1. Vincent van Gogh, Vincent’s Bedroom In Arles. While not perfect perspective it follows the rules and plays with the forms a little deliberately flattening out some objects to make them more cartoony. because of this diminution and overlap play a lager roles in the perspective of the painting. Because some objects are flattened and without shadows the only indicator of their scale is their size relative to each other and their overlapping order. There is convergence and a clear one point of perspective in the horizon of the room at eye level, though there is some deliberate distortion to play with how the perspective works. Foreshortening is present with the furniture having shorter lines down the side to indicate they are facing towards us. The use of colour is very cartoonish and bold so i would hesitate to say that there was any atmospheric perspective in this painting. 2. Józef Chełmoński, Czwórka A great example of foreshortening with the four horses coming towards us at different angles across the breadth of the painting each of their silhouette's individual distorted by foreshortening. The horses overlap the carriage to show they are in front of it and the figures of the driver and passenger are scaled to show one man is further back then the other. The convergence again is in the center to give us the aspect of being directly in front of the carriage as it thunders down on top of us, we are also at quite a low angle to the horizon to make the figures more imposing. 3. JMW Turner, Rain, Steam, and Speed – The Great Western Railway (1844) Hopefully what i think is a good example of atmospheric perspective as the train, bridges and scenery all dissolve into the fog of rain and steam at the back of the panting. you can see clear convergence lines from the straight bridges heading off into the distance. The boat at the bottom left of the picture is a good example of diminution appearing tiny compared to the elevated train, which is foreshortened as it comes towards us the lines back to its carriages shortened to show the scale of the train. 4. L.S. lowery Going to work Another one that I think plays with perspective, there are clear converging lines that lead to the factory buildings at the back and the stick figure silhouettes' diminishing as they get closer to the buildings. There is some flattening of lines here that should be in perspective once again to play with the perception in a way that i think makes the perspective more noticeable. Overlap and diminution work together again in this piece to give it a cartoony aesthetic. This painting does not use foreshortening or atmospheric perspective but in stead relies on the line weight of the figures to portray distance. 5. Salvador Dalí and Walt Disney - Destino freeze frame. Dali seems to set up his paintings as if they were a gallery themselves. Firstly creating strong convergent lines with the use of the checkerboard tiled flooring heading off into the distance, the gaps between the flooring and there lines also add to this feeling. they are pointing to two slightly different vanishing points on the horizon which give the painting an off balance feeling. there is slight diminution between the two statues the one on the right appearing closer because it looks bigger. The statue on the left has some playful use of scale on its own a tiny diminished city or building sits under the statue prompting that its scale must be very large. there is no real use of overlap. the images are presented as on one plane each and not pointed towards the viewer so I don't think there is much of an example of foreshortening. the horizon is white which could be a example of atmospheric projection but i don't think a very strong one.

This exercise was fun and and exposed me to all of the joy and deeper layers of understanding that only come with spending time with a picture. I noticed that converging lines are much more prevalent in urban and developed environments, or interiors. I also recognized the prevalence for some of the comic artists I like to use a lot of 'dimunitized' detail and objects far back into the picture space. I like this detail and I think it makes the worlds they're creating feel much more vast and complex. The least used technique in my selection of images is foreshortening. I think that has to do with the purpose and type of images I selected, i.e., lots of them are stand alone paintings and illustrations, or environmental shots, that have a goal of reading well. This is just a guess. As I read and look at pictures in the future, I'll be on the lookout to save some with foreshortened figures and objects, and curvilinear perspectives as well (if anyone has any examples by the artists I studied here, or any adjacent artists of similar style, please feel free to share). Lastly, there are some images that I included that rely a lot on values and color, things that we aren't specifically focusing on here, but I figured it's helpful to keep those techniques in mind as I'll be learning about them in the future.

