What is visual movement and how does it affect the viewer? Artist/Art teacher Dianne Mize takes us through the history of how artists have been using Visual Movement throughout many centuries. www.diannemize.com
This was a great explanation. I knew that the goal was to keep the viewers’ eyes on the painting. You explained visual movement so the viewer is attracted to the painting and by creating a pleasing composition you avoid visual noise which is off putting. In basic art history I remember hearing about creating compositions with subjects/action in an S shape, intended to lead the viewers’ eyes across and down a canvas. I’ve typically tried to look for that. We have an oil painting of some antiquity by Shenck ? (~24”x 18”)? of a shepherd in a gusty wintry storm w his dog & sheep. I can see this S pattern in this painting beginning along the mt ridge, along his elbow, then to the sheep, which have been herded into an S formation by the dog at the end of the S at the bottom of the painting. Your eyes really travel about the painting. I just love it. Thank you again for your time.
Hi Dianne. When I look at the Richard Schmid painting the movement that jumps out for me is a Golden Spiral (the Nautilus shape). It starts in the lower left corner of the painting, flows through her left arm, over her head, through her right arm, and terminates at her eyes. It's actually a wonderful example of this form. Great lesson as always.
Thanks. Dynamic symmetry has some many components to it that I dare not complicate the Quick Tips too much with it, but will from time to time throw in some more of the basics.
I love your classes and quick tips. I was wondering if you have a tip for the logistics of plein air painting like recommendations for easels or a good paint box to use. It seems lot a lot to lug around especially with oil paints.
Carole, one of the best all-encompassing RU-vid videos I've seen is here - ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-dmWa3mdCysQ.html . It's about a hour long, but the actual setup he uses is within the first 30 minutes. Of course, this is a starting point. In the long run, every plein air painter has her/his on personalized setup. At least, this should get you going. I recommend that your first few plein air experiences be in your own yard so that you can more easily gauge exactly what you need and sort it all out at home. He doesn't mention bug repellent, but you will need that during the summer months. I think, though, he pretty much covers everything else.
They also knew about 'The Golden Ratio'! When you use this measure-teqnigue, you'll never go wrong. I don't know if you have done a quick tip about that, if not, I'm sure folks will be happy to know about that. - Thank you, Diane. 🙂
If I were to do a bad example, most likely it would have to come from the website of some current artist, and that would be unfair, so I try to stay away from doing that. But I'll be happy to address a specific question you might have.
Thank you. It's not something I am very good at in understand the movements. I often find myself having different interpretations, but by observing and studying will improve.
