Hi Marshall, just to clarify about the assignment and the Blob approach. Is the assignment asking us to draw the object's simple form in boxes first? Or would we need to apply the Blob approach, and draw the blob shape first? For example, at 6:55, the digger looks like the blob shapes were drawn first before the boxes. Or is practising the Blob approach more like a 2nd assignment to prep us for a future lesson, and is separate from this lesson's assignment? Thanks a bunch

Makoto Shinkai: D = 2 = The staircase railings get smaller as they go down. C = 2 = There is a bit with the staircase railing and some of the buildings at the back F = 2 = The staircase railing at the bottom and at the side is a bit foreshortened. O = 1 = Mitsuha standing in front of the staircase railing. A = 5 = Since they are on the steep side of the hill, and the bottom of the hill has the atmospheric blur, it makes Mitsuha stand out more. Franklin Booth: D = 5 = The hay bales and trees get smaller as they are further away C = 5 = The hay bales that are along the same row almost create converging lines F = 1 = The hay bales foreshorten a bit from this point of view O = 5 = The hay bales overlapping other hay bales. The hay bale overlapping the farmer emphasizes that the bales of hay are bigger than people. A = 1 = There's a bit of atmosphere. Or rather the things that are further away have less detail on them. Toshi Yoshida: D = 2 = The people and windows get smaller as they are further away. C = 5 = The whole alley and the building elements converges F = 0 = The cylindrical lanterns have some foreshortening O = 3 = The people and the store signs overlap each other. It creates the feeling of busyness A = 4 = The building at the back is a bit faded out into lighter colours which is interesting since the alley in front has darker colours.

Love how this course is touching on HOW and WHEN perspective is used to tackle creative challenges by professionals. I've always seen perspective as this unfathomable and secretive thing, but here it is slowly being revealed. Love love loved the insight into industry practice and pipeline.

Here is my Week 1 submission. There's room for lots of improvement, I'll redo this again in the future. Could I please ask for help with my gesture drawings overall? I've watched all the linked videos in the description, but I can't figure out what I'm doing wrong or how to improve... (in particular my 10 min drawings 1), 5), 7) and 10)). Normally, I start with the head, then the spine, and then everything else kinda flops after that... Any advice would be really helpful, thank you :)

Question: Are these angles used in linear perspective as well as in isometric perspective?

To get used to the tools, I first started with a cube, and then moved on to the optical illusions. I'm also glad to have listened to Marshall's advice about roughing it out first. For example, the bottom optical illusion took some tries. As an interesting point, I found that bottom optical illusion only looks correct at a certain angle, rather than looking directly at the page. And I think there is some interesting perspective in this because of the middle-diagonal white band going from thin to wider as it goes upwards. Overall, this exercise practises my brain to think in 3D space. I gave Sandro's Impossible Chessboard a go and took note of the twists on the left and right. While drawing it, I realised that where Sandro has placed the cheese pieces is also important. For example, the Rook on the right kinda "covers up" the chessboard as it approaches the twist. As another example, I feel that the Knight in the middle is also strategically placed there. Would anyone know why? Or is it more for composition purposes and it looks nice in the middle? P.S Please forgive the mess, and bear with me drawing cylinders in perspective. Those cylinders definitely need some work, and looking forward to a future lesson about them.