Here are some warmups done over the last couple days. Some with pencil, some with pen, and some digitally (gotta mix it up). The hardest part is making sure each line intersects in the middle accurately. I've realized that with different sized circles, I have to take different approaches to make them as accurate as possible. Of course, smaller circles are easier, so my tunnel vision tends to prefer them better. But I want to kick that, so I tried to fit in as many bigger circles where possible. For big circles, plotting out the beginning and end and looking at my destination, not where my pencil is traveling, leads to better results. It changes too; sometimes looking at the entire circle leads to better results, sometimes focusing on the split parts of the circle makes them better. It fluctuates. Is this normal? My lines are wobbly too; a mix of both line confidence and trying to strike the balance of accuracy vs speed. Just gotta keep hammering it down Also threw in some miscellaneous warmups doodles to spice things up inbetween. Cheers!

I loved dissecting these pieces! Some of these pieces lean less on certain elements and more on others, but it's good to know you don't always have to use every card in every piece. Foreshortening, Convergence, and Diminution have been parts of perspective I've always struggled with; ESPECIALLY WITH CHARACTERS. Showing how much to foreshorten has always been my white whale. Having this organized into these 5 elements really does help a lot (and DC FOA is much more memorable for me than you'd think!) ___ Part 1: 1 - Mogoon 1 Diminution - 5/5 - This image believably portrays a sense of space by showing characters and environments becoming smaller as the image goes back in space. Due to the narrow focal length, aspects like the hood of the car appear far larger than the unimpressed girl in the background. The hierarchy of objects in the image getting smaller is uninterrupted and flows quite naturally. Convergence - 4/5 - Due to the narrow lens, the 3 vanishing points of this image (3 point perspective) are quite close to the image itself. While not all lines meet up quite exactly at the vanishing point, showing that it was done mostly by eye, it also shows that Mogoon, the artist, is able to believably portray a sense of space throughout the image. Foreshortening - 5/5 - This was the main reason I chose this piece. While the piece isn't fully polished, I wanted to see past that and look at it from a more technical point of view. Many aspects, from the characters to the car to the road itself, portray an excellent sense of foreshortening. The narrow lens here adds really well to increasing the high, tense energy of the piece. Really makes you wonder what crazy adventure they are having. Overlap - 4/5 - The piece uses overlap to believably show the placement of different subjects in the image, from the building in the background, to the characters, to the window, to the front of the car.While arguably you can say that the characters get a little lost due to the amount overlap, you can also see it as intentional; the characters see, chaotic, so the assemble and overlap of the amount of characters in this vehicle should show that. Atmosphere - 2/5 - This piece is mainly a sketch, so it didn't mind itself too much with atmosphere; that said, the railing and buildings in the back are faded as it goes back in space. 2 - Mogoon 2 Diminution - 4/5 - The power boxes believably move back in space in the background. Furthermore, the character's leg is slightly bigger in size as it is closer to the camera. The head is also smaller to account for that too. Convergence - 2/5 - While this is still done in a wider lens, the lines do not necessarily converge to the same point. It is definitely done by eye. That said, I still think it is believably done. Foreshortening - 4/5 - Mogoon loves his narrow lens. Other examples are posted below of his other work. Aspects like the legs and the wall makes her feel realized in her environment. Overlap - 3/5 - This scene is more quiet than the other image I chose by the same artist. And it shows with less overlap. The main overlap happens with the electrical boxes in the back, as well as the character being in front of the steps. Atmosphere - 3/5 - The use of blur and the wall fading to yellow (a higher value), as well as aspects of the environment and character slowly heading towards that yellow hue, shows depth in the drawing. 3 - Zero808 1 Diminution - 1/5 - The appeal of this image for me involves other aspects of the drawing in perspective; Diminution is not one of them. Showing a wider lens, the character is more flat in space, mainly showing some depth with the image closest to the left. Convergence - 1/5 - You can tell the artist did this by eye. A lot of the lines meet up in places that far exceed the canvas. If I'm honest, I'm not quite sure how to properly figure out where lines converge in drawings with a flatter lens. I tend to overthink them so I may or may not be wrong in my findings. Foreshortening - 4/5 - This and overlap are the main reasons I chose this piece. Foreshortening in places like the bodies as well as the jetpack (you can see the artist break down the jetpack in the process gif posted below.) a lot was considered when putting this together. Overlap - 4/5 - The other reason I chose this drawing. This is a character design with a high focus on overlapping features, and I think despite the overwhelming amount of detail, I think Zero808 was able to believably put them together in different angles that feel consistent with each other. The image on the right further shows the overlap, with the arm and the gun she is holding being further in the background. Atmosphere - 1/5 - Since this is a character drawing, there is little to no use of atmosphere to create depth. The main tricks you can see are parts of the body that overlap have a subtle fade to white to make different parts of the drawing that overlap much clearer. 4 - NIY_003 - 1 Diminution - 5/5 - The environment gets smaller as it goes back, as well as other elements such as the light. This piece also plays a real nice trick: Despite the monster in the background appearing smaller than the characters close to the viewer, the monster still appears to be much bigger, due to the context of how the walls, ceiling, and floor move back in space. Fascinating stuff. Convergence - 4/5 - This was also an example where I'm not the best at figuring out vanishing points. However I do know that the vanishing point for the walls leads to the center, leading the eyes to the monster in the process. Foreshortening - 3/5 - With a wider lens, this is much more effective for an environment shop. You can see objects bending in space though, like the floors, ceiling, walls, and the character bending over as she picks up the other character. Overlap - 5/5 - Great use of overlap to show the depth of the environment and how far the figures are from each other in the image. Excellent use of a wider lens here. Atmosphere - 4/5 - Looking solely at the values of this piece, the value gets darker as it goes back in space, a metaphor of a fearful fate. Part 2 below.

