Can you give me some ad­vice on fore­short­en­ing please?

Ques­tion

ImagineFX - - Imagine Nation | Artist Q & A -

Holly Ma­son, Aus­tralia An­swer Tony replies

Fore­short­en­ing, like hap­pi­ness, is all about per­spec­tive. If you want some­thing to ap­pear dra­matic and grab the fo­cus in a com­po­si­tion, have it point­ing to­wards the viewer. Then place the van­ish­ing point close to the ob­ject and have the cam­era in real close. With th­ese three ele­ments, you’re go­ing to feel the vol­ume of your fo­cal point a lot more.

Per­spec­tive is one of those things that can fill up sev­eral books. But the two main con­cepts are the horizon line and a van­ish­ing point. The horizon line is a hor­i­zon­tal line that cor­re­sponds to the viewer’s eye level. The van­ish­ing point is a place on the horizon line that a set of par­al­lel edges on your ob­ject will all re­cede into. Think about how tele­phone poles get smaller on a long road, and how they all seem to re­cede into one point. That’s the van­ish­ing point.

If you draw in your per­spec­tive and don’t like how some­thing’s be­ing dis­torted, change it. Mov­ing the horizon line will al­ter the height of the cam­era, and mov­ing around van­ish­ing points will en­able you to con­trol the amount of dis­tor­tion in the back­ground and fore­ground.

In this il­lus­tra­tion I’ve placed the van­ish­ing point inside the im­age area and close enough to dra­mat­i­cally fore­shorten a lot of the main fig­ure. Pay at­ten­tion to the lines com­ing out of the van­ish­ing point that’s off to the left of the im­age, and no­tice how I’ve used them as a guide for the gun and woman.

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