As others have already said, I remember doing a similar assignment on Drawabox and this gave me a good reminder to keep on doing these exercises as warm-ups. I'll be honest, I didn't really ghost a lot of these lines. It feels like if I ghost the line too much, I'll start over-thinking it and freak myself out then fray the line. Or maybe I'm just rusty, who knows ¯\_(ツ)_/¯.(The arrows are the directions I drew the line from)

This has been a fun assignment. But it needed a lot more time than expected, and I needed to adjust my idea. I hope I did get it right. 

This was harder than I thought! I started with a simple illusion that I found with the cubes. Then I created my own illusion. I was inspired by the Sandro Del Prete arches but as I went on I got more ambitious! It took some brain work but each corner of my arches is perspectively impossible with the others! Thanks for the assignment!

Hi Marshall and gang! I love seeing your finished drawing and your working sketches. It gives me confidence not to shy away from drawings that aren't polished and actually develop my skills. Sort of like going to the gym to get good rather than look good while you're there! Then use those skills to execute a finished piece when ready. I was doing this already a bit with a perspective problem I was working out for my grandmother who paints based on a photo she sent me. I started in pencil and refined in pen to make it more clear for her. It's a subtle perspective looking through a window at a slight angle. Here it is in case anyone can share in the learning or give me any feedback! Thanks!

Marshall, this one video highlighted the problem I've run into in every single perspective course I've ever taken. The "subdividing" trick is among only a few things that stuck from my last perspective course. I learned how to identify one, two, three point perspective. But I never fully understood the tools I was being handed. Everything was so lost in the vocabulary and the tricks, without a clear grasp of the wider applications and with NO understanding of how to freehand any of it. Too rigid and disconnected from the rest of the drawing process to integrate those tools into my work.... Here I've two little practice sessions. On the left, I've done what worked for me with figure drawing by doing some timed studies from photos. Just to broaden my visual library and get better at understanding space from photos. On the right, two slower sketches attempting to exercise the perspective learning from imagination...

Hi guys! This is my first attempt at the rapids. I would appreciate any feedback! I was quite happy with how it turned out but I would like to try out other angles that are less straight forward that this front on view.

Gave it a try studying rapids as well. I found it very clear to start with ellipses then I sketched on top the supporting details. I tried to show the rounded form of water falling off the edges but it was tough. The foam was 😭 Feedback always appreciated!

I’m interested in cinematic perspective for storyboarding, comics, and illustration. I’d like to develop a sense of intuitive perspective to freely control my camera in 2d space. I’d like to be able to translate my understanding and love of cinematography and lenses to my art. I particularly admire concept and storyboard artist Rick Buoen’s (@penrod_banks) use of incredibly gestural cinematic perspective in his storyboards. This opening two page spread from Arzak by Moebius feels like a huge continuous sweeping camera move. Travis Charest’s Spacegirl has some incredibly cinematic perspective. Other perspective masters I admire for their ability to place the camera in their work are David Finch, Rembert Montald, and Peter Han.

Project 1 - Treasure Hunt 1. I’ve chosen my heroes because they all use perspective in a different way that serves their art. (1-2) Greg Capullo might be my favourite Batman comic artist! I have heard him say its his intention to present every ‘shot’ in the most interesting way possible. His imagination is unlimited in that regard because of his knowledge of perspective. (3-5) David Mazzucchelli’s comic work is outstanding. Its often his less ostentatious use of perspective that nevertheless grounds his characters in their world. Its just so… right! (6-7) Andrew Loomis I love for his masterful command of perspective in figures and heads in particular. There’s a tangible solidity to his work but also an effortless charm. (8) Bill Watterson uses combines cartoonish freedom with enough perspective to sell the world and tell his stories in Calvin and Hobbes. Its distorted and exaggerated and that’s perfect for his drawings! (9) Similarly, Walt Disney is able to use perspective to make characters while not sacrificing any of their charm, appeal, gesture or expressiveness! (10) Scott Robertson is just a beast. I applaud his complete grasp of technical perspective that allows him to create and design complex 3D structures. (11) Thomas Schaller I only discovered on this forum but I love how he makes what could be strict architectural drawings very impressionistic and painterly. 2. My big picture art goal would be to become proficient enough in perspective to use it in all the above ways. From strict perspective for conceptual drawings to the loose playful perspective in a simple comic panel. I am a big believer in “you have to know the rules to break them”. I will be challenging myself to do both – to learn the rules thoroughly, and to be brave enough to break from them when it serves my art!