I will do more of these definitely, they scratch so many parts of my brain and re-establish the fact that even with the simplest of boxy shapes, redrawing things from different angles is hard. I think it's especially because throughout the 4 years since I've started drawing, I've overrelied on references and copying and it's high time I start to unlearn that habit. Looking at my peers work, I think it was so much harder because there's an ellipses form in the structure of the bottle and also because u didn't use vanishing lines to plot I just sketched form my head freehand at first. I probably need to fix that

I initially submitted a pitiful attempt because I was scared of the fact that I yap too much at times and it would be too much but after watching your critique I realized that being over analytical and taking a lot of time to observe is a good thing. I didn't go as in depth as I would've loved too as im trying to catch up to the rest of the class but I went in e tough that im satisfied. I will try to be doing this with every image that catches my eye now. The major thing I noticed is that despite seemingly being the "easiest" trick, OVERLAP is the most prominent in almost every single one of my favorite artists work. It's probably because I am most drawn to character art and artists that overlap plays such a huge role in their images. It's also very interesting how simple the perspective in the images really are, mostly one and two point perspective but how they arrange certain elements, characters and objects is usually what makes these images. Basically I've learned that while it is a tool to create depth, overlap is one of the most important parts of composition. I've always known that enough knowledge of perspective makes your compositions better but seeing how much of composition is playing with the placement of objects in space is very eyeopening. I'm looking forward to rest of the course and I'm going to start saving up to buy more Proko courses.

I'm so late you probably will never see this but I've been battling crippling procrastination and adhd just to get to this course so I don't stay forever stagnant. I had to go back to the first videos of the course to find my artists so I could complete this assignment. Seansketches: •Dimunition- 2 •Convergence- 5 •Foreshortening- 5 •Overlap- 1 •Athmosphere- 0 Juanmao: •Dimunition- 4 •Convergence- 5 •Foreshortening- 3 •Overlap- 5 •Athmosphere- 3 Inkpangur(formally sirpangur): •Dimunition- 1 •Convergence- 5 •Foreshortening- 2 •Overlap- 5 •Athmosphere- 1 Yuto Sano: •Dimunition- 5 •Convergence- 5 •Foreshortening- 4 •Overlap- 3 •Athmosphere- 4 Horikoshi: •Dimunition- 5 •Convergence- 5 •Foreshortening- 5 •Overlap- 5 •Athmosphere- 4 I think overall their strong grasp of convergence, diminution and forshortening; despite being the hardest to learn is what makes these artists so visually stunning and captivating. Horikoshi especially works with all these concepts all at once in that image and I struggle to wrap my head around how much understanding of perspective I have to acquire to recreate it.

I haven't had this much fun in a while, Im going to try and do this every day or every once in a while until I have at least internalized most of angles. Just from this, I know that 120 corresponds to 300 so there's a start!!

Yessss ive been doing lines and drawing boxes and cylinders alongside gesture drawing as my warm up routine for months!! But this video really put into perspective that while I have improved in drawing lines, I'm not seeing results in my work because I'm not focused enough on controlling my lines and learning how to have that extra sense of confidence. The bit about controlling spacing and proportion is a game changer and I can't believe I didn't figure it out until now. From now on i’ll try to be more mindful about all the exercises I do because mindfulness in the beginning is what gives way to intuition

What I learnt is that I definitely need to make some sort of grid to keep track of lines cus my angles and proportions were way off. I think what I've learnt is that I have a really technical approach to working and I need that extra step of setting things up in a way I can follow to truly make the best of my abilities. I hope I can learn how to be more spontaneous and careless about perfection

Hello!! my name is Zayn and because my main focus is illustration/concept art (and animation), the images that I've collected are from artists in those areas of art that I adore and draw inspiration from. They may not be considered 'perspective masters' but they know enough about it to make masterful and evocative artwork, the type that I most aspire to make. 1. SeanSketches, 2. Juanmao 3. Kohei Horikoshi 4. Yuto Sano 5. Rinotuna 6. Inkpangur I think every single artist in this list is an amazing storyteller in regards to pure artwork alone and art that is brimming with expressiveness is what want to make. In terms of big picture goals mine are: •Drawing (believable) dynamic characters in any angle/pose from the imagination. •Drawing all sorts of backgrounds, Interior and exterior with correct perspective and space. •Placing characters in those background without them looking out of place. •Better character interaction with others and their environments. •Building an intuitive sense of perspective and space. and most of all: Confidence. I've come to realize that I have a crippling fear of failure that has stunted my growth, it has fed a lot of bad habits I'm desperately trying to unlearn and I'm hoping that this course will give me more tools to hit the nail on the coffin of that fear. I'm learning how to fail and how to handle failure and move on, and I need a weapon as powerful as perspective in my arsenal.