This was very helpful. Normally, I stare blankly at an artwork and just admire it. But, this exercise helped me understand and appreciate how artist uses these tricks. Most at times not even all of the tricks are used.

That was very interesting to analyse these images, asking questions I had never asked myself before. It's magical, this feeling of discovering certain manufacturing secrets of these artists that I admire. Very rich in lessons

This is a great exercise! One of my favorite pieces at the moment, any comment would be apprecciated :))

This was a tough one, but rewarding. I feel like I learned a lot about the thought process of some of the artists I admire. Sorry if my scribbles and explanations make the artwork hard to see. I felt that trying to highlight the examples in each picture would give me a better understanding than by just explaining it.

This exercise was insightful!

I chose 8 artworks from the 20 I submitted for the “Collecting Masters” assignment. Of all the tricks, my favourite is overlap. Image 1: John Paul Leon. Right: Lots of overlap. Most of the foreshortening comes from the fence on the right, as well as a bit from the body on the floor. Looking at it now, perhaps I could've rated convergence a bit higher... Image 2: John Paul Leon, Pepe Larraz, and Rodolfo Damaggio. Right (upper): Most of the tricks seem maxed out in this one! The way the bodies (notably the heads) diminish as they get further away... lots of convergence with the figures and buildings... all those windows! Foreshortened arms... lots of overlap. And the buildings fade to white as they go down and fade to black, merging with the night sky, as they go up. Image 3: Paul Felix and Jean Giraud. Left (upper): The leaves diminish in size quite a bit. Not too much converge, I don't think? It's a bit harder to tell with something organic, especially if the tree is already twisting and turning in different ways. Lots of atmosphere.

Hi, I'm a little behind on the class and this is my first submission. I specifically looked for images as close as possible to what I would like to create in the future. Most of these are AI generated, I assume.(Found them through Pinterest and Instagram) It was a good practice to remember and point out the different 'tricks' the artists or AI had used to create the illusion of 3-dimentionality! Will definitely do more of this exercise to really train my brain in seeing the methods and remembering them for future use! I especially love the castles in Disney's Anastasia and Beauty and the Beast, will definitely watch the movies again and try and point out the tricks! Oh. and Number 3 is a screenshot from the game Castlevania 2, the Vampire's Castle! Thank you Marshall, for the good exercises!

Really cool seeing the tricks that make some cool comic panels work!

I am trying to get back on track after dropping the course for a month. I was writing everything out at first but it really takes a lot of time if you are not used to doing the excersice. This is a really good practice I want to do more often!

Jacek Yerka Diminution - 4 Convergence - 4 Foreshortening - 1 Overlap - 2 Atmosphere - 3 MC Escher Diminution - 2 Convergence - 1 Foreshortening - 2 Overlap - 2 Atmosphere - 1 Moebius Diminution - 5 Convergence - 4 Foreshortening - 3 Overlap - 2 Atmosphere - 1 Zdislaw Beksinski Diminution - 4 Convergence - 4 Foreshortening - 2 Overlap - 1 Atmosphere - 5 It was interesting taking not of how strongly some of these perspective tricks were actually used in some of these pieces. the MC Escher one didn't seem to use much at all, I guess that's just how isometric is though.

1. Kentaro Miura D: 5 - The monster's legs get smaller as they get farther C: 5 - The monsters body converges to the ground F: 5 - The monster is foreshortened at an angle to fit its entire body in a relatively close shot O: 1 - Only two birds and some smoke overlap the creature A : 5 - The ground is pitch black and the monster's legs fade the farther down they go 2. Feng Zhu D: 5 - The size of the person in front is comparable to the building and the giant bug in the background C: 3 - Three of the buildings converge to points up and to the left F: 4 - The giant bug is shown at an angle O: 3 - There is a lot of overlap, but many objects are also positioned within their own space A: 5 - The people become silhouettes, and the buildings and background fade in the distance 3. Craig Mullins D: 5 - The people and the archways in the back are much smaller C: 5 - The rows of people converge to a point F: 2 - The elephants are foreshortened, but not much else is O: 5 - People in rows are being covered by the guy in the front, the flags, and other people. A: 1 - Minimal or no fading in the background

Foreshortening will always be the bane of my existence, especially with things like fingers and arms. I LOVE atmospheric perspective, and right now I'm using it as practice in Blender 3D. One thing I still gotta practice is adding more things into a scene. Mine tend to look a little...meh. As for the favourite artworks, I'd better dig into my old collections because I can't think of any currently. I did, however, collect several during concept art courses. I'm gonna look then edit this post. :D

The thorough analysis of the images I selected previously made me realise which style of image I like and also gave me a new way to analyse and better understand a composition and how each artist uses depth techniques for unique renditions. Diminution, Convergence and Overlap have my (huge) preference. Funnily enough, I realised after the course that Atmosphere is also one of them by looking at some other books I have at home but apparently I didn't select any significant work within it. Well anyway it was very instructive and now I look with fresh eyes on old favourite artworks and try to analyse them with these new comprehension of perspective in mind. Ps: I am publishing most of my comments on this course as normal ones, not the "help needed" ones but I noticed the tag is added automatically after I publish them (and can't remove it afterwards). I also experience sometimes the comment box not appearing at all so apparently comment section is a bit buggy. If needed, I can help and provide informations in order to debug it. And if this one publishes again as "help needed", this wasn't my intention so please don't mind it :)

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.

Assignment - Tricks to Make Your Drawings Look 3D

A real eye opener to see how 5 techniques can be used in varying degrees to create depth on a 2d plane. I enjoyed scrutinizing my chosen artist work to see the decisions they made when creating an image.

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.