Types of perspective in fine arts. Presentation - umk for elementary school "perspective" Presentation what is perspective
Slide 1
A. Each leg of the stool should rest on the floor, but instead the back legs are in an “unnatural” position, “hung in the air” B. The stool is depicted in reverse perspective, since when a< b глубина z(a) >z(b). The principle of depicting an object in reverse perspective (right) and in forward perspective (left) REVERSE PERSPECTIVESlide 2
Purpose of the study: to study the features of perspective constructions in painting Object of study: types of perspective in the fine arts and methods of their construction. Subject of research: perspective in fine arts as a symbol of worldview, reflected in painting. Objectives of the research: To study the information field of the problem. To consider techniques for conveying the surrounding world on a plane in perspective constructions on a pictorial plane. Trace the history of the development of perspective constructions in painting. A detailed analysis of the composition and geometry of perspective constructions in painting.
Slide 3
Aerial perspective For transfer three-dimensional space on the two-dimensional plane of the picture, techniques of tonal and aerial perspective were noticed and developed: - the clarity and brightness of the outlines of objects is lost as we move away from us, - the saturation of colors that become whiter also decreases, - the chiaroscuro contrasts in the depths of the picture soften, - distant plans seem more lighter than the figures and objects in the middle and foreground, and this transition should be smooth, gradual. The air around us is not a completely transparent environment. Therefore, the further objects are from us (and the greater the thickness of air that separates us from them), the less clearly we see them. Their outlines become less clear, the colors less bright. M. Hobbema. The Avenue at Middelharnis. 1689. The painting is a window into the world; it was created according to the laws of aerial and linear perspective.
Slide 4
The goal is to use a checkerboard pattern, alternating light and dark cells, to show how, using aerial perspective, the light cells will become darker in the distance with each row, and the dark ones will become lighter. The near edge of each subsequent row should begin with the same tone on which the far edge of the previous row ended. In the last row, the cells should be almost the same tone, but those that should be dark, still shade a little darker. Tonal perspective considers the illumination of objects visible to the viewer in relation to the strength of light and shadow, color and color change, depending on the distance of these objects from the viewer.
Slide 5
The gaze is directed upwards Objects are directed at the viewer Objects surround the viewer from the sides When the artist’s gaze is directed to the main and only vanishing point, such perspective is called one-point perspective. This perspective is used when they want to draw the viewer’s attention to the point where the lines meet. This technique also seems to draw the viewer into the picture. In a one-point perspective drawing, objects appear to be aimed at the viewer or to be on either side of the viewer and receding into the distance. Single point perspective
Slide 6
If the point of view is above the horizon, then we see the object from below. If the point of view is below the horizon, then we see the object from above. Geometric figures in perspective they change their shape, for example, a circle lying on a table seems to be an ellipse, the right angles of a house, depending on the point of view, seem obtuse or sharp.
Slide 7
The complete picture of the image, the illusion of reality, is created by tonal perspective. Own shadows are weaker than falling shadows. Shadows at the bottom of an object are weaker than at the top, since reflections from the ground are stronger from below than from above. The falling shadow from a nearby object is more intense than from an object located further away. The further away the object is, the more the effect of light is weakened due to the layer of air and the decrease in light intensity. The illumination of the subject is brightest in the foreground, weaker in the second, and weakens even more in the third; shadows, intense in the foreground, weaken in the second, becoming grayish in the third. Two tones placed next to each other enhance each other (borderline contrast): the front face of the cube appears lightest near the edge of the face in the shadow, and the shadow of this face is most saturated at the same edge.
Slide 8
Constructing an image on the picture plane 1. From point O1, draw a line to the base of the object (spruce). 2. From the intersection point with the base of the picture plane, raise a perpendicular. 3. From the observation point we draw a ray to the base of the spruce. The intersection of the ray with the perpendicular will be the base of the projection of the spruce onto the picture plane. 4. From the observation point we draw a ray connecting it to the top of the spruce. 5. The point of intersection with the perpendicular will be the top of the projection of the spruce onto the picture plane. Projections of all objects are constructed in the same way. If on the horizon line from point P we plot the distance to the viewer PO to the right and to the left, we get points D and D1, they are called distance points and will play an important role in perspective constructions. Point P and the horizon line play a very important role in perspective constructions. The whole course of construction begins with them. On the horizon line there are points where parallel lines going deep into the picture converge. These points are called vanishing points. The lines of the perspective and geographical horizon coincide with the horizontal line drawn at the height of the observation point. The horizon plane passes through the main line of sight and the horizon line. The main perpendicular is the perpendicular passing through point P and the base of the picture plane. And the plane passing through the main perpendicular and point O is the plane of the main perpendicular. The object plane is the plane of the earth. The picture plane is the plane on which we obtain the image. The base of the picture plane is a straight line, limiting the picture plane from below. The main line of sight is the ray drawn from the point of view perpendicular to the picture plane. The main vanishing point (P) is the point of intersection of the main line of sight and the picture plane. Horizon line (perspective horizon line) - a horizontal line passing through point P, parallel to the base of the picture plane.
