The Correct Scale for Artwork

Life Study, 2003

Life Study, 2003

The image above is a scan from a life drawing in pencil that I produced in 2003. This was one of several drawings that I recently had scanned professionally, because the original image size is simply too large (about 24” x 19”) for my equipment.

The issue of the “right size” at which to create artwork has concerned me several times over the years, and I generally haven’t received much guidance on the subject.

When I was growing up, there seemed to be a general attitude (even among my teachers) that the goal of producing artwork was to create a “pretty picture to hang on a wall”, so the “correct” size was simply that at which you wanted to be able to view the picture.

As I described in an earlier post, it was only when I arrived at Imperial College, and became the Publicity Officer of the H G Wells Society there, that I was faced with the requirement to produce artwork that was intended for reproduction. Thus, my original artwork didn’t automatically need to be the same size as the reproduced version.

Avoid Magnification

My initial drawings and paintings were created rather casually on a standard A4 pad, and it was only when I needed to reproduce those as posters that it dawned on me that the posters would be A3 size, i.e., double the size at which I’d created the artwork. In the case where I’d produced a black-and-white line drawing, as below, the result didn’t look too terrible, but some of the others looked quite bad when enlarged!

Comic Strip Artwork, 1981

Comic Strip Artwork, 1981

I learned a harsh lesson from that experience, and, since then, I’ve always endeavored to create my original artwork at a scale larger than 1:1, relative to the final displayed size.

Comic Strip Techniques

I did learn later that much artwork for magazine or newspaper reproduction, such as comic strips, is normally created at twice the size of the intended final reproduction. That was one of those “commercial techniques” that nobody bothered to teach me during my artistic training!

Vector Artwork & Infinite Scaling

In a post on my professional blog, The Two Types of Computer Graphics, I explained the fundamental difference between bitmap and vector representations in computer-based artwork. (Some seem to believe that such artwork is “computer-generated”, but that isn’t the case. Although the computer provides the hardware and software to record the image, it still requires a human artist to perform the actual drawing or painting.)

Whereas bitmap graphics are created on a matrix of pixels, and thus have fixed dimensions, vector artwork consists of shapes entirely described by mathematical functions, which have no predetermined dimensions. Thus, in principle at least, vector artwork can be rendered at any size with no loss of resolution. I featured an example of vector artwork in another recent post, and it’s shown again below. The forms consist entirely of geometric shapes, which the computer can render at any size, so there’s no loss of resolution (although lack of artist-provided detail becomes obvious as the image is magnified).

Egret Shock Wave, 2018

Egret Shock Wave, 2018

Size is Proportional to Time

Returning to the large life study shown at the top of this post, as I became more practiced at such drawings, I tended to make them larger, because that allowed me more control in areas where I wanted to include precise details (such as the face, as shown below in another similarly-sized drawing).

Life Study Detail, 2003

Life Study Detail, 2003

The price to be paid for choosing to produce larger drawings, of course, was that it took me far longer to shade the entire drawing satisfactorily! For that reason, I never actually produced many such drawings.

The advent of computer-based artwork, and the fact that we often now view artwork of all kinds on computer screens, requires artists to think more carefully about the “correct size” for their work; it’s no longer just a question of what will “look good” hanging on a wall!

Life Study, 2003

Life Study, 2003

Yuletide “Backup” Artwork for 2017


Waxwings & Berries

Waxwings & Berries

The picture above is not the artwork for our 2017 Yuletide card, although our cards just arrived back from the printer yesterday, and I’ll be sharing the actual artwork for that as soon as we send out the cards (which I hope will be during this week).

When I began working on a painting for this year’s card, I was painfully aware that the possibilities for messing it up were rife. (In fact, that’s one major advantage of creating artwork digitally instead of via conventional methods; with digital artwork you can always hit Undo!) When working on a conventional painting, it only takes one slip of the brush, or perhaps one drop of spilled coffee, and the whole project is ruined.

Therefore, I decided to create a simpler piece of “backup artwork”, which I could use for the card if some disaster befell the main painting. Thus I created the vaguely “Charley Harper” style design shown above, using Corel Draw.

Fortunately, I didn’t mess up the main watercolor artwork, so I didn’t need to substitute this design. Nonetheless, I realized that I could easily adapt it for use as a decoration for our return address labels, so that’s what I did.

I mentioned on another page that I had decided to stop producing “Asian New Year” designs for the return address labels of our cards, because the time taken to do that detracted from the creation of the card itself. Thus, things worked out well for me this year!

Digital Bayeux

ligatures_bayeux1I just completed some artwork to illustrate a forthcoming article for my professional blog, The article discusses the use of linguistic ligatures in English, which immediately put in me in mind of the impressive artwork of the Bayeux Tapestry.

The Bayeux Tapestry has once again been in the news recently, because the events that it depicts took place exactly 950 years ago, in 1066. I was first introduced to that remarkable work of art when I was six years old, in 1966, that being the 900th anniversary of the events.

My graphic is loosely based on the Bayeux style, but in a considerably simplified manner. Again inspired by details in the real tapestry, I took the opportunity to include in the border a representation of two cats fighting, just like our own Ignatz and Ginger Tom!

Having analyzed the design of the illustrations in the tapestry, I now have a much finer appreciation of the quality of the original work.

The typeface used for the copyright notice in my artwork is called “King Harold”, which was itself inspired by text that appears in the tapestry. The typeface can be downloaded free in TrueType format from: