It's both fun and empowering thinking of how I can already apply a few of these techniques to my drawings :D Thomas Wells Schaller (Transept) A subtle use of DCFOA D: 3 While the buildings in the back are tall, they are barely half the size of the one in the foreground. C: 3 The main building in the back has a strong convergence going up and away. The scene expands downward, but there are many parallel lines elsewhere in the painting. F: 2 The building appears foreshortened, but this effect is used only slightly. O: 4 Yes! There is a lot of overlap. From the connection in the middle that overlaps the large building behind it. To the clear overlap of the other smaller buildings in the background. A: 5 Aside from the transept, all of the other buildings behind it start to fade. They have fewer details added in, especially the black buildings on the bottom left. Thomas Wells Schaller (Camp dei Fiori) I always get hungry when I see this. There are some great places to eat here! When I am there next, I'll use some of these techniques to draw it :) D: 3 The umbrellas are smaller the farther away they are, as are the people. C: 3 We see the base of the statue and the umbrellas in the foreground all have converging lines. F: 3 The umbrellas! We see the umbrellas "turn" as they get farther away from the camera. O: 5 Overlap does most of the heavy lifting to make the space appear to recede. A: 2 The foreground umbrellas are darker than those in the back. This draws our eyes to the umbrellas in the distance. Neat! CLAMP: Tsubasa Reservoir Chronicles You may be big, but I'm bigger! A case where overlap adds size to the thing behind it! It's two in one! D: 2 The building gets smaller as it converges upward, but with only two things in the drawing, there isn't a lot of this! C: 2 A bit with the building with the slope of the figure's arm nicely flowing down to the point at the top of the building as well. F: 2 A little foreshortening with the figure's right arm and with the building. O: 2 The building overlaps the figure, but it only serves to make them seem even larger! but you can clearly see they are located behind it. A: 0 Zilch. You'd think you'd see it in the building's details, but there isn't much change between the individual tiers :) Wu Guanzhong: Water Village in Jiangnan It's impressive the impact a few lines and shapes can have. D: 3 While the people, note the red circles, are not drastically smaller, the buildings and the bridges do differ in size dramatically. C: 3 There is a slight convergence of lines into the distance. Looks like they're aiming straight for the bridge in the back. F: 0 There is not much even with the boat. O: 1 The buildings continually overlap each other, but the effect is not very strong. A: 3 Yes! The details in the back are less detailed. Even the bridge is painted in one color.

I have that book! It was recommended to me by my tai chi teacher. And I agree with both Marshall and my teacher that it's a great read. In fact, I might just reread it :D thanks for the reminder! Great work everyone~

I have thoroughly enjoyed becoming more familiar with the tools. The triangles I bought may be a bit too big, but I've managed to make them work. (They're 8".) It took two tries to replicate Marshall's example. One really needs to be very exact with lines, corners, etc.! Will keep exploring these illusions, I'm excited to increase my skill in this area.

Lovely lesson. Thank you for all the insights. It's motivating to see what he's able to create and where perspective can take us!

Hello! I'm Sirocco o/ After a long hiatus I am diving back into drawing with the goal of becoming a comic book artist. I just finished Peter Han's Dynamic Sketching course and hope to learn more about perspective now. However, perspective and I are old adversaries. I mostly avoid it, but will hopefully make peace with it in the coming weeks! Big picture goals: - Accurately conveying characters and spaces from any angle in the limited real estate of a comic book's pages and panels. - Creating a fully realized room from a floor plan. - Drawing fantastic architecture from my imagination. - Perspective and shadow? How does that work? - How do I draw receding landscapes? (Like the Peder Mørk Mønsted work.) - When the vanishing points are far off the page, how do I keep my drawings in perspective? The standards: - Thomas Wells Schaller (ThomasWSchaller): I would love to have the freedom shown here to draw scenes from all different perspectives. I want to take a location and draw it from any angle I want! - Fred Taylor, Lisbon to Belem Poster: I like the subtle touches of perspective from the procession to the entryway and windows. There is movement and strength projected here. It feels close, but things are not flat! - Peder Mørk Mønsted, Sunlit Winter Landscape: the recession of the tracks in the snow is divine. - Tsubasa by CLAMP: it's a giant person towering over a building! Drawing one of them accurately is one thing, having them work together is another! - Jazmin (jaz_sketch): you can see the rectangle she drew on the ground plane. I can do that, but the rest of the drawing? Help! - Wu Guanzhong, Water Village In Jiangnan: another goal of mine is to simplify perspective as Wu Guanzhong does here. Creating depth confidently with simple lines. Can't wait to dive into the course! Let's go!