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At physical scale, particularly in the larger works, the relationship changes. Fine marks that dominate a computer screen begin to recede. Larger geometries, circles, axes, alignments, figures and repeating fields can suddenly become the primary experience.

Step closer and that larger structure begins to break apart again. What appeared from several metres away as a single geometric field resolves into thousands of individual marks — script, symbols, networks, lines, smaller systems and tightly constructed relationships.

In the larger works, human forms can approach bodily scale and the drawings can occupy a significant part of the viewer's field of vision. When several are present in the same room, the encounter can become environmental rather than simply pictorial.

Over the years, many viewers have described that encounter as palpable, immersive or unusually absorbing. Some describe a sense that the patterns intensify, move or pulse as attention settles on them.

George Allan has experienced the same shift in his own work. Much of the time the drawings may simply occupy the room. But in quieter or more introspective moments, the larger structures can suddenly become dominant — drawing the eye inward in an experience that can feel almost vortex-like.

That response is not automatic, and it is not presented here as a measurable property of the work. Distance, lighting, scale, attention and the state of the viewer all affect perception. What matters is that the physical encounter offers conditions a screen cannot duplicate.