Going to continue with this over the next week. It's been a long time since I've tried to work in this sort of perspective! I found some areas of weakness I'd like to improve, and will be working on practicing 30, 45, 60, and 90 degree angles freehand. I also found that I'm so used to converging lines that I found it difficult to purposely run lines parallel! I think my lack of experience with inorganic shapes also contributed to me having some trouble planning compositions. I found it a bit easier to progressively subdivide as I did in the lower right....

Very relieved I listened when my mother pressed me to move beyond copying! Else my fate may have been much more short-lived and grim....

For those using DIGITAL during this course! I have a resource for you! Digital allows us to use hotkeys and line tools, but just like with the ruler in Marshall's example, the freehand is a LOT faster. I'm attaching a recreation of an exercise I picked up years back in school and still use. For practicing freehand lines in digital, you can rehearse the movement by connecting the dots in these columns. The left one is easier, with thick dots to connect, while the right column is a bit more precise. I know it's a simple and maybe goofy exercise, but it really helped me at throwing down straight lines with more ease. I'll have another of these later when we get into Ellipses....

I have a question about this piece. In the video Marshall points out a vanishing point as the boxes forming the lozenge shape move away from us. I understood from this that our eyeline runs horizontally through that point. Why is it that the top plane of the chimney isn’t visible when it’s below the eyeline? I think I’m not understanding something Thanks!

What a great collection everyone pooled together. Lots of names I knew, lots of names and pieces I've never seen and was stunned by! Great treasure, everyone! I love seeing what pieces have everyone raring to go! To Marshall - I appreciate that none of these were considered "Bad" treasure, but that you were able to categorize them as things that would be difficult to learn perspective from, simple to learn perspective from, great to study for composition, for lenses, for distance, for playing with perspective, for overlap! I'm adjusting how I'm regarding my collected images, because there were a few that I had collected that, when studying, I disregarded and thought "why did I grab that? This is bad for Perspective." - Perhaps I just need to take a different angle with them. Also, I am ever impressed by how you re-incorporate student names and goals as you teach. Looking forward to seeing how everyone comes closer to those goals over the next year! Pardon my gushing. I'm finishing up a project that has a deadline closing in, so I'm a little extra caffeinated...

Marshall, this one video highlighted the problem I've run into in every single perspective course I've ever taken. The "subdividing" trick is among only a few things that stuck from my last perspective course. I learned how to identify one, two, three point perspective. But I never fully understood the tools I was being handed. Everything was so lost in the vocabulary and the tricks, without a clear grasp of the wider applications and with NO understanding of how to freehand any of it. Too rigid and disconnected from the rest of the drawing process to integrate those tools into my work.... Here I've two little practice sessions. On the left, I've done what worked for me with figure drawing by doing some timed studies from photos. Just to broaden my visual library and get better at understanding space from photos. On the right, two slower sketches attempting to exercise the perspective learning from imagination...

Another great breakdown, Marshall! The composition of that round room is so graceful with the action of the staircase. I'm working to apply similar thinking to the images I've been collecting... doing so definitely has been showing me how underdeveloped my visual eye for Perspective is. I can identify, roughly, the vanishing point on clear one-point perspective images. But I get pretty lost in more complex scenes. I think continuing to break down images like this and doing sketches beside - rather than on top of! - the images, is helping in that!

This is a great little video to provoke thought in how we look at our little treasure troves! I love images like this, where the more you look, the more you see the artist's understanding of the space they were illustrating. People don't normally think of water when they think of Perspective study, but this is a fantastic example of the wider applications we'll have for the skills we're developing here. Thank you, Marsh!

First, to get excited about the masters! I'll spend some time this week buried in my perspective treasure slides and doing some rough sketches from them. So excited to go on this perspective journey with everyone. :D

Hello everyone! I'm Phoenix Baldwin. Normally I write Children's Books that don't require much Perspective expertise, but I have my heart set on being able to do more elaborate, exciting and convincing environments! I'll attach a bit of my long-held treasure hoard... I'll be taking most of my inspiration from Yana Toboso and Gustave Dore. I like the way the styles work together and I love these black and white compositions. Can't wait to learn from you once again, Marshall. This course has been long anticipated....... no pressure. :)