PERSPECTIVE continued

With my new understanding of "perspective", I am itching to put that into practice.




What I have done here is sort of cheating, well, not exactly. By that I meant I have changed the characteristics of the landscape. I have chosen the type of landscape that is more conducive to revealing the birds eye view perspective.




I have chosen to paint precipitous bluffs with flat surfaces that I can more easily depict an upward orientation.




I have chosen to hide the water leading to the fall with mist and vapor. This void space also helps to create distance from the hills in the back.




A bridge is painted way low to augment the depth of the structure. I wish I had extended the waterfall (void space) below the bridge before the darker shade of vapor.



Bodies on the bridge showed wider shoulders and skinny legs; a distortion that helps the mind to assimilate that this is a view of looking down from above.












I found a piece of sketching to further illustrate the view of "perspective"




In this piece of work, the gazebo showed the underside of the roof, therefore the observer is looking at it from below.



The hill it sits on is at eye level.







The buildings in the lower foreground show their roofs and shingles, thus the observer assumes a higher vantage point than the buildings.



The rock formation in the foreground showed extended flat surfaces. The front contour lines are replaced by light value shadings. The observer can appreciate the and feel the structure as one that the observer can set foot on!



The use of "perspectives" in this painting is more akin to the western practice. We have the upward view, the level view and the downward view, and also, to the left and to the right. The "virtual" position of the observer in this painting is well established.