Interior Landscape: Perspective and Composition

This is an interior architecture landscape image. The theme of perspective is prevalent here as we see from this vantage point we are looking down the building towards the vanishing point, the pillar to left give us a good example of foreshortening as from here we have a two point perspective which allows the shape of it to gives us a real sense of depth in the image. The angle of the floor tiles is distorted due to their progression into the distance. As well as this both the actual lines of the walls and the implied lines of the windows show the orthogonal lines in this image. The horizon line isn’t entirely clear but is roughly somewhere in the centre between the two central bridges.

The picture is very much divided between foreground and background. In the foreground there are many areas of interest such as the pillars; the elephant’s rear; the dark corner to the left and the surrounding walls; the darkened sign and the handrail going across. The darkened sign and large elephant exhibit to the right are balanced out on the page by the dark pillars and darkened corner on the left hand side. 

Landscape: Interior

One area of interest is the bar across the page, which shows very strong foreshortening as it travels across the page. Another area of interest is the bar holding it up to the bottom left of the page, the darker tone and the detail on it bring more focus to it. It’s also at an interesting angle as two sides of it are visible. Similarly another area of interest, the rectangular cage of the lift which is also darker and more detailed and likewise has two-point perspective on it. 

Another interesting quality this picture has is a very high use of the rule of thirds. The lift cage shows one line, while the top edge of the top floor railing shows a horizontal line. The close-by bar roughly travels along to other horizontal line, likewise the pillar at the end of it helps create the implication of the other vertical along with the feet. The different areas of the image roughly fit within the thirds. One significant point of interest and perhaps the focal point is at the meeting of the bar with the pillar although as they create a point the focal point could arguably be the head of the human figure, as the lines point to him. 

Foreshortening: Nature

This nature landscape focuses on the use of perception of curves with an emphasis on the way depth can be given through differences between the foreground and the background of the picture. The more detailed darker front most tree greatly differs from the simplified lighter impressions of the trees to the top right  these trees are less detailed and appear further away, thus the impression of depth is given. The curve of the hillside as seen from this perspective allows us to see the trees shrinking and fading as we look further into the distance. The image would be quite unbalanced if it were not for the shadows of the trees and the lines of the curve of the landscape pulling the eye to the right side of the page,  without this the front tree would create unbalanced focus. Even the front most trees branches stretch to the right adding to this point right. Also the implied line of the trees, curving towards the busier distance of the upper right corner draws focus away from the front tree where focus begins. The shadow to the bottom right corner balances out the buildings and trees to the top right improving the pictures composition. 

Landscape: Nature

This piece is a landscape of a natural setting. There is a lot of use of line in this image, the lines both of the trees themselves and the lines on the tree bark that give it the sense of texture it has; then also the lines of the shadows the trees are casting and even the darkened shadow line on the front tree. There is also an implied line created by the trees themselves, this implied line is curved and line the line to the background curves around the hill gradually. The line of the background curve takes you to the horizon line at the base of the faded background trees. You can see that the piece is draw from uphill as the shadows are caste diagonally sloping down the hill. You can see the further off  trees are might lighter than the closer ones causing the sense of distance as well as the detail such as the circular patterns on the front tree not to mention the shadow. While the front tree and its shadow are definitely areas of interest there’s no obvious focal point for the image.