![]() If I am not spot on, I can do a little warping in PS. I have distances and angles to objects roughly worked out when I go on my photo safaris so I am in the ball park for adding things to the render. I think he is more an MBA than a warrior Sikh. My client was a Sikh, but I don't think he noticed. ![]() The shield on the wall is from a Sikh warrior. IKEA knows when I am doing a low budget project because I skulk through the store with my digital camera. The furniture and decoration that did not come from the 3D ware house came straight from IKEA. The area above the kitchen cabinets is from my daughters house. Susan, the irony is that the painting on the wall is one of my friend's oil paintings. It is precisely becuase that angle is neither here nor there, that it isn't very exciting yet. I've got one of my own from a long time ago, not a very romantic subject and don't look too carefully at the composition, I was forced to do a lot of things I didn't want to do, but this is what I mean about peeking down over a foreground tree.Īctually Tina I think that yours doesn't work because you haven't really commited to the view from an angle above. I also have a fabulous mansion done by Elizabeth Day from a top down view but I can't access that computer at the moment. The paint transitions smoothly and as Doyle notes in the book there is a subtle gradiation from one corner to the other. I'm afraid the quailty of the scan is horrible so don't judge by the texture and coloured ridges you see. I don't know if it is in the newest version) There is a lot of roof showing in these but he seems to accomplish it very successfuly. Tina, when you said you needed a top down view, I immediately thought of this image which is in my "Color Drawing" book, ( the last printing. Roger, that image conveys a sense of depth far more convincingly and successfuly than most images I have seen. We can shut off the sampling and integration to a grater degree than other people who can not just sit and stare. It is not easy and it is the difference between those who can draw (paint) and those that can't. However as artists working on a 2D plane we need to be able to pull apart and manipulate our perceptions on an as needed basis. Magically the brain jumps in and just does all the work as a background operation. And thankfully we don't need to think about the integration of scenes or we could never drive a car. It is hard for use to really concentrate on how small an area our sharp vision covers. The brain merges and remembers those images. We have seen two related scenes with a very narrow cone of sharp vision. The brain samples our environment, we see the movement of that sabre-toothed tiger in the periphery of our vision and our cave person instincts cause us to shift our head or our eyes to look. ![]() ![]() The perception thing is much harder to impart. For the seeing part you just set up a simple perspective with a "normal cone of vision and have a critic just extend the view using the rules already used and soon they see the distortions beginning to appear under their own hand. The seeing part is easier to demonstrate than the perception part. I get involved explaining that they are technically correct but simply beyond the range of what the human eye sees and the human brain perceives. ![]() He gets quite involved in explaining why they are technically incorrect. However he gets kind of tense when he sees some of my more extreme perspectives. A friend of mine is an accomplished plein air regional painter here in Arizona. Susan your comment on societal influence on how we see is on the right track. Tina, thanks for moving this over to another thread. ![]()
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