Pt 2, Pr 3, Ex 2 – Composition – an interior.

Unsure exactly what was needed for this exercise I went back through my sketches of the different rooms in my house and chose to look at my kitchen from different angles.

There was good scope for lines and perspective with a few interesting details so I just added a fruit bowl as a kind of point of significance in the foreground to give the scene a bit of depth.

I then took multiple photos of the space so that I could get more extreme angles which I could use as a reference while sitting comfortable to sketch and moving around to check the details in relation to the photos.

From here I could make some preliminary sketches of the angles and compare them to each other to study the changes in perspective and foreshortening.

As I was sketching the scene from different angles and studying the photos I began to realise that you can use  foreshortening and different angles to draw attention to certain objects, guide the eye line in certain directions, create drama, atmosphere or make the viewer feel intimidated or empowered; or even confused.

IMG_2956[1]I sketched out a few good and bad examples of what I noticed about the impact and possible manipulation of extreme angles.

These two images are of the same view, but one from an elevated viewpoint (1) and one from underneath (2). For me the most informative is 1. This is because all the points of interest such as the fruit bowl, floor, kitchen top and utensils are all on display and the viewer feels comfortable in a position of security looking down at the scene. Nothing is hidden and the landscape orientation gives a calming, controlled feel. The angle is apt to explain everything in the scene. By stark contrast the base viewpoint (2) tells a very different story, giving a confusing, subservient feel to the picture. All the points of interest are hidden by the underneaths of the tabletops so no detail is revealed and even the floor is out of sight. It reminds me of a view you would see if you have fallen down and are vulnerable, possibly confused. The cupboards tower above dominant and intimidating; however, negative as that seems, to this particular scene it doesn’t quite fit with the atmosphere trying to be created, although this could be used to an advantage in a scene that intends to create that sort of atmosphere.


This over head view is set in portrait which lends itself very well to the heightened viewpoint. It seems to add a dramatic dynamism to the feel of the scene as the viewers eyes are drawn downwards from the top of the page, emphasising the angles as if peering over a high wall to get a better view. I think it’s natural for us to feel more comforted when you are above looking down on something.

The addition of the breakfast bar and the ceiling lights in the foreground give it a feeling of depth and add to the impact of the view. As the angles are exaggerated by the extreme perceptive, adding larger features in the foreground help to create an even more explosive energy to the piece.


For this view I placed the fruit basket as the main focal point as opposed to the background. The size of the foreground seems to take over the picture and draws the viewer in, making them feel like they are actually sat at the table themselves, involving them in the picture and creating an almost personal bond with them. A very effective way to create or direct interest to certain parts of a painting.

Painters from the Renaissance period used perspective and light to direct the viewers eyes around the painting, or towards certain points of interest.


After thinking about this for a while I decided that the kitchen scene was a little bland for the potential scope of the use of perspective and foreshortening, so I went a little further and ventured into the garage to see if there was anything of interest in there.


I found the garage much more interesting as I could enhance the lighting and have more control over it. Aiming to create a dark, dingy garage feel to it I decided to keep the old jeep that was in the middle of the space and place a sharp light underneath it to create an almost negative light source with the background shelves almost being swallowed up by the darkness, which I found contributed to the dramatic effect of the scene. This I followed on to the next exercise.


Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )


Connecting to %s