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Old 02-25-2019, 02:42 PM
KolinskyRed's Avatar
KolinskyRed KolinskyRed is offline
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Re: Composition and perspective question

You're welcome, Nancy. I'd made an edit just before your reply, here's what I added:
"But I've stuck to a single vanishing point at the centre (shown here) for the three houses. Then I raised the vanishing point/horizon line up (vp not shown in sketch) just a titch as I drew the roof top lines/gutters for the houses on left and on the right. Then I raised the vanishing point/ horizon line up (vp not shown in sketch) just a titch more to rough in the paths. Do the lines precisely meet for the paths, no, but I think it works."

Last edited by KolinskyRed : 02-25-2019 at 02:44 PM.
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Old 02-25-2019, 06:17 PM
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virgil carter virgil carter is offline
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Re: Composition and perspective question

The challenge with perspective as a tool, is that it's a tool which serves useful purposes for some tasks, and perhaps not so useful for other tasks.

What do I mean?

I mean a one-point perspective's strength is simply a highly directional view point, a very linear view and composition. It's not well suited to a composition of a multitude of objects such as the OP posted.

It can be done of course, but it's like trying to drive a screw with a hammer. It's simply not a good fit.

A much more life-like and realistic tool for a multitude of objects in a painting is a two-point perspective (if life-like images are desired).

In situations where there are very tall objects, such as urban landscapes, a three-point perspective may be the most appropriate tool.

The point I am making is that in considering design and composition, one should look for the most appropriate and useful tools for one's purpose.

Of course, we all have to learn, and so starting with a simple one-point perspective is a place to begin.

But the important learning point here is that it's important to find and use the most appropriate tool for every job.

A hammer isn't always the best tool. Not every problem is a nail.

Sling paint,
Virgil
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