සිරස් ඇදීම
දැකුම් දිශාවට වඩා ඉහලින් හා වඩා පහලින් තිබෙන වස්තු වඩා දිගට ඇඳීම.
• Vertical stretching. The spheres far above or below the direction of view appear vertically elongated.

විකර්ණව අවධානය
අපරූපණය වැඩියෙන්ම යෙදෙන්නේ විකර්ණ දිගේය. එයට තිරස් හා සිරස් අපරූපනයද එකතු වේ.
• Diagonal emphasis. The distortions appear more extreme along diagonal (oblique) directions, where the effects of horizontal thickening and vertical stretching combine.

විකර්ණව ඇල කිරිම.
• Diagonal tilting. Horizontal surfaces, such as the orange flat tops of the columns, appear tilted along the image diagonals rather than forward toward the viewer.

වස්තු ස්ථාන ගත කිරීම.
මේ අනුව සම දුරින් පිහිටුනද, දැකුම් රේඛාවන් දුරස් වන වස්තු අතර දුර අඩු කෙරේ. අවසානයේ ඒවා එක මත වැටේ.
• Peripheral crowding. Equal intervals (such as the spaces between columns) appear smaller near the periphery than at the center of view; eventually the spaces between the columns disappear and the columns seem to overlap.

raphael's philosophy (1511)

correction of perspective distortions in Raphael's Philosophy (1511)

 

As painters developed dozens of similar tricks to exclude, hide or counteract perspective distortions, thus minimizing the effect of viewing a painting from "incorrect" locations, they discovered that perspective distortions could be used for expressive effect.

The most extreme examples are anamorphic images

• principal forms become more dynamic
buildings or figures seem to loom, surge and expand

• perspective space is enhanced
the convergence among vanishing lines is more emphatic, creating a vertiginous depth of space

• the front surfaces of the form dominate
the sides of the form may disappear from view, or appear smaller or highly foreshortened, and the side surface textures are viewed at a more grazing angle

• vertical dimensions dominate
in particular, the extreme corners of the form may appear to jut or loom out of proportion with the rest of the figure.