There templates were a lot of fun once I got in the groove! I tried to experiment with it a bit!

This is an iPad stand I use on my desk. This is the kind of exercise that makes my teeth itch but I can definitely see the value in it!

This was a fun one!

I’ve seen some really cool submission for this one but I just wanted to keep it simple since I’m trying to catch up so I can follow along in real time. This is my submission!

This was a fun one, it's definitely a good one for getting into the flow of things!

Really cool seeing the tricks that make some cool comic panels work!

I had to do this digitally due to travelling so the temptation to zoom in or out was tricky to resist but I did!

I had a lot of trouble getting my head around this initially but watching the critiques really helped. So I started off by copying some of the successful ones and then played around and added in my own. It was a lot of fun once I got past that mental block!

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.