Thanks for the critique, Marshall! To clear some things up on my end, this exercise ended up being accidentally freehand for me. I wasn't properly thinking of the isometric forms being made up of specific angles. Here, I mostly eyeballed the parallel lines of each edge, drew it out, and then used a regular ruler to keep my lines straight; and the results are definitely telling, haha. I think afterwords,looking at the later videos about using the rulers and graph paper, and now this video, I have a better understanding of what this exercise was meant to teach. I really appreciate the critique!

Tried to fit them all on one page, I hope it's not too confusing to read! I also added little notes to the side to keep me focused on certain issues I'm having. Definitely got me more used to using the new tools! The ruler and 0.05 mechanical pencil were mainly used here. I'm going to have to use the Triangle Rulers more because I don't think some of these are accurate to 60 degrees! Definitely something I need to hammer in to me in the future. I think the main problems I'm having here are consistency with line angles and proportion. I can't seem to get them consistently down, even if I do measure with the ruler. The ruler does come in handy though, and it does help with measuring proportions more accurately than by hand. That and other problems like angles of ellipses and other box angles; topics that will probably be addressed in our studies later down the line. Also tried to make a some of the boxes transparent; this really made me have to think about accurate form, but it sure made the exercise feel more challenging and fun! Also for the one at the bottom, I went and did a little peer study of one of Sandra Salem's pages. It's not accurate, but I thought the shapes she choose were so cool! Definitely need to work on accuracy, proportion, and angles as the lessons continue, but this was a really fun exercise regardless!

It's so eyeopening getting a deeper look at how artists utilize their mastery of perspective and bend it at their will to create different and unique results. The dance both perspective and composition to get there. Between the last lesson and this one, I really like your discussions about composition and how crucial they are to making any piece of art effective. I would love in the future to take a composition course from you if you're ever planning to do so in the future, or have previously done so before. Or at the very least, I would love to know where I can take a course to learn more about that. Obviously that would be something to pursue later after this course, but It's definitely one part of the fundamentals of art that really fascinate me.

