The thing I always forget to do when observing masters is observing with a specific criteria in mind. I just look and say, "Wow, that's way better than I could do," and I forget to ask, "Why does this art make me feel this way? What's so much 'better' about it? What can I learn from it?" to phrase the most basic, general questions. To come at it with questions with a particular topic in mind is even better, and gives you deeper answers. Exploring "Rendering," for example, with this artist I'm currently studying for my art job, Jeff Smith. This panel in particular fascinates me. - How does he solve the problem of making a shadowed character emerge from darkness when he only has two colours: black and white? - How does he imply his environment (a forest at night) without making it too busy, or making it too dark? - How does he render a puddle in black and white? Man, and the way he indicates the form of the trees with some short hatching lines, and all the mud and texture on the path, and all the grass and branches... Such elegant mark-making decisions. Haha, thanks for showing me how to hone my observational skills! Criteria is key.

I have to study Jeff Smith for my art job, so, might as well combine that assignment with this one! Image 1: Diminution: 4, Characters clearly different depths and sizes from each other. Convergence: 1 Foreshortening: 1 Overlap: 2, ground plane helps exaggerate the distance between foreground and middle-distance characters Atmosphere: 2, the trees on the right fade into blackness, as does the ground plane Image 2: Diminution: 3, cart is proportionally smaller than it would be if it was not affected by diminution. Convergence: 5, cart displays strong 1 point perspective, as well as the floor plane Foreshortening: 5, cart is in a very foreshortened state Overlap: 5, characters in front of the door, overlapping the cart, and the sloping ground plane Atmosphere: 1 Image 3: Diminution: 2, a little bit with the character sizes Convergence: 1 Foreshortening: 1 Overlap: 2 tiny bit with the branch at the bottom of the panel Atmosphere: 4, the way the trees and foliage fades into white in the background Image 4: Diminution: 2, the puddles on the path Convergence: 2, Path ground planes slightly converging back in space. Foreshortening: 1 Overlap: 2, rocks and branches Atmosphere: 5, the "grumping" figure in the distance emerging from the solid black. And he manages to accomplish all this with only black and white at his disposal! So amazing.

Man, working on graph paper is a GAME-CHANGER for me! Copying someone else's illusion was a relatively simple task, but I was struggling to rough out concepts for my own illusions because the difficulty of free-handing isometric perspective was getting in the way. But with graph paper I could wholly focus on the design aspect-- And I ended up having a lot of fun, haha! My brain is thoroughly teased.

My supernatural ability to do math only as it pertains to art is constant. I found myself having so much fun puzzling triangles together that I kept going, haha!

how do you guys post pictures on the community? I know this is a dumb question but I haven't been able to figure it out.

Yesss so excited to do this traditionally instead of digitally! GIMMIE THAT KNOWLEDGE

This sounds like the course I’ve been searching for my ENTIRE LIFE (which is as lengthy as my passion for art). I know a lot of those techniques you were demoing, but as much as I’ve used them, I’ve never really been able to *think* in perspective. But what I’ve come to learn is that being able to think in perspective is the difference between art, and great art. I am so so excited for this.

Some waterfalls from imagination! I really enjoyed experimenting with ellipses to construct more organic shapes. I feel like I fall into the “perspective is just cubes” trap and everything I make becomes boxy and uninteresting— but this got my creative brain singing! :D I especially enjoyed figuring out that you can use the concave side of the ellipse as well as the convex side in order to create more interesting waterfall shapes. This is so cool!

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