Hi Morgan, I downloaded the reference for course zip file but I don’t see the reference for the squinting assignment. I’ve looked at some of the other squinting lesson downloads too, but I only see the lecture downloads. Can you point me to the reference?

Struggling with One-Point Perspective for an Anchor – Need Help with Back Plane! Hi Marshall and everyone, I really need some help with my second version of this drawing. I decided to do a one-point perspective drawing of an anchor for a ship, thinking it'd be a solid challenge--but wow, it's much harder than I expected. The first version with the vanishing point on the side wasn’t too difficult—I think I got the general idea down. But my second attempt, where the VP is below, is really puzzling me. The main issue (with my second version): 1. I can't figure out how to draw through the back plane while keeping the anchor symmetrical. 2. When I try to make it symmetrical, the left arm sticks out too much, but given where the VP is, it shouldn’t be that visible - I think. 3. I'm struggling with defining the thickness of the form correctly in perspective. This project is making me realize that while I’m relatively comfortable drawing through a box, doing the same with a complex form like an anchor is a different challenge. I'd appreciate some help with how to construct the back plane and maintain the correct thickness of my examples. Any advice or tips on projecting complex forms is also welcome. Thank you!

Full alphabet!! Vanishing points for the letters is consistent for every line, helps to show the dramatic differences between letters that are close and far away. Any glaring mistakes?

Very enjoyable assignment!

Kinda messed up the x, but tried adding a bit of graff influence by bubbling the letters. It makes it a little harder to find where to draw the lines from, but adds a bit of style.

Had fun with this, I did a couple organic sketches followed by about 5 quick boxy ones before finally adding a bit of mechanical detail. Would strongly recommend sitting in the structural phase for multiple iterations before attempting anything more. Very impressive to see Peter do this effortlessly, truly inspiring!

A quick sketch of my telephone at work to see if I'm getting the idea, the one on the side doesn't feel like I'm really turning it in space, I just kind of... Drew it sideways. Any strategies for breaking out of this?

Hi Morgan, apologies for being a bad student, I skipped all the assignments and 2x speeded most videos. My nan passed away last month and she left me a little bit of money that I put towards my art education here. This is a photo of my grandad that my wife took at the funeral and I wanted to get the portrait done before Christmas to give to him as a present. I’ve taught myself everything I know about painting up till now and I’m very grateful I'm able to start learning for real. This portrait wouldn’t have been possible without your lessons and I'm incredibly thankful you took the time to share your knowledge with us. I hope to take things a little slower in the new year and go back over everything at a much more reasonable pace. Happy holidays!

Mark Tedin Foreshortening 2 Diminution 4 Overlap 3 Atmosphere 5 Convergence 1 Todd McFarlane Foreshortening 5 Diminution 3 Overlap 4 Atmosphere 1 Convergence 3 Moebius Foreshortening 2 Diminution 5 Overlap 3 Atmosphere 1 Convergence 4 Donato Foreshortening 3 Diminution 4 Overlap 3 Atmosphere 3 Convergence 3 Quarrie Foreshortening 4 Diminution 5 Overlap 2 Atmosphere 2 Convergence 3 Such a wide range of techniques applied. I found it interesting that Donato’s was the most balanced, it definitely comes a cross as the slickest piece along the collection. The atmosphere in Tedin’s piece is stunning, I have no idea how to study making those forms in perspective! finally caught up. Sad I’m late for this submission but I’ll be there for the next!