Studio Seeing

In his study of perception and its role in drawing and painting Michael Torlen uses examples from his experience, with illustrations from historical and contemporary artists, to provide clear and effective principles with practical exercises for artists of all levels. “Studio Seeing is a timely work making a case for ‘vison-based pedagogy.’ The book is filled with helpful anecdotes, clever and memorable analogies, and excellent exercises. More than just an instruction book or teacher’s manual, Torlen explains the reason and the context for the exercises included in the book, articulating many of the ideas that painters understand in making their work but are often less able to explain.” Magnus Quaife, Professor of Artist Pedagogy, University of the Arts Helsinki “Torlen’s experiences as a student, a teacher, and a practicing artist enhance his discussions of the psychology and physiological components in how we see. Studio Seeing is an informative examination of visual perception and the methods for advancing an individual’s skills in drawing and painting.” Honour Mack, Professor, Painting Department Chair, Maine College of Art and Design “In this brilliant book, Michael Torlen sets out to create what he calls an “Academy of Individuals,” inviting artists to follow their individual interests and stylistic paths. Studio Seeing covers a lot of ground, from facing a bare canvas to chapters on perception, line, and value. By way of clear, well-wrought guidance, diverse illustrations, and engaging exercises, Torlen draws on a lifetime of art-making and teaching to enrich the creative lives of artists. The book is a gift to artists and those of us who want to know how the creative process works. Read this book and you’ll see.” Carl Little, art critic and author “Studio Seeing is a triumph. I don’t believe anyone has written about ‘seeing’ so clearly and completely. ‘Seeing’ things entails more than copying things that you see. Seeing ‘things’ is not understanding things unless you see them in relation to what is adjacent to them, in front of them, behind them or even things that are not there. It is the context of things that gives the viewer (or the artist) understanding. How you perceive things can control meaning; and meaning can vary from person to person. Therein lies the power of art. Having Michael Torlen as a teacher was a gift. It is thrilling to have a book that puts his lifetime of experience and thoughts in one place for artists, young and old, to learn from and enjoy.” Fred Wilson, 1999 MacArthur Fellow and conceptual/installation artist Opens with several first-person anecdotes about the author’s life as a practicing artist and a discussion of the intellectual lineage of his vision-based pedagogy. Many more anecdotes from the author’s teaching appear in most chapters. The author discusses perception as it benefits the artist in the studio. Perceptual laws govern both our experience of seeing and the artist’s process of creating. The book presents a proven process developed by the author over many decades of teaching and studio practice that the artist can apply to their own painting/drawing and/or teaching. The painting and drawing principles in the book are essential and yet not generally taught or understood. They will benefit anyone learning how to draw/paint or advance their practice. The book will also help practitioners to make rapid progress and to avoid clichéd, overused solutions. It also offers insights and discussions of interest to art lovers and “Sunday painters.” It is for everyone who enjoys viewing and thinking about art. Integrated into the text are more than one hundred images—works of art by well-known historical and contemporary artists and students, photographs, and diagrams—to reinforce the concepts presented. A recap section ends each chapter, followed by an exercise, or group of related exercises, to encourage and guide the practitioner in immediate application of the concepts.