Playing with blobs and boxes, cross contour lines and scooping out. For some reason I find the transition from blob to box harder than just 3D-fying blobs on their own and then drawing a corresponding boxy shapes. It's like I can't 'see' the box inside/on top of the blob.

Day 3: air fryer, this time 3 to 4 boxes to draw. This one have a simple shape, but interesting design in the form and some subtle details. Day 4: Always want to draw a bike, but it seems a sudden jump in the complexity, Improvement: 1. Seems like the ellipse are controlled well on day 4. I am happy for that. 2. Correct many times for the proportion on day 3, at least now I can see some of it. 3. I am developing my stages, like PeterHan did in the last videos, but more pencil work first. Lessons/Question: 1. I kind of know how to draw a hexagon within a square, but not sure for the octagon 2. the bike seems complicate, The body, of it I try to simply, man, that one is hard. And advice on that will be more than welcome. 3. Kind of rushed in my progress for doing the complicated 3d form(seat of the bike), i should do it in the later days of the challenge/course when my 3d sense improve more. And it s a good start.

First attempt at this assignment, even rotating just a box in my head is hard! Ill be posting again tomorrow.

Here, I applied the same approach to a different complex object: a Formula 1 car. I began by researching older models to better understand their design. Using orthogonal views, I studied the car’s proportions, using the wheel as my measuring unit. I then explored a 3D model on Sketchfab, rotating and analyzing it to deepen my understanding of its form. For the final sketch, I started with preliminary pencil lines and refined them with ink pens. I still notice some errors that aren’t quite right, but this study was a lot of fun to work on, and I’m happy with the final result. (F1 2024 BMW M24 3D Model) https://sketchfab.com/3d-models/f1-2024-bmw-m24-concept-74a9fe9bce284cbf9249e8e79e43f566

Something im hoping to learn is if there's a "correct" way to measure the actual length of foreshortened objects. Often when I use foreshortening, extreme or not.. I mostly go by feel! Is there some sort of science to it? Can I really know if the exaggerated, foreshortened arm I draw has the correct length.. it bothers me I dont have a reliable system to check if it's correct. What happens when I combine it with convergence and overlap on top! so many things to consider.. Anyway! Here's a bunch of drawings I collected that I love. All of them have some sort of combination of DCFOA in varying degrees. 1. eo58 - 4, 5, 4, 5, 3... Objects definitely appear a lot smaller in distance, seems like 2 point.. cant tell if they go to a 3 point above without going in a measuring, but it is a low view looking up so it definitely has the "nature" of a three point perspective since we usually look more extremely up or down at something when a third point is introduced. The foreshortening I would say is pretty extreme, look at the cars in the background, can barely see them, and I would say the human is also pretty foreshortened.Definitely a lot of overlaps here, almost every object in the image overlap something so high rating here makes sense .. atmosphere is definitely fading in the distance pretty clearly, dont know what rating to give it since I dont look a lot at pieces with atmospheric perspective... SIDE NOTE: I am so interested in learning how you even draw animals and humans with a lot of foreshortening and perspective.. and make it all make sense! Right now I have no idea how I would even approach a piece like this and being able to fit everything into a 3D space 2. Stephen Gian - 3, 3, 5, 4, 2..objects gets smaller, at least if you look at the body as simple forms, right foot is very close to us in the top left drawing, but his left foot appears smaller in the distance... there is also convergence at play, look at how the letters all converge and they're all sitting on a plane that could be simplified as some sort of rectangle. In the bottom drawing there is a wall too... it SEEMS to be following perspective, tho his body makes it hard to plot out the lines, but it is convincingly "3D". The foreshortening on the arm here is also pretty extreme, and overlap is being used in combination (the fist covering the forearm, which also covers the upper-arm). So overlaps are actively used here, other examples: look at how top right drawing is drawn: The head is in front of torso. the upper leg covering the bottom leg, covering the feet! Some atmospheric perspective too in the background. 3. Dino - 2, 5, 3, 4, 3.... atmospheric perspective, look at how the objects that are not in the light become darker. Convergence is also at play, look at the floor and the how different objects have different vanishing points. I believe it's two point perspective, but some objects in the rooms also dont follow the "traditional points".. look at the tilted canvas she is painting on, or the object she is sitting on.. not to mention all the paper laying around going in all sorts of directions.Also it's interior, I have no idea how that works, but I think she is sitting inside of a 2 point box I guess? haha. 4. DUMOG - 5, 5, 3, 5, 3... great use of overlaps, great use of perspective.. feels like im being "drawn" into the piece 5. Dino - 5, 3, 3, 4, 5.. I like this piece Sorry for not writing much about these last ones! I got tired. Great video as always Marshall!

Panel from manga “Dandadan” by artist Yukinobu Tatsu. I love how the artist positions the camera just behind the characters head, making the viewer feel like they are right up in the action with the character similar to a first person perspective.

Here's my take on this assignment!