A little late but I work seasonally with plants so I'll be more on time as winter sets in and we can finally breath a bit. I need to get a little better at collecting images I appreciate instead of just fawning over them in passing! 1. Moebius - Artwork from Jodorowsky's unmade Dune adaptation The first image is from the mighty Moebius. It's pretty jam-packed with information and, at least to my fairly untrained eye, uses the depth techniques very effectively to organize the work. Diminution - 4/5 - There are some inconsistencies maybe? Also it's not entirely clear whether some of the ships in the sky are smaller due to distance or size. Convergence - 5/5 - Moebius seems to be really good at this. Foreshortening - 5/5 - Gives a great sense of heft to the ship in the sky, while keeping it from dominating that space. Overlap - 4/5 - I feel the image could have used overlap a bit more to inform where ships are in relation to each other in the sky but maybe that would have made things in that spot a little too busy. Atmosphere - 3.5/5 - One thing I've noticed in Moebius works is that he often doesn't rely on this that much in terms of establishing depth. A lot of the furthest details are quite crisp and the detail is still pretty evident. I think this works really well for his work as a lot of the interest in what he does lies in the fantastical worlds he draws you into and oftentimes the less obscured the details of his worlds are, the better. 2. Yoshida Toshi - Half Moon Bridge A shift in gears from the expansive busy setting of Moebius to a more placid and cozy setting. I love this image and it uses several of the techniques in question to establish a great sense of where we are viewing this scene from. Diminution - 3/5 - I think this is the technique relied on least to establish scale/depth. Outside of the people in the background, not much can be compared, I don't think. Even the structures are obscured quite a bit and they aren't necessarily of the same size, so that doesn't tell us much. Convergence - 5/5 - I busted out my trusty ruler and from what I could tell, the lines that should be parallel do indeed converge at a common vanishing point. I'm sure I could have measured this more precisely though. Foreshortening- 4/5 - A few spots where I can see foreshortening contributing significantly to establishing depth is on the underside of the bridge, along the wall/path on the left side, and the white building on the right side. These help establish the depth of those areas. Overlap - 5/5 - With the relatively small size of this piece, overlap is used extremely well to establish where in the image things lie. The usage of plants especially helps establish this, to my eye. Atmosphere - 3.5/5 - Not a huge amount of depth established with this but it's done well. The wisteria in the foreground has the most detail and the folks in the building in the background are quite obscured. There is very change in lighting outside of the people in the background. 3. Brian Froud - The Mountain This is maybe not the best image for this study but I though I would give it a shot. I love Froud and others like him. I'm very much looking forward to learning how to apply our perspective techniques to more naturalistic works. Diminution 4/5 - There is less heft on the elements of the "mountain" as you continue around the hat and towards the background. Convergence - N/A - There's no parallel lines? How do we deal with this when creating something entirely organic in shape. I guess this is what I'm here to learn :) Foreshortening - 5/5 - Foreshortening of the "hat" (and nose) are very important for establishing the depth of what we're looking at. Overlap - 3/5 - While it is important and well done for relaying where object/elements are in the piece, it's not always clear. At the very top of the mountain there are a couple small plants. It's not really clear which is in front of the other. Same with the direction of the large tree at the base of the stone. With an image like this, it isn't hugely important that everything is perfectly organized and the composition doesn't suffer from it. Atmosphere - 5/5 - I think this uses atmosphere quite well to help keep you focused on the most important aspects of the piece. The face and most interesting features of the plants and stones, being closer to us, are by far the clearest while the roots and smaller plants as you look towards the back and side of the hat fade into the background of our attention.

Playing with some blocks and layering and space! Probably should have used a mechanical pencil for this as I was pretty focused on keeping a straight line and right angles, so the thickness of my pencil tip changing throughout is pretty noticable. Fun exercise!

Hi, I'm Matt. I'm looking to get a better handle on perspective largely to improve my ability to draw natural scenes from imagination. I'd like to be able to take subjects from the natural world and draw them in whatever orientation or scale is needed in order to convey the story of the scene. I've actually been very interested in Japanese woodblock prints, pictured here are works from Henmi Takashi and Hiroshi Yoshida. I'm really pumped that one of the first videos is an analysis of Hiroshi Yoshida's. I've also been combing through the works of Rien Poortvliet lately. Btw, if anyone is interested, a few months ago I found a Japanese woodblock prints archive at https://ukiyo-e.org/ . I've spent hours and hours picking my way through the collected images, broken down by era and artist. Some amazing stuff in there!