A Monster Calls (Jim Kay) Diminution (3/5) There are not many objects, but the two chairs get smaller and the chandeleir makes the monster look big despite it being further from the boy. Convergence (4/5) Its only one vanishing point but the few objects parallel lines seen converge towards the monster. Foreshortening (0/5) Not really any foreshortening in this illustration. Overlap (3/5) The boy overlaps the monster, the chandelier hangs infront of the Monsters shoulder. It gives the monster scale. Atmosphere (5/5) The Monster becomes the atmosphere despite it being a cramped hallway. North Shore (Daniel Merriam) Diminution (1/5) Apart from the tree house and the surfboards, there isn't many other objects that shrink in perspective since the house is the focal point. Convergence (3/5)(?) It looks like there is some parallel lines, but with how the building curves and twist. I'm not sure how convergence works with this. Foreshortening (4/5)(?) A few of the buildings in has some foreshortening albiet with alot of twist in it. Overlap (5/5) The architecture on the building overlaps on each other. The overlapping adds to the surreal structure of the print. Atmosphere (2/5) The background behind the the building blends in with the sunset. The Newcomer "My villiage I think" The one in possesion "Sorry old think I took it half an hour ago." (Ernest Howard Shepard) Diminution (1/5) Apart from the trees and some houses in the background, therd are not many objects that shrink. Convergence (1/5) Its hard to see a clear set of lines that converge on a point. Foreshortening (1/5) Some of the scraps of the house may have it but its hard to see. Overlap (5/5) The destruction the the house, the rubble everywhere, the trees, the old one and the one in possesion. The chaos the newcomer sits on is emphasized through the overlapping. Atmosphere (4/5) Despite the lack of color, the smoke, and destruction of the area makes the atmosphere visible.

1. Blame(manga) by Nihei Tsutomu Diminution: 1/5 - The only objects that could be used as a pinpoint for size change are stairs on the right. People stay almost the same size and there are no other objects that could be compared. Convergence: 4/5 - Lines converge into 1 vanishing point, there are a lot of lines visible so it's creating strong atmosphere. Overlapping: 2/5 - The entrance on the forefront overlaps the background. The entrance itself is quiet big compared to people so it adds to overall feeling of big empty space. Foreshortening: 1/5 - I don't see any foreshortening on the picture. Atmosphere: 2/5 - Dark lines at the end of the corridor create strong sense of unknown and far-awayness. 2. Real(manga) by Takehiko Inoue Diminution: 2/5 - People get smaller the farher away from the centerpoint(ball) to the point where they are merely suggested in the audience. Convergence: 2/5 - There are dynamic lines on the floor, they all seem to converge into the same vanishing point. Overlapping: 5/5 - Players are overlapping each other, there is a lot of overlapping between characters and it is the main thing that creates atmosphere in this piece. There is also a ball which is the center point and it overlaps all of them. Foreshortening: 4/5 - Limbs get foreshortened in dynamic poses that characters take which gives dimension to all of them. Atmosphere: 3/5 - Background gets white and dynamic lines vanish as they go back in space. 3. Grandship location art from Bravely Default game by Akihiko Yoshida Diminution: 3/5 - Structures get smaller as they go back. Windows of the objects could be taken as a reference point as well as doors and stairs. The birds also get smaller as they fade away into the background. Convergence: 5/5 - Objects individually converge into their own vanishing points and the whole ship also appears to have set of general vanishing points. Overlapping: 4/5 - Structures within the ship overlap each other which make the whole ship appear enormous with many objects and buildings within it. Foreshortening: 4/5 - Every building and structure appear to foreshorten more or less rapidly. Atmosphere: 2/5 - The features of structures appear to be less detailed the further they are. Sky also seems to fade away into the horizon.

I am absolutely not able to make all of the art I chose under but, for the sake of this assignement I'll do my best to critic their work ! However I give them all a 10/5 for the result. 1. Muddy Alligators, John Singer Sargeant - Diminution 3/5 : It's a bit tricky because the diminution only happens on the alligators but they seem to dimish the farthest they get. However I feel that the third closest alligator's (the one with the head one the largest one) proportions feel a bit weird ? - Convergence 2/5 : When I look at the heads I wonder if the convergence is really accurate. - Foreshortening 4/5 : I think he did an amazing job especially with their bodies, not 5 because of the two points before. - Overlap 5/5 : I find it really clear which element is in front of other. - Atmosphere 4/5 : the farther it gets the less definition, he seems to use les colors to make one element. 2. Amarrage de gondoles sur le grand canal, John Singer Sargeant - Diminution 5/5 : Don't see anything wrong or ambigus. - Convergence 4/5 : the second gondola front feels a bit weird but except for that nothing to say. - Foreshortening 4/5 : same, except the second gondola everything looks great - Overlap 5/5 : cristal clear - Atmosphere 4/5 : Maybe the cheminy on the top could be less airy and more defined than the background buildings. 3. The old mill, Joseph (Mallord William) Turner - Diminution 5/5 : - Convergence 3/5 : When I look at the cheminy and roof I have the feeling they are not parallel and should be and, both of the wheels don't look symetrical. Also the wooden "water bridge" thing is maybe too much straight, unless it is curved. - Foreshortening 4/5 : A doubt on the wheels - Atmosphere 5/5 : Beautiful foggy transition 4. Sanda (Chapter 4) , Itagaki Paru - Diminution 4.5/5 : On the third image I wonder if the hand is not to big in comparison to everything else. Also the faucet on the desk, the farthest one is bigger than the nearest and it doesn't look like it's meant. - Convergence 5/5 : - Foreshortening 5/5 : As soon as you the the drawing you know wether one element it's in front or behind another. - Atmosphere 0.5/5 : lines get thinner on the background but brutal transition to white. The air is used as a contour of the characters.