Slide 9
Light enters the eye through the pupil and passes through the lens (a biconvex lens) to the retina. The smallest cones of this membrane experience nervous irritation and transmit it to the brain, which is why we get the sensation of light. Light rays fall into the eye in the form of a cone-shaped beam: the apex of the cone is located in the pupil of the eye. The figure shows a schematic view of the lens of the eye, the nervous retina, and the object. By projecting lines, the path of light from an object to the eye is shown. If you move an object away from the eye, its image on the retina decreases. The most important law of perspective for us applies here: all objects, as they move away from our eye, appear smaller. How the eye works
Slide 10
Perspective changes in objects occur in three directions: 1. Width scale. 2. Height scale 3. Depth scale
Slide 11
Rules of perspective All lines running perpendicular to the horizon converge at the main vanishing point P. To find the perspective distortion of the line AB anywhere in the picture plane and at an arbitrary point c, connect point A to it and extend it to the horizon line, where we find the vanishing point F1 . Let's connect point F1 to the other end of the segment AB, to point B. The segment cd drawn through this arbitrary point will be the desired perspective image of the line AB. All other constructions show the dimensions of line AB taken in other places of the picture plane. The main vanishing point is P, the other vanishing points are F1, F2, F3, F4. Lines parallel to the horizon, no matter where they are, do not change their horizontal position.
Slide 12
Perspective (French perspective from Latin perspicio - I see clearly) - 1) the phenomenon of apparent distortion of the proportions and shapes of bodies during their visual observation. For example, two parallel rails appear to converge on the horizon at two points (in front and behind the observer); 2) a method of depicting volumetric bodies on a plane, conveying their own spatial structure and location in space. In fine art it is possible various applications perspective, which is used as one of artistic means, enhancing the expressiveness of images. This optical illusion very clearly demonstrates how much we use perspective when perceiving space and assessing the distance to objects and their size. Passing along the optic tracts, the signals received by each eye are processed accordingly by the brain into a single visual sensation.
Slide 13
To emphasize height Two-point perspective Creating a "scenery" View in a straight line plus an emphasis on the vertical dimension Usually in two-point perspective there are left and right vanishing points. Less common is two-point perspective with an upper and lower vanishing point. Three-point perspective To emphasize the equality of three dimensions Three-point perspective is rare because it implies that the viewer is looking at the scene from below or above, rather than directly. This perspective is used when it is necessary not only to give a complete picture of what is happening, but also to emphasize the vertical dimension.
Slide 14
Spherical perspective - several points of view, tilt of vertical axes towards the center, rotation of planes towards the foreground. Used at the end of the 19th - beginning of the 20th centuries. some were painters who realized the formalism of many aspects of linear perspective, especially characteristic of the 19th century, and sought to create a synthetic image of the world (P. Cezanne, K. S. Petrov-Vodkin) Spherical perspective
Slide 15
Orthogonal perspective Only in orthogonal projection can the shape of an object be captured in a unique way. Only orthogonal perspective conveys the contours of a real object without distortion. Orthogonal perspective is characteristic of ancient Egyptian art. However, orthogonal projections did not convey the depth of real space in any way, and even in art Ancient Egypt timid shoots of axonometry appeared.
