1. Overlap: top left, Cressida Campbell, Margaret Olley interior 2. Diminution: bottom left, Tom Roberts, Bourke Street 3. Foreshortening: middle, Robert Hannaford, Self portrait 4. Convergence: bottom right, Margaret Olley, Chinese screen and yellow room 5. Atmosphere: top right, Albert Namatjira, Waterhole, MacDonnell Ranges

I underperformed on the original gathering assignment so I gathered some more for this one. I'm not sure I understand Atmosphere. Is it when air and space is represented and implied with the horizon? That's what I went with for my ratings here. From left to right. Rain Szeto Diminution 2 Convergence 3 Foreshortening 1 Overlap 5 Atmosphere 4 Moebius Diminution 4 Convergence 2 Foreshortening 1 Overlap 5 Atmosphere 2 Masaaki Nakayama Diminution 5 Convergence 5 Foreshortening 2 Overlap 5 Atmosphere 2 Herge Diminution 4 Convergence 5 Foreshortening 1 Overlap 4 Atmosphere 4

For some reason, my reaction to the proposition of using tools like t squares and the like was a game show style womp-womp. But I was quickly engaged and enjoying it once rubber hit the road. These efforts really moved my understanding of how the perspective stuff works. Loving this course. Really helpful to see all of our classmates work too. Thanks for sharing yall.

Just attempting a version of the stairs melted my brain a bit. It's strange that we spend our whole lives navigating 3D space with ease, but recreating it is not intuitive at all. At least for me. Trying to wear my "big simple things" glasses when walking and going about the day. What a great key lesson. I was not familiar with Jack Frost's Palace before the course but I really enjoy it.

What immediately blew my mind was the same dustbin when photographed with different lenses. The one in the wide angle lens photo has such a strong taper that it looks like a different structural design altogether! On a more serious note, I'm enjoying how lessons like this one and the Hiroshi Yoshida one are helping ease us into the otherwise intimidating task of tackling perspective. The intimidation, in huge part, comes from 'where the hell does one start?' and that one phrase 'the big simple lesson is to look for big simple things' really helps in giving me, at least, a starting point mentally. I'm really looking forward to the next few lessons!

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 applied what was discussed here and I am blow away by the outcome. I used one roun brus and tried to vary the thickness and size of the elipses. I didnt have any reference, i just made something on the spot on scrap sheet of watercolor paper... WOW! this way of thinking about every day things might just be a game changer for me

I took a close look at the image to see what I could learn from it. Focusing on images without distractions is really helpful.

Hello, rookie here. So far, all my sketch books are working on anatomy. They are filled with disembodied heads, hands, torso, etc. Everything i draw just floats in page space. I want to learn to create worlds. I want to tell stories eventually. Artist shown: Rain Szeto