Bought the pack and started using from it. Some notes for people who are thinking of buying it: - Lots of dynamic shots in this volume! Lighting and silhouettes are really clear, as can be seen by the example photos. - Many low angle shots, so great practice if you like this. - Quite a bit of camera distortion, so good if you want that extra punch, bad if you are a beginner at figure drawing and trying to learn proportions. - As they are inspired by classical sculptures, the gender roles are quite "traditional", and includes a bias of male dominance and even violence towards the female. Trigger warning for those sensitive to this sort of thing. - The download caption reads there are 341 images with 3 models. There are 2 models involved.

Here are some of my favorite examples of perspective from artists I admire. The artwork I tend to delve into most is comics, so my examples primarily come from that world. Bill Watterson: If you look at the drawings from Bill Watterson's ten year run on Calvin and Hobbes, one thing you'll notice is that he more deftly used perspective as he went. In the beginning. I've attached some of my favorite examples. The parade example is particularly wonderful because he drew a pan. It starts out in two point perspective on the left and as you move to the center it switches to one point perspective. Animation backgrounds sometimes do the same sort of thing, but whereas they are doing the work with a drawing and a camera, Watterson makes us pan with our own eyes. Sean Gordon Murphy: What I love about Sean Gordon Murphy's use of perspective is just his absolute command of it. He can seemingly draw anything in any position. And because he isn't tracing or dropping in models from 3D programs (although he does use them for reference) he never sacrifices the composition of a piece. He knows when to emphasis elements or subordinate them based on what he is trying to show the viewer. Alex Ross: In addition to being a fantastic painter and absolute baller of a story-teller, Alex Ross uses perspective to great effect. The perspective in this example of Batman posted here is deceptively simple. It has the illusion of three point perspective, but is actually two point perspective. It's just turned on its side. The parallels all align with the horizon line instead of with the verticals. Set the horizon line on a dutch angle and the perspective looks far more complicated than it actually is. Furthermore, the vanishing points are not far outside of the picture plane which is a storytelling technique that can makes us feel like we're there, because it's approximating human vision. Lee Weeks: Lee Weeks is just one of those artists that has mastered his craft. The image posted here is one of my favorites of his. I got to see it in person once, and even though I didn't have enough funds to buy it, it has purchased permanent residence in my head. As far as goals go, it's the same as always for me: I want to level up. My love of structure in drawing comes directly from Marshall, so this class is a chance to get the most up-to-date thoughts on perspective from a master teacher.

These are my references: James Gurney, Gustaf Tenggren, Shaun Tan, Alex Alice, David Noren. They represent a lot of those abilities I would like to achieve: Invent environments and put believable characters into these. Combine an imaginary object into a realistic scene. Play freely with different perspectives. Create character sheets and turnarounds. More specifically I would like to learn: How to turn and bend any object. Develop an environment from sketch to perspective construction to finished drawing.

HI @Marshall Vandruff - I really excited to be taking your course. When asked to choose my favourite drawings, I immediately remembered this picture of "a guy looking at himself in a glass sphere." It must be so many years ago, and I had no idea who drew it - but it made such an impression (and apparently on many others, because it was very easy to internet search), it is M.C. Escher's "Hand with Reflecting Sphere." I tend to think about perspective in relationship to storytelling. The second one is piece I did last year, it was my first time really measuring things out in 3 point perspective. It was fascinating to me how close or far apart the characters I placed the crowd in relationship to the girl conveyed a different feeling. Also I had no idea how to really draw people from different perspectives, so I basically got my camera out and posed for all the characters on the page to get approximate proportions! Isn't that awfully time consuming? This is why I need to learn perspective! With this in mind, I actually think I don't need very "fancy" perspective. People should be absorbed in the story, not marvelling at how cool the perspective is. So on my wishlist: 1. I need efficient ways to draw. I'm a bit frustrated by vanishing points that are so far apart that my T-square can't really reach it, but in the proko challenge I found that the angles I wanted often were the case. If by the end of the course I can draw scenes from my imagination to a degree of passable accuracy I will be super happy. 2. I would also like to be able to change the perspective of an object. This comes up a lot - I have a lot of photo references - this sofa, this lamp, these people ... and I want them to be in the same scene. Boxy objects like sofas are still doable-ish, but people and organic forms are really hard for me. So back to Escher - I think the reason it stuck in my mind is because it made me look at the world in a different way. It's a different type of self-portrait. This is one of the few cases where the perspective is cool, but in service of storytelling. Oh by the way, I'm also fascinated by paintings that completely ignore perspective. A lot of Chinese/Japanese art, for example.