Slide 16
Let's look at the picture. Its center is the right eye of Christ. The whole picture is built on lines emanating from this center. It has strict vertical symmetry. Leonardo da Vinci, like many Renaissance artists, tried not only to show, but also to calculate the depth of space. Renaissance Perspective, as the most complex method, was developed during the Renaissance. For the Renaissance, linear perspective is most characteristic. The horizon line and the main point of the picture became the most important tools of the artist. The main point of the picture contained the meaning of the picture and became the semantic center of the picture. “... Perspective is a mental demonstration with the help of which one can verify experimentally that the images of all things are transmitted to the eye along the generatrices of the cone [of visibility]. Bodies of the same size form cones with larger or smaller angles depending on the distances between them [and the observer’s eye]. By the generatrices of the cone [of visibility] I mean those straight lines which, being issued from points of the external contour of the body, converge at a certain distance at a point common to all.” Leonardo da Vinci
Slide 17
Tonal perspective is determined by the distance to the light source and the position of the subject in relation to it. In indoor conditions, as you move away from the light source, the illumination of objects weakens. In this regard, the saturation and lightness of the color of objects changes. Glare is the place on the illuminated part of an object where light is reflected directly from the source (on glossy surfaces we see a direct reflection of the light source). Light is the illuminated part of an object. Penumbra is the transition between light and its own shadow, or between shadow and reflex. A shadow is the darkest place in its own shadow, which does not receive either direct or reflected light. Reflex - that place in its own shadow on an object that receives reflected light from another illuminated object or an illuminated part of the same object - is always much darker than the light. A falling shadow is the darkest gradation among shadows, provided the objects are of the same color; as they move away from the object, its boundaries blur and the strength of tone weakens.
Slide 18
Axonometry (from the Greek áxōn - axis and...metry), a method of depicting objects in a drawing using parallel projections. Axonometric drawings are characterized by great clarity. To construct an axonometric projection of a spatial figure, proceed as follows: select 3 mutually perpendicular axes and length scales on these axes. Then this figure and these axes along with the scales are projected onto the drawing plane. Axonometry was known back in the second century AD. It gives an accurate image of the frontal plane of the object and gives an idea of the depth of space, although it was difficult to understand how extensive this depth is. Axonometry found its complete development in the painting of medieval China and Japan. Chinese artists, many of whom were monks, found a calming harmony in nature. There they learned the truth and applied the knowledge they acquired in painting.
Slide 19
Since the perspective is “reverse,” then the principle of its construction is also reverse. The further away the object, the larger its image. If in a “classical” drawing parallel lines meet behind the object, near the horizon, then in a drawing with reverse perspective they meet in front of the object, above the image plane. REVERSE PERSPECTIVE
Slide 20
What an amazing thing is the art of a painter! He is a miracle worker greater than nature itself... the artist’s art has transformed fiction into real life. Christopher of Mytilene (1000-1050) The face on the icon (left) and the face on the painting (right) The image of the folds of clothing on the icon (left) and on the painting (right) The hills on the icon (left) and the mountains on the painting (right) The icon is timeless , it is a reflection of otherness in our world. Mountains on icons are symbols of spiritual ascent, ascent to the personal and One God. Therefore, the slides on the icons have ladders - a kind of stylized steps, thanks to which the mountain takes on the meaning of a ladder.
Slide 21
Methods of depiction change throughout the history of art. People of different eras see the world differently. In yet to a greater extent they think differently. The nature of thinking primarily leaves its mark on vision. Various structural forms in which objective reality is reflected I firmly, I know so sweetly, I am familiar with the art of monks, That the face of a wife is like the paradise Promised by the Creator. N. Gumilyov Her face from the fiery element was embodied in earthly colors M. Voloshin Space in the centuries or “I see so!”
Slide 22
The main vertical is located in the corner of the room, the beam of our vision is directed towards the corner. The intersection lines of walls with floors and walls with ceilings have two vanishing points on the horizon line. The verticals remain vertical because the horizon level is close to the middle of the picture. All parallel lines of pieces of furniture oriented relative to the walls have the same vanishing points as the lines of the room. Drawing of a frontal interior Drawing of an interior in a spherical projection Drawing of a corner interior The line of sight is perpendicular to the plane of one of the walls. The lines of width and height will be strictly vertical and horizontal, without perspective distortions. All parallel depth lines will have a vanishing point at the main point. Curvilinear distortions really exist in the picture of the world we see. The line towards which the gaze is directed turns out to pass through the main point, and all lines passing through the main point do not have curvilinear distortions, they are always straight. all depth lines will have a vanishing point at the main point and will remain strictly straight. The main vertical and the horizon line will also be strictly straight. All other lines will bend more and more as they move away from the main point, finally transforming into a circle. Each line that does not pass through the center, being extended, is a semi-ellipse.
