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.

"Psyduck Tsukiji Market" by Bryce Cho: Diminution – 4/5; this maybe could've been pushed more, although that would've sacrificed detail Convergence – 5/5; leaned into this by going with fish-eye lens Foreshortening – 3/5; some of this subtly going on with the bins and Psyducks’ bills, but not the focus Overlap – 5/5; overlap is a crucial component of giving a sense of depth to this piece and having the scene feel busy and lived in Atmosphere – 3/5 (the colors in the background are less saturated and the lines/edges and lighting feel softer, but given the relatively contained spacing of the scene this isn’t utilized heavily "Displate Centaur" by Dominik Mayer Diminution – 5/5; crucial component of perspective here, with the blades of grass in the foreground as big as half the legs and bigger than the head, and likewise the fore-legs are significantly larger than the aft-legs Convergence – 1-2/5; the painting seems intentionally left relatively flat in this regard Foreshortening – 3/5; only a few instances of this, but they have impact; namely, the equine torso, the arms, and the difference between the two horns Overlap – 4/5; not as central as diminution, but the overlap of the upper & fore-torso with the hind-section, the left arm and sword over the cape, and the grass over the legs, all help to give a dynamic sense of depth across the painting Atmosphere – 4/5; also more subtle, but the aft-legs, in particular, as well as the further end of the cape are darkened to blend into the background / night sky, helping give a sense of them being pushed back into space "Above the Sea" by Eyvind Earle Diminution – 5/5; the trees on the foremost slope are orders of magnitude bigger and with substantially more detail than those on further slopes, which only get progressively smaller and simply with distance Convergence – 1/5; the serigraph is intentionally lacking in this regard to create a very flattened aesthetic Foreshortening – 1/5; because of the aforementioned flattening, there is no significant foreshortening in this serigraph either Overlap – 5/5; the overlap of the slopes going back in space is a key driver of the sense of perspective in this piece, especially given the increasing degree of overlap going further back such that we’re able to see less and less of subsequent slopes Atmosphere – 5/5; the desaturation, lightening, and pushing toward blue of the slopes going further back into space helps accentuate the distance while also giving a sense of ocean air or even a seaborne fog being the driver of atmospheric perspective

I did my best to complete the ASM. However, I still find the Convergence and Foreshortening techniques difficult to recognize when the view is from above.

I had a hard time saying there was no convergence or foreshortening in the landscapes, but I'm pretty sure you can say there is some because of the buildings being titled at different angles. In the black and white drawings, I believe you can count less detailed characters in the distance as a type of atmospheric perspective. I understand diminution to mean objects that are farther away appear smaller, not that they are actually smaller and that is how I rated it. Overlap felt easy to call.

Alright, a 1-5 review of the works by Tomer Hanuka, Nate Sweitzer, and Gigi Cavenago I commented on under the 1st assignment.

I tried to do this as consistently as I could as I have not really used a rating system seriously before. A 3.0 was meant to be for things that I could clearly see the element. below that was for when I had to really search for the element. Above that was how helpful said Element was to the piece. For example I realized most of these used Atmosphere in some way. and it helped set the tone so most of them got a 4-5 from it. The Pokemon piece only had a few signs of convergence. They still helped pull the perspective together for the scene but werent as prevalent in other pieces. Again I was going case by case and by the last piece I did (bottomw left) I was likely more solidified in my judging process then the first piece (upper right.)

A: 5 out of 5, B: 5 out of 5, C: 5 out of 5, D: 5 out of 5.

D=4/5. C=3/5. F=1/5. O=5/5 A=2/5

D=5/5. C=5/5. F=1/5. O=5/5. A=5/5

D= 5/5 C=5/5. F=0/5. O=5/5. A=5/5

D= 5/5 C = 5/5 F =2/5 O = 5/5 A = 4/5

a couple of the images I borrowed from other people’s posts, because I liked them so thank you whoever you are. Now the challenge is how to get the rating written next to the pictures, because I’m a muppet and don’t know how to do that yet haha

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.