normal viewing
distances, where the eye naturally blends color, light and edges in a
very different way than it does at painting distances. I think this
is why some of the masters work seem almost childishly simple and
sparse when viewed close up. I think this is why a free flowing line
may be more expressive and emotive than a layout that is
painstakingly ruled in. Not always of course, I know it depends on
the intended style and subject.
When you are painting, do you take painter vs. viewer distance into
account? Do you step away before making form, value, and color
decisions and adjustments? About how far do you step away? How far
away are you when you say this is right, or that needs fixing? Have
you learned to paint "for far away" while being close up?
I know there is no "right" answer to these questions, and please
insert all necessary disclaimers and delete all judgments here, but
I am interested in comments of how you work. I believe there is a
very powerful key in this topic, and I would like to learn more about
it. If anyone knows of any studies or websites that address this
topic please let me know. Thanks, Jim Shepard
------------------
Phy...llis Franklin
Create every day
Blackberry Ridge Studio & Art Gallery (http://prf.artistnation.com) <----my shameless plug.
Click here to sign up for 1 of the Community Projects! (http://www.wetcanvas.com/Community/Projects/) Another shamless plug.