:)

More analysis after watching the critique video. It is starting to become more clear again how to identify the tricks, I just need to improve my vocabulary to verbalize my though process better. Still not sure if I'm overrating or underrating some of these, but I guess I'll just have to refine my judgement with practice and the concepts I'm going to relearn later will help me. Just need to keep observing masters' work as I learn again. See anything I miss I should have pick-up with these examples?

More brain teasing analysis of Masters. I thought that doing this course again from the beginning would make things easier to judge, but I found myself wondering if it's convergence or foreshortening that is causing this effect? Or is it overlaps as oppose to diminution? I ask myself which trick should I rate higher? Are they both on equal footing in that case, or it is up to the viewers interpretation then? What do you all think?

1 (Cezanne). 41142 2 (Raphael). 35331 3 (Krenz). 52243 4 (Disney). 52134

Examining these works, I realize how they exaggerate or sometimes disregard the rules of perspective in order to make the work look great.

I couldn’t add more images because of the file size, but that’s okay. I took this image from Gwent, which is an art style I really love. What I noticed is that there are many vanishing points. Each of these buildings seems to lead to a different one. I also noticed a lot of overlapping and a lot of atmospheric perspective. There is some diminution as well, to a reasonable extent. The only thing I didn’t really notice much was foreshortening. D - 3 C - 5 F - 1 O - 5 A - 5

I rated these on the degree to which these artists clearly used each technique to achieve the effects they achieved. All of the art I reviewed were successful in creating space. Escher and Marvel both provide exemplars of all 5 techniques, especially forshortening. This is valuable since foreshortening is so challenging for me.

Image 1 (Charles-Louis Clerisseau): Diminution: 2 further things are slightly smaller but its mostly very restrained. The nearer figures aren't much bigger than those further away. Convergence: 4 There are very strong convergence lines going off the page to the right to keep the columns and doorways aligned properly Foreshortening: 1 no extreme examples of foreshortening Overlap: 4 Sections of the interior overlap each other and the figures do as well Atmosphere: 1 the image doesn't really have any strong atmospheric perspective Image 2 (Charles-Louis Clerisseau) Diminution: 5 Buildings in the distance are noticeably much smaller than those in the foreground. Convergence: 3 Convergence most visible on the columns of the buildings Foreshortening: 2 Visible on broken column. Overlap: 4 strong overlap with the foreground buildings and figures and the more distant background buildings and scenery Atmosphere: 4 Strong fade to blue-gray haze on the most distant parts of the image. Image 3 (Giovanni Battista Piranesi) Diminution: 4 Figures further away are much smaller than those nearer. Convergence: 5 Tons of convergence on the columns both going back straight and on the rounded coliseum shapes. Foreshortening: 3 Some noticeable foreshortening on the protrusions from the tour on the upper left especially. Overlap: 5 lots of overlaps separating foreground, midground and background. Atmosphere: 5 image fades significantly to the parts furthest in the back Image 4 (Giovanni Battista Piranesi) Diminution: 5 The figures in the foreground are several times bigger than those in the furthest parts of the image. Convergence: 5 the street convergences rapidly to a point that is hidden behind the wall of the midground. Foreshortening: 3 Most noticeable on the slanting roof on the left side of the page Overlap: 3 some overlap of figures and of the wall with the more distant parts of image but many places have no overlap and rely on the other methods above to convey depth. Atmosphere: 2 Some slight atmospherics but less pronounced than in the other image by Piranesi.

A little late to the party I guess but I've been doing this course and this is what I've got! I can see how analyzing the masters can help develop an intuition for creating the illusion of depth, in addition to helping carve the five tricks into your brain so that you remember them when you need them!

Too late, I realised I got the order of the DCFOA letters wrong! I gouped them according to my own perceived and experienced difficulty level. I tried including some of my favorite images from various ages, disciplines, and expressions.