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Old 01-19-2016, 04:49 PM
Thanatos21 Thanatos21 is offline
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Use to denote nudity/mature subject matter Perspective for large scale paintings

Does anyone know what the best way to manage perspective for large scale (at least wall size) paintings/images so that when viewing close and far away there is minimal distortion? How did previous painters manage it?
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Old 05-03-2016, 04:34 AM
jonc50 jonc50 is online now
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Re: Perspective for large scale paintings

It would depend to a degree on the subject matter. It should follow the same procedure for a painting that is smaller in size.
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Old 05-03-2016, 06:33 AM
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Re: Perspective for large scale paintings

The perspective depends on were the paintings are intended to be viewed from.
Giovanni Battista Tiepolo used wonderful souring perspective in his alter pieces and ceiling frescos which are intended to be viewed from below. The paintings use very bold contrasts and simplified detail as they are viewed at a distance, the foreshortening and overlapping give a great sense or depth.

Apotheosis of Spain.

Angel with Scrolls

the Immaculate Conception alter piece.

Two views of the Treppenhaus Vault by Tiepolo.

And a detail.

Sargent did the same thing when he painted the aristocracies portraits intended to hang high up on the wall. He painted them taller than reality so they looked in proportion when viewed from below.

Earl Balfour.

Lord Ribbersdale.

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Old 05-08-2016, 12:30 PM
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BobPi BobPi is offline
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Re: Perspective for large scale paintings

I don't believe there is a technique that will allow a perspective drawing to look correct when viewed up close and far away. The position of the viewer is part of the structure of the perspective, and it's either one way or the other.
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Old 10-08-2016, 08:29 PM
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AudreyCatherine AudreyCatherine is offline
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Re: Perspective for large scale paintings

IMHO I disagree. There is a creative force in certain artists that allows for a technique of perfected viewing by someone either close or far or mid-distance. Of course the particulars change as you move in or outward from the piece. The creative force I suggest is within the individual artist, and allows for an aesthetic experience= (and thus concomitantly correct perspective). Not every one has this ability.- But I reckon one can study techniques.

The adroit individual artist's technique allows for an awakening on the part of the viewer as to how certain painting techniques lend themselves to rendering life as ART from a multiplicity of distances. In other words-the viewer LEARNS how an artist renders subjects from a multitude of distances, by moving in and out from the work.

YOU can NOT be someone else-nor paint like any one other than yourself; But you can render art that is aesthetically pleasing from various distances IF you have that gift. I'm not convinced studying alone brings that on, but I am In My Humble Opinion, hoping to be wrong-and that study and practice will bring your artistic studies to fruition.
Peace and Joy
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Old 10-13-2017, 04:05 PM
tiago.dagostini tiago.dagostini is online now
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Re: Perspective for large scale paintings

The distance is not as important as it is being in the vector of the perspective. Unfortunately usually there is only one place where you can have your feet in the ground AND have your eyes at the path of the perspective center.
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Old 10-27-2017, 10:13 AM
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stlukesguild stlukesguild is offline
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Re: Perspective for large scale paintings

The techniques of linear perspective are the same whether working large or small. Certainly, an artist may need to give greater consideration to the point of view to a work intended to be seen from a specific point such as in a architectural setting. The receding lines of perspective on a large scale can be worked out using the string method (rather like a carpenter’s blue line/chalk line).
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