Hey Everyone, I'm Cosmic! I'm very excited to start learning about Perspective from the amazing Marshall! I'm a complete beginner to Art and I know how important Perspective can be! When I heard that Marshall was teaching it in a way where it would be fun and anyone could understand, I was interested! As an Artist, I want to be able to draw People, Animals, Backgrounds, Environments, etc! I mostly wish to draw Animals and I know how crucial Perspective is for getting your animals to look correct and to be able to draw Animals in different angles. My goal for this course is that I want get a solid understanding to be able to draw boxes and forms in 3D space and understand Perspective as well as I can! It may be difficult but with lots of practice and with this course, I'm sure I'll learn plenty! I also wish to be able to do studies of some of my favorite artists and be able to draw statues, animals, and people in fun perspectives and angles! Here are some amazing artworks that inspire me! I'm beyond excited to venture through a complex topic with an amazing teacher and I'm excited to develop an understanding for how Perspective works so I can run wild with it! Sending lots of love to Marshall and the Proko team and everyone who purchased the course! It's going to be an amazing and fun time learning with such a great teacher 💖

Man, these breakdown videos really get me to appreciate the masters of the past. Love the little details too such as how the stairs are used in this scene to subtly show how Jack Frost has the higher ground, and how Flip is always in the lowest part of each panel to show how opposed he is to all of this...Little elements like that are so important in storytelling. I'm very interested too in learning the balance between accuracy and aesthetic. Whenever I try to go for aesthetic rather than accuracy, it always tends to fall flat. I'm curious to go through the process of learning how to bend the rules once you know them!

Whenever I followed perspective courses on youtube in the past, I've noticed a lot of the tutorials tend to jump from learning 1 point, 2 point, and 3 point perspective, to tutorials on depth to like this, and while do feel like i learn how to apply those basic foundations of perspective in that way, I do feel like I am lacking the advanced understanding of perspective to build characters and organic environments using the knowledge of perspective; I just thought my brain wasn't capable of conceiving such a concept! Foundations like learning how to rotate a cube while keeping it consistent, pre-planning, measuring around forms, and learning how to freeform organic forms are lessons I'm really looking forward to in this course!

Do we know if he was consciously using perspective here rather than working very accurately from observation? Ok I realise that water is a moving target, so to speak, but if you look at it closely for long enough you can get an idea of how it arranges in space over time. Much of the skill then is distilling the essence of these dynamics into a representation that makes sense to the observer. Obviously, you have presented this as part of a perspective course and I don't doubt your analysis, but the purpose of perspective is to accurately represent the 3D world on a 2D surface. So I assume that it is possible that an artist sufficiently skilled in accurate observation could produce perspective views without relying on formal perspective techniques.

Hi everyone!! Excited and slightly nervous for this course! I've been learning to draw for the past 5 years, but got stuck and then realized I never actually learned my fundamentals :) So, after not understanding ANYTHING about perspective for the longest time, I'm here to learn it! (maybe one day... master it??) I have found that its easy to paint a portrait, but hard to create a world for that character to live in, so that I can tell stories with them. During these past couple years, I've essentially become the copier in the little animation in this video! I am terrified of working without reference! So I'm looking forward to building my sense of form and space, and exercising my creativity more and more. I've already seen a lot of progress with my understanding of these concepts with Prokos basics course, but I know that Marshall has some definite wisdom on this topic that I can't wait to hear more from him on it. Truth be told, I had a hard time finding examples of artists I look up to right now that are perspective masters, so I am interested in finding more as time goes on. The ones I've attached below though include Airi Pan, Kan Liu, and Rembert Montald. Some other creatives I respect greatly include Peter Han and Kim Jung Gi, for their ability to create on the fly. I'd love to learn perspective enough to be able to rotate a space, which is a useful skill for both comics and animation. As well as imagine 3d forms with more ease for building characters and animals, and really, whatever I want to create :) I prefer a more intuitive approach to drawing, so internalizing as many perspective lessons as I can will be a great boon to my imagination and sketching skills!