| The viewpoint in this type of perspective lies on a line perpendicular to the picture plane, passing through the central vanishing point. |
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| Her graphically descriptive vocabulary, emphasizing the surface of the picture plane, recalls traditional Japanese printmaking. |
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| Planes parallel to the picture plane have unforeshortened perspectives however far they recede from the eye. |
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| The spatiality of Still's art is lateral, extending beyond but not into the picture plane. |
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| This illusionism is contradicted by brushwork highlighting the front picture plane or establishing ambiguous layers of space lying beyond. |
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| When the angle of vision is small every visual ray will be nearly perpendicular to the picture plane. |
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| Light's bleaching glare may saturate the picture plane, obscuring tone, details and minute particulars. |
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| The gesso ground is sanded smooth so that acrylic glazes bead up and acquire a high-resolution look while emphasizing the picture plane. |
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| The female figure stands to the left of the frame, her brightly illuminated front turned in three-quarter view toward the picture plane. |
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| A bird in flight emerges from a field of slate blue on the upper right, wings beating toward the picture plane. |
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| A reflective road sign with diagonal stripes of black and white thrusts itself upward through the picture plane. |
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| Sergey Smirnov's subjects look out from the picture plane with serene and liquid eyes. |
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| Oddly, for a style that crowds the picture plane, spatial illusion is crucial to Cubism. |
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| They locate the focal point of each picture and examine how the artist leads the viewer's eye around the picture plane. |
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| The razor blade, can top, and shirtsleeve placed parallel to the picture plane reiterate its flatness, while depth is evoked by linear perspective. |
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| The body is pointed away from the viewer, so that the soles of the feet are closest to the picture plane and the torso and head are foreshortened. |
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| Perceptually tricky yet highly engaging, Channel 11 is an encaustic painting on wood with a gridded picture plane of equally sized beige, brown and blue squares. |
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| Incidents spread over the picture without ever quite coming into focus, which makes the eye skitter frantically over the picture plane. |
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| Gestures are large and immediate, mountains or gobs of paint take over most of the picture plane. |
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| There is no ideological consideration given to reproducing a feeling of space on a picture plane. |
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| An explosion then blows glass and petals and smoke across the picture plane in all directions. |
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| In both works, the main scene is again placed at the front of the picture plane. |
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| Tonal shifts and varying sizes create overlapping layers of space, and the circles appear to both emerge from and recede into the picture plane. |
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| By using different formal techniques, I manipulate the picture plane by 'twisting' the landscape and turning it against the objects present. |
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| Thus, the reality plane is projected onto the picture plane, hence the name projective geometry. |
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| Where Audubon's parrots gyrate and foreshorten themselves one can almost hear them chattering as they press their beaks toward the picture plane Lear's are sphinxlike in their mysterious stillness. |
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| Together assess the placement of the figures on Harris' picture plane. |
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| Now have students block out the major forms on the picture plane. |
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| Distinguishing himself from most of his contemporaries, he began creating serial compositions in which the whole picture plane is dynamized by the intrinsic and expressive properties of colour. |
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| In looking at the composition we discuss what else is needed to fill the picture plane. |
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| This built-up pictorial structure, in the form of painted collage, anticipated the autonomy of the picture plane that would become characteristic of Modernism. |
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| His inventory of marks is vast, comprising a myriad of traditional brushstrokes and marks that escape from the picture plane, including accretions of foam and draped skins of paint. |
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| We are illusionist in our attempt to create the sensation of three-dimensionality on a flat, oftentimes white, picture plane. |
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| We laid the pencil directly on the photograph in order to show that a line at eye level is actually parallel to the bottom and top edge of the picture plane. |
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| Spatial depth and placement on the picture plane is very important too. |
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