Did a couple more of these, they're fun but they hurt my brain, credit to Carlos Perez and Miqdad down in the comments as I looked for inspiration to try to figure out some of their submissions and make variations of my own. Also tried to do the last one with the Oscar Reutersvard triangle cube illustration but I got stuck and hopefully someone can help me on this: How do you measure/find the space between each block and make it consistent? I can't figure it out.

Hello! Just reporting that the subtitles seem to be broken! Also I got a question, when I tried to make Marshall's weights, I stumbled upon this part that I'm stuck at, how do you find these square faces on the surface and their sizes?

Tried doing a couple of optical illusions I found on google and also a couple of the ones Marshal did on the video, this task is really fun! I'll do more tomorrow, still getting used to the tools, it's been a real brain adjustment learning how to use them, sorry for the messiness in some of these!

On paper with cheap chotune micro pigment pen 03! Very fun exercise, will implement it to my daily warm up, very excited to see how this improves my line quality over time

Did a bunch of these, already went to the critique video but wanted to post them here cuz I feel it would be more likely to be seen here, I think I more or less got the right idea but the gesture of the ulna and radius itself is a bit confusing still, I hope I got them right or close in these, any critique is greatly appreciated!

Is the Pentel Twist-Erase III Automatic Pencil good? I think it's what Marshal was using in the video but I'm not sure, also anyone got Mechanical Pencil Lead brand recommendations?

This was a lovely lesson, I really appreciate how you touch on this many pieces to make note not only of the techniques used, but also the present knowledge of the artist behind it, how they clearly have a grasp of all these concepts but choose to only put so much of it, or in other words be selective about how much they would put of it in their works to create these unique visuals and masterpieces, as artists ourselves we have the choice of how much we want to learn for what we desire to accomplish in our works.

I’m Jonatan Rodriguez, I have been looking forward for Mashall Vandruff’s perspective course, I’m so excited to finally give a real try at figuring this subject out, it’s always been a really difficult thing to learn by myself and I know these courses will let me crack the code for it once and for all. What I want to learn from Perspective: -Be able to draw anything in unique poses and angles from imagination -Design and constructions of environments, designing buildings, -Placing objects within an environment in perspective and different angles. -Placing characters in a designed space/environment in more than flat angles, and be inventive with different kind of shots and angles. -Drawing characters in many different angles, depth and with foreshortening. -Learn how to push extreme foreshortening and angles. -Understand multiple vanishing points from different directions. -Keeping character proportions correct while in perspective -Create scenes with depth -Understand perspective to a master level so I can learn how to break the rules and create interesting visuals. -Create engaging Storytelling via unique angles and perspective. I want to be able to learn these tools to be able to draw stories and comics and illustrations that can evoke a feeling to the viewer. My most extreme weaknesses that I want to improve on: -Foreshortening when a limb of a character goes towards the camera. -In general designing camera angles from above and below -Placing characters in environments. -Drawing backgrounds/Background design My Inspirations: -Hans Vredeman de Vries: (Technical Perspective, Background Design) -M.C. Escher: (Technical Perspective, Background Design) -Moebius: (Character design, Technical Perspective, Engaging Angles, Foreshortening, Background design, Composition, Layout Design) -Juanjo Guarnido: [Blacksad] (Technical Perspective, Engaging Angles, Background Design, Layout Design) -Hiroshi Yoshida: (Perspective, Color, Background Design, Landscape Design, Composition) -Winsor McCay: [Little Nemo and More] (Character Design, Color, Technical Perspective, Background Design, Inventive Drawing, Composition) Bernie Wrightson: (Inking and Pencils, Perspective, Engaging Angles, Landscape Design, Background Design) -Kentaro Miura: [Berserk and More] (Character Design, Technical Perspective, Engaging Angles, Background Design, Landscape Design, Composition) -Yusuke Murata: [One Punch Man/Eyeshield 21](Character Design, Ensemble Shots, Action Shots/Angles, Dynamic Perspective, Foreshortening, Extreme Angles/Foreshortening, City/Landscape Design, Composition) -Katsuhiro Otomo: [Akira and more](Character Design, Technical Perspective, Mechanical Perspective, Engaging Angles, Background Design, City/Landscape Design, Vehicle Drawing/Design) -Kim Jung Gi: (Inventive drawing with perspective from imagination, Inventive Angles, Foreshortening/Extreme Foreshortening, Vehicle Drawing) Clarke (Frederic Seron): [Melusine] (Character Design, Fantasy Design, Town Design, Interior Design, Perspective and Angles) Delaf (Marc Delafontaine): [Les Nombrils] (Interior Design, Background Design, Perspective and Angles) Michael Spooner: : (Perspective, Interior Design, Background Design, Landscape Design) Tradd More:(Character design, Character poses, Action Angles, Background Design)

More mannequin practice! My gestures look very stiff but keep working at it with gesture drawings. Aside from that which of my practice help to become better with gesture and perspective more efficiently? the first four or the last four. Any critiques or feedbacks are also welcome!

Really thought provoking video, I understand the thought of how a piece like this is not meant to be analyzed but enjoyed, it's still really interesting and illuminating seeing how a piece composed of so many organic forms can still be separaed in sections and understood in a fundamental level. I also must say I didn't know of Hiroshi Yoshida's work before this course, thanks to it, he has quickly become one of my all time favorites, his rich use of colors, composition and organic forms are absolutely gorgeous.