I feel like you've mentioned this in previous videos, but are you going to do a class over airbrushing? If so, I have money for you!!!

I did some tests first at a smaller rate and all in pen so I commit to my lines and see if push or pull made me more accurate. The big test was to see how close I was in my guessing. Some were darn close! I may later on this paper to train my eyes with overlapping lines.

I couldn't make the critique video (holidays are hard to plan around), but here's my submission: I chose two from my album to gander through, first is by Mat Rockeffeller: Diminution: 2/5 Convergence: 0/5 Foreshortening: 3/5 (This one is a little harder because this image is almost fish eyed to represent the situation) Overlap: 4/5 Atmosphere: 5/5 A bit about this one from my perspective as stated in the foreshortened score, this image is fish eyed as if the viewer is a fish in the environment. The little hidden fish here and there while distracting from the clearly massive being holding the house up is very atmospheric! (Or...maybe i'm wrong?) Second piece is from Donato Giancola: Diminution: 0/5 (This one was difficult to sus out) Convergence: 0/5 (Also hard to sus, the buildings are stock straight) Foreshortening: 4/5 (We are the bird!) Overlap: 5/5 Atmosphere: 5/5 This one seemed poignant on the environment to be atmospheric! It almost feels heavy in the mountains and strong lines. This one is all space babyyyyyy. I could very well be wrong on all of these haha!

His whole vibe through his pieces, even the ones with heavy dropping lines, seems like it always carries a fun/lighthearted emotion. Really enjoyed his process even if I will never fully understand Maya and other 3d modelers.

Honestly, these basics were hurting my eyes with the lines that it was hard to keep focus. However, I wanted to move forward with some sharper angles and work on some gem shapes to keep my eyes in place. Hopefully I can learn the tools a bit more so the lines can blend away out of my sight and become more intuitive.

Here is my collection: 1-3 Kilian Eng. I like how he wields perspective to give a sense of scale. He creates fantastical landscapes and uses human stand-ins to provide a scope of how big of a space the art encapsulates. I like his full utilisation of the foreground, middle ground and the background to create a cohesive scene that gives depth to his illustrations. There is a gradient of detail from the closest object being more ornate, to the farthest objects being less so but still having gravitas. 4 Moebius - Like many others, I admire his work. I like his use of space. Often he depicts large open landscapes. This particular illustration depicts a busy hub with lots of characters occupying a space. I like the details of the wooden bracing on the ceilings, which provides enough spacing for the several staircases. The scaling is perfect for this fantasy setting to feel real. 5-6 Kim Jung Gi - His method of creating chaos from his imagination follows the rules of perspective masterfully. I especially admire his meta sketches where he makes a first person point of view illustration of him sketching on his sketchbook. He has a deep understanding of people and structures and how they exist in the space they occupy. So well that he can freehand draw things from imagination in any orientation. Big picture goals: 1. Draw figures in a room that don’t look like they are levitating in space. 2. Be able to understand structure so I can rotate the object in my imagination, and then on to paper. 3. Understand foreshortening. Like all of it… I don’t get it at all.

Hi everyone, Here are some old and new favorites. Moebius, Yang Jialun, Robert Watts, and Antonio Sant'Elia. I appreciate the excellent draftsmanship that each of these four have. The first three in particular have a mastery of traditional perspective, but also composition and staging. Their work has a great sense of depth, and they successfully populate their settings with full figures in the foreground and background (no doubt an effective depth cue that helps with the former point). That talent for creating compositions from a medium/long range with figures in their environment is great for narrative. My big picture goal is to ultimately improve my skills in those same areas - staging scenes with depth, figures near and far, and solid composition, almost like creating 2D "playsets." I'm hoping that improving my ability to sketch scenes freehand but maintain accurate perspective will make it easier to arrive at a satisfactory layout before sitting down to do a final piece. I'm very excited to sharpen old skills and learn new ones, it's already been fun to jot down names of artists I wasn't yet familiar with!

I chose quite a few artists, all reflecting what I want to learn in perspective. I want to keep things more organic, even when it's a stagnant object. There's so many wonderful artists that others have presented already (many I want to overlap and highlight as well). My big picture goal is to be able to twist the human and landscape form to where they look like they're in the same universe and not two separate entities. Not just atmospheric projection, but making sure the figure/focus lands in the same territory as the rest of the background. Artists in order: Donato Giancola, Matt Rockefeller, Frank Frazetta, Akira Toriyama, Bernie Wrightson, Maxfield Parrish, and Maethavee

Hi everyone, I'm from Portugal and I drew a lot until I turned 17. From then on, I stopped drawing (I took an university course in Pharmacy) and almost 20 years later did I rediscover my passion for drawing through the Draftsmen Podcast. I have been waiting for this course since it was announced in one of the podcast episodes (I think from season 1). Although I am a novice in drawing, my objective in mastering perspective is to create illustrations and/or drawing comic books. The drawings I post here are from artists I consider my "Art Parents": Kim Jung Gi, Kentaru Miura, Hayao Miyazaki, Akira Toriyama, and Hergé. Hope to see you all in October.