Slide 23
Literature 1. Vavilov S.I. The eye and the sun: About light, the sun and vision. – M.: Nauka, 1981. 2. Voloshinov A.V. Mathematics and art. - M.: Education, 1992. 3. Likhachev D.S. Russian art from antiquity to the avant-garde. – M.: Education, 1992. 4. Mochalov L.V. the space of the world and the space of the picture. – M.: Soviet Artist, 1983. 5. Rauschenbach B.V. Geometry of the picture and visual perception. – St. Petersburg: ABC-classics, 2002. 6. Rauschenbach B.V. Spatial constructions in painting: An outline of the main methods. - M.: Nauka, 1980. 7. Rauschenbach B.V. Systems of perspectives in fine arts: General theory of perspectives. - M.: Nauka, 1986. 8. Fedorov M.V. Drawing and perspective. – M.: Art, 1960. 9. Philosophy of Russian religious art of the XVI-XX centuries. Anthology./Compiled, total. ed. and preface N.K. Gavryushina.- M.: Progress, 1993.-400 p. (Treasury of Russian religious and philosophical thoughts. Vol. I) 10. Florensky P. A. Iconostasis. M.: Art, 1994. 11. Haken G., Haken-Krell M. Secrets of perception. – M.: Institute of Computer Research, 2002. 12. Materials from the site “Great Masters of Fine Arts” http://master.parnas.ru/ 13. Encyclopedia of the Yandex portal http://www.yandex.ru Perspective Presentation on
figuratively
mu
art
for grades 5-7
general education
spruce school.
Author: Serova N. Yu.
school teacher
No. 424 Kronstadt Historical background
Linear perspective
Definition and basic concepts
Frontal perspective
Laws of linear perspective
Angular perspective
Constructing perspective in an image
interior
Perspective in still life
Perspective in landscape
Horizon Line Meaning
Aerial perspective Orthogonal painting of Ancient Egypt.
Orthogonal perspective conveys without
distortion of the contours of a real object. Orthogonal projections did not convey depth
real space. Ancient Russians used a special type of perspective
painters of icons and frescoes. They drew parallel
lines diverging in the distance, and not converging, i.e. in
reverse perspective.
Rublev Trinity Old Testament Renaissance linear perspective
Perspective is the best way to convey the visible. For the Renaissance
Linear perspective is most typical. Horizon line and
The main point of the painting became the artist's most important tools.
The main point of the picture becomes the semantic center of the picture. In Leonardo da Vinci's painting Last Supper» such a center is
right eye of Christ. The whole picture is built on the lines emanating from this
center. The painting has strict vertical symmetry. Leonardo yes
Vinci, like many Renaissance artists, tried not just to show
depth of space, but also how to calculate this depth. Found in Renaissance painting
reflection of awakening interest
to science. This brought linear
prospect of such popularity and
the title of the only correct and
infallible.
Leonardo da Vinci Mona Lisa Raphael. Athens school During the Renaissance, they were first created mathematically
strict doctrine about the methods of transmitting space, calling
his system of perspective.
Pietro della Francesca "City landscape depicting
ideal city Perspective
– perspicere - translated from
Latin means:
Plane imaging system
space and volumetric bodies.
Depending on the point of view
the appearance of any changes
subject. Such a change
visible shape and size
the object is called
perspective distortion or
abbreviation. Science studying
this phenomenon is called
perspective.
A. Dürer “The artist painting a portrait”
using a perspective screen.
I see clearly Basic Concepts
The visible horizon is the line on which
earth and sky converge.
The horizon line is an imaginary straight line, conditionally
located in space at eye level of the observer.
Vanishing lines – lines forming the edges of the form
objects, taking into account their distance from the observer
Vanishing point - the point at which they connect
vanishing lines
The horizon level is the level at which
are the artist's eyes relative to what is being drawn
object, regardless of what
distance from the ground you are Frontal perspective
construction based on 1 vanishing point Skyline
Vanishing point Skyline
Vanishing point Laws of linear perspective Parallel lines moving away from us converge in
one point located on the horizon line. Vertical lines of the same size as they move away,
approaching the vanishing point, the distance also becomes smaller
between them is reduced.
