what's amazing is how she kept the perspective internally consistent. that is, when she painted the back of the car with perspective suited for a particular point of observation, how did she manage to paint the hood of the car with the exact same vantage point? if that point moved even just a little bit as she painted different car parts, there wouldn't be a single spot where all of the car would merge with the surroundings this well. when she was standing next to the car to paint, how did she keep it consistent?
