Here are some of the circles I did. It is actually quite difficult to do them freehand. hope i can still make it into the video!

Hi Marshall 🇲🇭 i have chosen to pick the illustrations purely because that they are some of my favourite, and not because they are particularly helpful in understanding perspective. the first illustration I will talk about should align with the first photo, and so on. and just so we don’t forget: * Diminution (smaller objects appear farther away), * Convergence (parallel lines meet at vanishing points), * Foreshortening (objects look shorter when viewed from an angle), * Overlap (closer objects cover parts of farther ones), * Atmosphere (distant objects fade or change color due to air or light). Artist: Jackob Martin Strid * Diminution = 4/5 You can clearly see the holes in the motor getting smaller, as well as what appears to be shelves on the side of the motor. It doesn’t get 5/5 because I think it could be even clearer. * Convergence = 5/5 SCD * Foreshortening = 5/5 The way the holes on top of the motor goes from circles, to ovals, and then to thin slivers as they go away, is one of the things that makes this one of my favourite pieces. * Overlap = 4/5 Although overlap is far from the main thing in this piece that shows depth, it’s still utilised in the crankshafts (I think that’s what they’re called). * Atmosphere = 0/5 The background is just a white void and the thing furthest away is not that far, so there’s no use of atmospheric perspective. OVERALL SCORE = 3,6/5 Although the score doesn’t look that impressive, I think this piece show a great appreciation of these principles. When I read this book- ( Den Fantastiske Bus, it’s a fantastic book, I think you should buy it!) -I easily get sucked into the world when I see drawings like this, simply because it so effectively uses perspective to convey an actual 3D space. Artist: Howard Pyle * Diminution = 2/5 The ship in the back is bigger even though its further away. At least you can see the waves diminishing. * Convergence = 0/5 This painting is filled with organic shapes, and the few straight lines don’t seem to be converging. * Foreshortening = 2/5 the big ship in the back appears shorter in length because it is turned somewhat towards the viewer. * Overlap = 5/5 The ships in the front overlap the big ship in the back, and the waves closer overlap the waves further away. Overlap is probably the main trick that shows depth in this piece. * Atmosphere = 4/5 The ships further away gradually has less contrast, and you can actually see the smoke that is creating this atmosphere. OVERALL SCORE = 2,6/5 I think it’s interesting to see that you can achieve an acceptable illusion of depth by only using a few of these principles. Artist: Adolph Menzel * Diminution = 0/5 The entire is somewhat flat, not a lot of diminution going on. * Convergence = 0/5 Nope. * Foreshortening 5/5 The big toe points up towards the camera and clearly gets squished. You can also see a little foreshortening on the leg, because it also points upwards. * Overlap 1/5 Some of the toes overlap each other very slightly, and the foot overlaps the background of course. * Atmosphere = 0/5 No. OVERALL SCORE = 1,2/5 I think that if it wasn’t for the fact that the picture depicts very accurately something we all have seen before and know what is, it wouldn’t give a very strong illusion of a 3D space. I chose this picture purely because I find the colour, anatomy and technique amazing, not because I think he used these perspective tricks well on this painting. Artist: Hergé * Diminution = 4/5 The red fish closest is larger than the red fish a little further back. The seaweed in the foreground is also much larger than the seaweed far in the background. * Convergence 2/5 There is some straight line structure on the shark-submarine, but most of this illustration is just organic shapes and lines. * Foreshortening 1/5 Just a little bit in a couple of places. * Overlap 5/5 Probably the main way the viewer is supposed to interpret the 3D space of this illustration. Especially prominent in the seaweed, overlap is how you can tell witch pieces of seaweed are in front of the submarine, and witch are behind. * Atmosphere 2/5 The seaweed in the far background are rendered fully black, and I think that gives a little atmospheric effect, although it’s not the main way of showing depth. OVERALL SCORE = 2,8 I think that because this is the cover of a cartoon, it was important for Hergé to create a graphically strong image, and maybe depth wasn’t the focus point. On the other hand the score is pulled up because cartoons are often drawn with complete lines, and there’s seldom anything abstract that could confuse the viewer on what 3D space they are seeing.

I’ve tried to play with the simple illusion of a box being both suspended in air, and connected to the other blocks AT THE SAME TIME🤯🤯🤯! im sure this exact trick has been used numerous times before, but i've never seen it before, so i'm gonna present this as a creative solution. -i am not quite sure how to arrange the pictures, so if anyone could help me with that, that would be great.- i've tried to draw the outline of the shape, and it really shows that in isometric perspective, everything really is just that hexagon. The "final" sketch is meant to look somewhat like those classic drawings by M.C Escher, like in the way only used monotone. i would like any form of critique!

I attempted to apply the consistent shading techniques I learned in the Basics Course to this assignment. Hope this is Ok.😁

I took my turn at playing around with drawing—just making things up and taking some time to mess around in a childlike way. I hope it’s okay to post it here!