How to calculate the distance correctly? The height of each pillar is divided in half and the middle is marked
dot. A straight line is drawn through the midpoints. From
the top point of the first column draws a line through the middle
second pillar. The intersection of this line with the lower vanishing line
will give a point from which we draw the next pillar. . Sisley. Rue Sèvres in Louveciennes, 1873 A
Objects of the same size are depicted as different in size:
distant ones are smaller, those located closer to the viewer are larger.
Distant objects are placed on the sheet above, close ones - below. The trees seem to be shrinking and the river is narrower
as they move away and on the horizon line they turn into a point. I. Levitan “Autumn day. Sokolniki". Angular perspective
Construction based on 2 vanishing points Vanishing point
Skyline
Vanishing point The object is located on the horizon line, in this case we do not see
top, bottom and two far sides. If the object is located closer to
to the viewer - we bring the vanishing points closer to each other and make the vanishing lines steeper. The object is located above the line and below the horizon line, in
In this case, there are already three out of six visible sides. We draw a perpendicular through the point of intersection of the diagonals of the end
sides of the cube On this perpendicular we mark the desired height of the top
roof points. We draw oblique lines from it - the roof slopes. Then we connect
the top point with the vanishing point. Finding the vanishing point for the far line of the ramp
roof, it, like the cube, is subject to future reductions. Perspective in the interior A. Venetsianov. In the artist's studio. A. Venetsianov. Barn floor A. Venetsianov.
Postal station. Perspective in still life. Perspective in landscape S. Shchedrin. View of Naples. S. Shchedrin Veranda entwined with grapes. I. Levitan. Vladimirka Horizon Line Meaning
In fine art, the horizon line is
the most important means of artistic expression.
High line
horizon
gives the opportunity to show
the depth of the distant
space, place on
there are many figures on it. We
we rise, soar above
the world and perceive
events a bit
distantly. P. Bruegel Hunters in the Snow A high horizon line is suitable for landscapes with
depicting endless expanses, steppes, fields, for
revealing great depth of space, shows
versatility. Rylov. field ash V. Van Gogh. Red vineyards in Arles Van Gogh. Street in Sainte-Marie Low horizon line With the horizon passing at the bottom edge of the picture, we look at
image
from bottom to top, located almost at the base
items.
That's why
items
And
figures
acquire
majesty and solemnity. The image surprises us and
delights, and sometimes suppresses with its monumentality. The low horizon line emphasizes the power and
the grandeur of foreground objects will express the effect
lightness, filling the landscape with air.
I. Grabar. On the lake
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Slide captions:
Perspective
Artists know the secrets of drawing. For example: 1) The rails converge at one point, although we know that they are parallel to each other. 2) Trees or figures of people standing in the distance seem smaller to us. 3) We perceive buildings or forests in the distance as flat.
A system of knowledge that helps to correctly depict objects located in space on a flat sheet, the way we see them in nature, is called PERSPECTIVE.
Linear perspective. Linear perspective is a perspective on a vertical plane, which is the basis for constructing an image on a sheet of paper.
What is a vanishing point? Why are trees closer to us clearer and brighter? What is this perspective called? At the beginning of working on a drawing, you need to determine the position of the horizon. The horizon line always lies at eye level of the observer.
Three Basic Levels of the Horizon Point of View at the Horizon Level. Objects are on the horizon line. Viewpoint below the horizon. Objects are located above the horizon line, so they are visible from below. A point of view above the horizon. Objects are below the horizon line, so they can be seen from above.
Determine from what point of view (high or low) the images in the paintings are made. Use the words: below the horizon at the horizon above the horizon
On the topic: methodological developments, presentations and notes
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Training and metodology complex
Author of the program
Lyudmila Georgievna Peterson) - Russian teacher-methodologist, Doctor of Pedagogical Sciences, Professor of the Department of Primary and preschool education, leading specialist of the department of strategic design, honorary worker of higher education vocational education RF. In 2002 she was awarded the Presidential Prize Russian Federation in the field of education.
Goal: creation of an information and educational environment that ensures the inclusion of each child in independent educational activities, during which conditions are created for the reliable achievement of personal, meta-subject and subject-specific results of mastering the basic education determined by the Federal State Educational Standard educational program primary general education through the formation of universal educational actions as the basis of the leading educational competence - the ability to learn.
