Hello everyone! I'm yeye. I will try to keep this intro short but basically i felt stuck in my art journey for a while now and is mostly due to my lack of perspective knowledge and understanding. Its keeping me from drawing the things i imagine because i can't put them into paper and is very frustraiting. My main problems with perspective are: - when i try to apply what i know everything looks boxy and not credible - i struggle with portraying scenes that have many elements - when i work traditionally i get lost with all the lines and sometimes the perspective points are outside the page - when a background is in a certain perspective but an object in the image is in other perspective i get confused - not only in backgrounds but when drawing organic shapes like the human body i get confused and it looks wrong - i guess I'm not very pacient and that is affecting me as well ha... My main goal is to use perspective as a tool to make my ideas into reality and also, being able to show a story in my art with the correct use of it. As my inspirations i chose some artist i deply admire because of their ability with perspective but also the personality and ambience they show and create in their work. I forgot to add Kim Junggi in my collage but he is a big inspiration for me as well. I hope i can learn a lot :)

Artists: Sean Andrew Murray Syd Mead Jon Juarez Giovanni Paolo Panini Ilya Repin Moebius David Finch Gustave Dore

1. Arthur Rackham, Moebius, Frank Lloyd Wright, Charles Vess, Franklin Booth, Hiroshi Yoshida, Demi Lang (The last 2 I just learned about but love) 2. Bringing 2d to 3d, I am trained as an architectural draftsperson but want to bring that skill into illustration and world building. Combining natural forms with engineered objects eg: clouds with aircraft, foliage around buildings, water around boats, etc.

Goal for this course: to get familiar and comfortable enough with perspective, so that I use it intuitively in my drawings. At the moment, when I have to include any non-organic elements in perspective in my drawings, I panic, start measuring everything, taping the paper to my desk and marking vanishing points on my desk (if they're outside of the paper), drawing out all vanishing lines with a ruler, etc. And I do it even when it's not strictly necessary, when the drawings are not technical. I just don't trust myself to eyeball it. I want to progress beyond this fear. I want to be able to draw freely without relying so tightly on photo reference. I want to be able to draw from imagination, playing with scale and placement of things. I'd also like to work up the confidence to try urban sketching and I think having a strong grasp of perspective will help with that. Artistic benchmarks: - Luke Adam Hawker: one of my absolutely favorite draftsmen, he makes perspective look effortless and his drawings are both technically sound and expressive at the same time. - Old masters (John Martin, Giovanni Paolo Panini, Giovanni Piranesi) and contemporary artists (Gregory Fromenteau, Simon Stalenhag, Nathan Walsh, Zdzislaw Beksinski) who, through the use of perspective (and value), achieve awe-inspiring effects depicting sweeping vistas or grand interiors. Also, I love the use of perspective in abstract geometric art, there's something utterly satisfying about it.

I love how these drawings are telling storys and thats what i deeply wish to accomplish in my life too. I want to share the stories I got in my head so much with the world. Thats my biggest wish and my greatest vision. I really hope to learn much from this course. <3

M.C. Escher and Kim Jung Gi are two artists who demonstrate mastery of perspective. I would like to understand the techniques that are involved in creating such awesome images.

I'm learning to draw this year... my goal is to do manga seriously. It has been my dream since I was a kid. Usually I tell my friends I want to write a graphic novel sometime when I retire from my current job. But honestly, I want to do a manga. I love the style of Hirohiko Araki. I want to be as detailed as Yusuke Murata; and I want to be able to create suspense as Juji Ito (I love horror). I watched some of proko videos and podcasts around perspective and got convinces this is one of the things I need to master and integrate as second nature to move forward. I want to build from imagination, not only copy what I see.

Hello, I'm late to join, but pleased to be here. I'm here to learn only for my own enjoyment. I've submitted some images created by artists that I would like to learn perspective from. James Gurney, I have put a study of one of his Dinotopia paintings here. I liked because it showed the planning stages of the finished painting and show how he is solving the perspective problems that lead to such a believable finished work. I don't have any images of any of his plein air studies but I really admire the skills that allow him to document the everyday world as he perceives it in such a direct way. I would like to understand how to simplify and problem solve to the same end. NC Wyeth, his illustrations always contain so much energy and power. I think as I look back at many of my favorites from Treasure Island, it's his use of different angles and views of the subject, he places us in the scene not just looking on. Dean Cornwell, I really enjoyed this preliminary sketch, "The courtroom" uploaded here. It shows all the planning, and work. If I stop and try to understand all the vanishing points that are in play on each figure, piece of furniture, the room itself, my head begins to hurt. It would be amazing to have that kind of grasp of form in space and have the ability to communicate it. Thomas Schaller, I love watercolor and I have always loved architectural rendering. The contrast of the strong framework and transparent and glowing quality of the watercolor together is very evocative. I want to know how to use perspective to create believable built environments as he does. Hiroshi Yoshida, I have always loved the images created by him but until I joined this class I did not know his name. So thank you to everyone who picked him as an art parent. His work is both powerful and lovely at the same time.

I’m more focused on character drawing, but I’d love to be able to draw some backgrounds and props to complement them without making them look like they are floating in the air. My goals are: 1-Arrange props and characters in the scene and maintain a consistent scale and alignment. 2-Figure the right perspective when drawing a room corner where the floor meets the walls. 3-Make simple poses more interesting by bending the perspective of buildings around them. 4-Make objects interact or touch each other accurately, like falling buildings. 5-Avoid perspective from breaking your composition but keep the perspective accurate. 6- Know how to use multiple perspectives in a drawing and why. 7-Make the viewer feel small. 8-Know how much limbs shorten when characters are foreshortening. 9-Know how much something bends when close to the viewer. 10-Draw a character with a bottom-up or top-down perspective.

Ian Fennelly Paul Heaston