I tried to draw water in perspective, besides the fact that its a but messy, i think i drew it in too strong perspective. do anybody know how to fit 3 point perspective onto a normal sized piece of paper without it looking too extreme? i would also like any other critique!🙂👨‍🎨

think perspective goes hand in hand with storytelling. I remember as a child being sucked into these wonderful, most of them Danish, children’s books while my parents were reading them aloud to my brother and I, these books are also a big part of the reason I started drawing. That’s why I have chosen these masters of perspective as my inspiration. A quick summary of where each of the pictures are from: the monkey in the car is from a swedish children’s book artist, there’s two pictures of Jim Kay’s illustrated version of Harry Potter, a couple of Don Rosa’s Scrooge Mc Duck’s adventures, three pictures of the book “Valhalla”, witch is a comic about norse mythology, and then last an artist I think you should really notice. Jacob Martin Strid has made the classic children’s book, or it is at leat a classic in Denmark: (translated) “The incredible story of the giant pear” witch follows the main characters, a cat and an elephant, who woke up one day and noticed that a 20-foot pear, had grown in their backyard. They then carved it out, and turned it into a house-boat, and sailed it across the seven seas on an adventure to save their city from their city’s evil minister. A recent book he has just released, after 15 years of work, is called: “The fantastic bus” It is about a community of various animals, who lives in a city that is slowly becoming a big city. The son of a salamander, a little sled dog, has become ill and the doctor, a badger, doesn’t know what to do. The salamander mother suggests that it was because she is a reptile and her son is a mammal, and therefore she couldn’t keep him varm when he was younger, but the doctor quickly assures her that that isn’t the reason. One day the builders start tearing the animals’ houses down, to make room for sky scrapers! So the animals have a bunch of problems, and the way they will solve them, is to build a giant bus and drive 15.000km to a place with fields of magic flowers, that have a healing ability. The special thing about the book is that is is filled with these amazing illustrations. 
I would really like to be able to draw anything I want with accurate perspective, so that it looks believable, no matter how whimsical it may be. Two drawings where the perspective really impressed me, is the one with the blimp-thing, and the one with the bus engine. I am impressed with how he can draw, not just boxes and oblong spheres, but also those “combonations of round and square” shapes in correct perspective. And the engine just looks dead on, even though it’s such a complicated shape. It’s just a really good book, and I think you should buy it! Also the pear one. Ps: If I finish the course, will I be added to the proud list of Marshals former students??

I think perspective goes hand in hand with storytelling. I remember as a child being sucked into these wonderful, most of them Danish, children’s books while my parents were reading them aloud to my brother and I, these books are also a big part of the reason I started drawing. That’s why I have chosen these masters of perspective as my inspiration. A quick summary of where each of the pictures are from: the monkey in the car is from a swedish children’s book artist, there’s two pictures of Jim Kay’s illustrated version of Harry Potter, a couple of Don Rosa’s Scrooge Mc Duck’s adventures, three pictures of the book “Valhalla”, witch is a comic about norse mythology, and then last an artist I think you should really notice. Jacob Martin Strid has made the classic children’s book, or it is at leat a classic in Denmark: (translated) “The incredible story of the giant pear” witch follows the main characters, a cat and an elephant, who woke up one day and noticed that a 20-foot pear, had grown in their backyard. They then carved it out, and turned it into a house-boat, and sailed it across the seven seas on an adventure to save their city from their city’s evil minister. A recent book he has just released, after 15 years of work, is called: “The fantastic bus” It is about a community of various animals, who lives in a city that is slowly becoming a big city. The son of a salamander, a little sled dog, has become ill and the doctor, a badger, doesn’t know what to do. The salamander mother suggests that it was because she is a reptile and her son is a mammal, and therefore she couldn’t keep him varm when he was younger, but the doctor quickly assures her that that isn’t the reason. One day the builders start tearing the animals’ houses down, to make room for sky scrapers! So the animals have a bunch of problems, and the way they will solve them, is to build a giant bus and drive 15.000km to a place with fields of magic flowers, that have a healing ability. The special thing about the book is that is is filled with these amazing illustrations. 
I would really like to be able to draw anything I want with accurate perspective, so that it looks believable, no matter how whimsical it may be. Two drawings where the perspective really impressed me, is the one with the blimp-thing, and the one with the bus engine. I am impressed with how he can draw, not just boxes and oblong spheres, but also those “combonations of round and square” shapes in correct perspective. And the engine just looks dead on, even though it’s such a complicated shape. It’s just a really good book, and I think you should buy it! Also the pear one. Ps: If I finish the course, will I be added to the proud list of Marshals former students??

Hello! My name is Andrej and Im really looking forward to this course! So I thought I’d simply pick some of my favorite artists, post their work which includes interesting perspective and say what I like about them and what I would like to learn from them. But to be honest, identifiyng the "interesting perspective" part of it was harder than I thought. The thing is, a lot of art that I like doesnt rely on a bombastic and complex perspective. Most of it is about the emotion and vibe that characters give off through their body language, the stories they evoke by little details and how they come alive when drawn in different poses and from different angles. That being said, I would like to mention that Im a beginner. When trying to create such lively characters from imagination, I often struggle because I lack the natural ability to move and rotate forms in specific ways. Occasionally I may get some picture "right" by chance or with significant effort, but as soon as I try to draw the same characters in a different situation or from a different view, its all very inconsitent and just... weird. I think, that the lack of the ability to move and rotate forms is also making it harder for me to properly learn other concepts like proportions and anatomy. I feel like If I learn better perspective now, it will help me to learn those other concepts as well. So my main goal is to get an overal better understanding of forms and their movement in 3d space. And then, I can freely explore ideas and tell stories without being constantly slowed down. I chose these artists as a base for my perspective learning inspiration: - Frank Frazetta - Heinrich Kley - Ian McCaig