The purpose and objectives of the educational complex
Objectives: Achieving personal results for students: readiness and ability of students for self-development; formation of motivation for learning and cognition; understanding and acceptance of basic core values. Achieving meta-subject results for students: mastering universal educational actions (regulatory, cognitive, communicative). Achieving substantive results: mastering the experience of substantive activities to obtain new knowledge, its transformation and application based on elements of scientific knowledge, the modern scientific picture of the world.
The Perspective program ensures: accessibility of knowledge and high-quality assimilation of material; comprehensive development of the personality of a junior schoolchild, taking into account his age characteristics, interests and needs.
The fundamental principles of the complex are: The humanistic principle of historicism; the communicative principle of creative activity. This principled approach makes it possible to organize the learning process, on the one hand, for the purpose of obtaining knowledge in accordance with the requirements of the new standard, on the other hand, as a means of developing universal educational skills and personal qualities, i.e. development and upbringing of the child.
The educational complex is designed on the basis of unified ideological, didactic and methodological principles that are adequate to the requirements of the Federal State Educational Standard for the results of mastering the basic educational program of primary general education.
All components of the Perspective educational complex have undergone extensive practical testing in various regions of Russia with positive results, which makes the solution of the tasks set for education reliable, systematic, predictable, and effective.
Educational environment The educational complex “Perspective”, on the one hand, ensures the satisfaction of all the basic needs of children - safety, belonging, self-affirmation, and on the other hand, it actualizes the fundamental need for nurturing one’s strengths and realizing one’s potential.
System of didactic principles of teaching, upbringing and supporting the health of children 1. The principle of activity is that the student, not receiving knowledge in a ready-made form, but obtaining it himself, is aware of the content and forms of his educational activities, understands and accepts the system of its norms , actively participates in their improvement, which contributes to the successful formation of his general cultural and activity abilities, general educational skills
2. The principle of continuity means continuity between all levels and stages of education at the level of technology, content and methods, taking into account age, psychological characteristics child development
3. The principle of integrity - involves the formation in students of a generalized systemic understanding of the world (nature, society, oneself, the sociocultural world and the world of activity, the role and place of each science in the system of sciences).
4. The minimax principle is as follows: the school must give the student the opportunity to master the content of education at the maximum level for him and at the same time ensure its absorption at the level of a socially safe minimum.
5. The principle of psychological comfort – involves the removal of all stress-forming factors educational process, creation of a friendly atmosphere at school and in lessons, focused on the implementation of the ideas of cooperation pedagogy, development of a dialogue form of communication.
6. The principle of variability - implies the formation in students of the ability to systematically select options and adequate decision-making in situations of choice
7. The principle of creativity - means maximum orientation towards creativity in educational process, creating conditions for students to acquire their own experience of creative activity.
Methodological support of teaching materials The subject content of textbooks and the system of methodological support are aimed at: Priority of understanding the text over its reproduction; cause-and-effect, analytical approach to working with text; emphasis on one’s own reasoned judgment; informal, entertaining nature of the questions; completeness of tools that develop complex skills in working with text
Perspective (from the Latin perspicere to see clearly, to comprehend) in the visual arts, a system of ways of depicting space on a plane. Perspective in drawing is a way of depicting three-dimensional figures that conveys their own spatial structure and location in space. In the visual arts, perspective is used as one of the artistic means to enhance the expressiveness of images.
Perspective can be linear, aerial or reverse. Linear perspective is a way of depicting the surrounding reality on a plane with the transfer of volume and depth. Linear perspective is the most traditional, because corresponds to the natural perception of the surrounding world.
Reverse perspective is a method of depiction in which the vanishing lines are directed not deep into the picture, but towards the viewer. This type of perspective was used by ancient Russian painters in icon painting and frescoes. With this projection, the center of the world was placed inside the artist and the viewer, and parallel lines converged not outside, but inside the observer. Of two identical objects, when depicting space on a plane in this system, the one turned out to be larger. which is located further from the viewer.
We see all objects below this plane, below the horizon, from above; All objects located above the horizon are visible from below. Every horizontal plane below the horizon has an upper surface; at the plane located above the horizon, we see the lower surface. All horizontal lines located below the perspective horizon, that is, visible from above, when moving away, seem to rise and approach it, but never cross it. All lines located above the horizon, moving away, seem to descend and approach it. They don't cross it.
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