April 17th, 2006 by admin
How the eye moves and sees disparities are behind the art
Compressed View - Enlarge - Digital Painting 2006
Yesterday I wrote about the various printing size options the above piece and others of similar origin size have available.
Today - because I really happen to love this piece I thought I would write a little about the art itself. For the finest printing can’t make something which is mediocre good.
When I view this piece my eye moves - it meanders back up into the clouds, wanders over to the selectively sunlit hills, passes into the blue sky - working its way around the trees and then back down again.
I found this quote at the end of a web-posted
paper:
"I have also noticed two people ‘madly’ in love ‘cannot keep their eyes off each other,’ and there is considerable eye movement.
This leads me to wonder if what makes an object ‘beautiful’ is neither the object nor the subject per se, but rather the relationship between subject and object expressed as eye movements."
What I saw the day that made this impression was wider - was impossible to fit onto a page - but held the dark mountains and ominous clouds in one hand and the hope of green and sunlight in the other.
As an artist I love such disparities. As a human being I love that there is such a fine line between gloom and glorious.
If interested in purchasing an original print of the above piece - please email specialorders@outhousestudios.net and reference title "Compressed View".
See Also
- Tehachapi
Another work of similar size and prints
- Art as Eye Movement
Most pertinent parts are at end - eye movement may be incredible indicator.
Relevant Tags:art itself, art print, Art Prints, digital painting, eye movement, eye moves, finest printing
November 12th, 2005 by admin
Technique, Composition, Form, & Feeling
Boat-on-an-Ocean - 2000
SeaFogged - 2005
There are lots of ways one can develop as an artist. One of the most obvious is technique. It is incredibly apparent in the two pieces above that the technique in the second piece is much more developed. If you look at the enlarged versions(click title links above), it is even more obvious.
The first piece, though quite dynamic is not particularly subtle. The lines are big as well as the bold overlapping colors. I still think it is a wonderful piece in the way it makes you feel like the ocean is rocking, but there is no attempt at any sort of illusion to reality, nor did I understand the medium well enough at the time to be able to produce something like the second piece.
Now the second piece, Seafogged, is not as interesting a composition or as vivid, though it is much more sophisticated in its technique. I chose this as a comparison piece because it is also a painting of the sea and the difference is so startling.
This piece does capture the feeling of the ocean on that day and that sunset time. I was really happy with it on completion because I did exactly what I set out to do. I painted what I had seen at a particular time for a small amount of time - held it in my mind and rendered the feeling I had into the piece. It doesn’t always work like that.
So besides technique, I have touched on composition and color in my own artistic critique. There is also balance, the way one’s eye moves through a piece, how much of the piece one is captivated by, and of course the subjective most important aspect of artistic development, how the newer work makes you feel.
See Also
Relevant Tags:art critique, artistic development, balance, color, composition, eye movement, ocean painting, sea paintings
