By Kenneth W. Harrow
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Extra info for African Cinema: Postcolonial and Feminist Readings
Converging Lines Let me put it another way: The eye level in your picture tells the viewer of the picture how high up you were when you painted it. Once you've established how high you are in relation to your subject, it doesn't matter whether you look up or down. For instance, suppose you're drawing a bird in a nest on a limb above your head, below right. The eye level in that scene will be low. You'll be seeing the bird and nest from underneath. Now suppose you draw a nest in the grasses at your feet, below left.
Dull that red for the barn just a little–try a dab, and see how it feels. If it still shouts “Gangway! ” then dull it a little more until it feels right for the distance you're giving it in the painting. The same goes for the yellow meadow. Perhaps up close it looks as bright as cadmium yellow, but maybe to push it back you need yellow ochre. I hope you don't take any of this as anything more than guidelines. There are many factors affecting the look and feel of your painting, so don't be caught concentrating too much on one facet.
No, it appears to be less than twice as high. Make a mental calculation. Perhaps the decanter seems one-and-a-half times the height of the glass. Try that out lightly on your drawing and see if it feels right. If the glass in your drawing is four inches high, make the decanter six inches high. If it doesn't feel quite right, try again. You may feel a little uneasy about “measuring” without coming out with an answer in inches or feet. ” If such estimating troubles you at first, try using a ruler instead of a pencil.