Hey! I’m really excited to start on this journey. I’ve done several other perspective courses and worked through many books but having watched all of the videos in the Intro portion of the course, I feel like I can safely say Marshall is going to cover a LOT of areas and questions that simply aren’t covered in any of the other resources I’ve explored. My overarching goal is to gain an intuitive understanding of perspective, particularly when it comes to placing figures in a scene in a believable and dynamic ways. As well as creating an exciting sense of place and scale. All in pursuit of exciting storytelling. Katsuhiro Otomo: A master of sprawling, epic scenes in intricately rendered detail and placing figures in scenes in a way that emphasises the grandiosity of the scene. The example I’ve attached also has some rotated buildings, which is a reminder to myself that I haven’t yet been able to wrap my head around rotating cubes in perspective in a way that would achieve this, especially when they’re rotated along two or more axes. Kim Jung-Gi: Probably the undisputed master of intuitive perspective and figure drawing. There’s not much to say that hasn’t been said, the man had a visual library of incredible proportions, and to get even halfway to his level would be incredible. Masashi Kishimoto: An underrated master of perspective in the mainstream (though very well represented by my fellow students), Kishimoto has an incredible ability to incorporate wild and dynamic perspective drawing into his storytelling. While all three of these artists are all-round geniuses, for me, they represent the three broad stages of my desired development. Otomo is the technical ability, Kim Jung-Gi is the intuitive master, and Kishimoto is the ability to use that mastery to create stunning, dynamic works that tell a story themselves as well as working as part of a sprawling narrative.

I had a lot of fun with these even if they took me a while. I think there's a clear distinction between my first session (the first page) and all proceeding sessions, I gained a lot of confidence during that second one which helped me push and pull the drawings a lot more than I was previously willing to. There are a few standouts that I'm really pleased with though I will say I wasn't really sure what David meant by not drawing caricatures but designs. My interpretation was that the people used as reference were more like inspiration than direct subjects. I think I'll continue this practice in the future and I'm looking forward to continuing the course. The Shere Khan drawing was also quite fun and led me to look more into Milt Kahl's amazing work. I developed a deeper appreciation for art that I'd already loved for decades which was a great experience.

Here are my couple of attempts at the assignment. I really wasn’t satisfied with the first one so had to give it another go. I know it’s a matter of practice. Would appreciate any feedback!

Really fantastic lesson. I’ve been trying to find a class that could summarise these concepts as succinctly as this. I wouldn’t expect anything less from David Finch.