I want to be able to draw any pose from every angle I can imagine, and also be able to insert my characters into scenarios with a dynamic perspective, which you also can clearly imagine a story being presented. 1 - Francisco Vasquez 2 - Posuka Demizu

I think this assignment has already uncovered a severe deficiency. If I'm struggling to come up with more than a couple of artists that I can say are an inspiration to me and can act as a high-bar for perspective. I get self-conscious when I hear people list off all these great artists whose historical context they understand deeply while I have a couple of obvious choices that I can pull out of my back pocket to try and hold my own in a discussion. Of course this is a good opportunity to see what people consider a high standard and find some new artists to follow. I want to learn perspective so I never need to think about perspective. Or at least think about it as minimally as necessary. I feel like it's a bit of a roadblock right now to the things I really want to do with drawing. I want to be able to create impossible things and make them believable and filled with life and I want to be able to more consistently reproduce them in different angles and positions and even impossible things still need to be represented as the human eye would perceive them. I want to be able to draw scenes from dynamic and unusual angles and make everything look right. I want a better way to make landscapes and backgrounds and not belabor every detail because it requires so much fiddling to get it to feel right rather than knowing what is right. I don't want someone to look at something I've drawn and get that feeling of "something's not right here" because enough little perspective errors are adding up.

Here's everything in 4 slides. What did I learn this month? Through the constant practice, I gained certain insights about my relationship to perspective tools. 1. Unless it's spatially dominant (e.g., chessboard or throne room), it made more sense to first envision/sketch the object, and then figure out the vanishing points/grids that serve it. Often the vanishing points were way way way off the page too, so I would have to plot the grid, zoom in and and crop the relevant grid, and draw on that. 2. Since usually we are taught perspective with the horizon line and left and right vanishing points, I was surprised at how often from top down product shots the two point perspective would be the top and bottom VPs. (e.g., drums, video console). 3. I would like to do more reimagining of forms from a different perspective when I have more time. I tried this with the fire hydrant, the table and the spacesuit. It's something that takes a lot more brainpower but worth doing. The rest are mostly from photo reference and figuring out what perspective they are from, and reverse engineering from there. 4. The organic forms (the spacesuit, the skull) were hard for me. I wonder if it's also because I I have been studying the human figure/we are attuned to notice mistakes more as people. Maybe if I were a car engineer or architect I would feel the mistakes in cars/buildings more keenly! 5. I got a lot of practice with digital drawing this month, mainly because it was more convenient to show the construction neatly. Sometimes I would sketch and draft manually and then go over the lines again digitally. A huge thank you to Stan, Marshall and the Proko team for hosting this challenge. It was a bit of a part time job (3-5 hours a day), but I'm really glad I did it. There's still much much more for me to learn.

Week 4 Day 7: SKULL! I went ahead and Did a Raven Skull. Just in the desert cause you know classic. And with that I have completed the Whole Challenge! It was fun. Learned a lot.

25 - Swiss Army knife. Oh my gosh, I'm DONE!!! If I have time, I might spend the weekend going back and cleaning up some of the earlier entries, and make a post with everything reflecting on this month's work.

28 - Skull I was going to do animal skull but I wasn't familiar with the planes involved, so I went back to the human skull and revisited the planes that I once learnt.