My goal is to use perspective in oil paintings. I want to know the rules so I can break them if the subject warrants.

This was a really fun video to watch and learn from Marshall. I've been loving your course a ton thus far. I hated missing the deadline for this critique session since it was my fault for forgetting to post, but I still learned much from it. I'm so glad to be a part of this course because of your wisdom and getting back into drawing again thanks to this course. I am honestly learning way more than I ever did when I took my drawing class over at my college, and it is making me want to take time to draw more slowly again, which I can't thank you enough for doing, Marshall. Now that the fall semester is finally coming to its ending course pretty quickly. I shall be finding lots of time from here on out to put in some amazing new work within the fun lessons soon, with more free time I'll be gaining between semesters during my break. This was a great watch on listening to you giving great advice through the critiques, though. I am learning tons, and it is honestly making me glee with joy enough to take another drawing class at my college again to boost my desire to have more fun with it next semester for the extra postage. Thanks, Marshall. One reason I'd love to get good with perspective highly is to truly dig in deep where I would be yet again positive with my drawings to start getting better with my environmental drawings enough I can be confident enough to share with my friends. One of my other goals is to feel accomplished with my drawings since I'm a self-learning gamedev/animator who wants to get good with environment work well enough to incorporate them into my future works.

Hello - I totally enjoy this class and really enjoy the posts so far! Very inspiring and I find myself hungry to learn it all ~ I am a 70 yo woman, and have found my passion in learning to draw, especially architecture (if I had to do it again, I'd surely be an architect). I also want to be able to draw cars (classic/ vintage/ muscle), classic motorcycles, trucks (again vintage/ classic and large, industrial ones, too), planes and boats. I hope to be able to draw in any orientation and to be able to design my own as well. Although I haven't included any examples from Scott Robertson, I'd like to be able to use his tools to design them. As for architecture, I am especially enamored of Neutra, but a lot of MCM and Victorian examples are high on my list. I am also late to post, but I hope that some of these type of ideas/ examples can be useful in our study.

Sad that I missed the beginning of this course. Feel like I am chasing a bit! But here are some of my favourites! As a mathematician, I have always enjoyed using geometry in my artworks. Inspired by artists such as Leonardo da Vinci, Pieter Bruegel the Elder, Vincent Van Gogh, James Turrell and Julie Mehretu. Just a one example of each below. Probably not as traditionally 'perspective' as some of the others shown below. L. da Vinci - The Last Supper for me shows a great sense of depth with converging lines to pull the focus into the centre where Jesus is sat. It makes the room feel huge and enhances the impact. Pieter Bruegel the Elder - Landscape with the Fall of Icarus captures my imagination with the inclusion of mythological elements but also because of the use of atmospheric perspective. The fading colours and softening of detail in the distance are very clever. Vincent van Gogh - Bedroom in Arles so incredibly clever. A photographic technique applied well before it was invented with the skewed perspective it makes you feel like you are in a tiny little room. It feels very intimate. James Turrell - Aten Reign. This guy ... just wow! If you haven't heard of him, you should have a look. He manipulates light and space and creates immersive environments. Really cool. Julie Mehretu - Stadia II uses complex perspective merging different views and spaces that feels quite chaotic. A true exploration of perspective. I am a painter (as you can probably tell from my selections) and use Vedic shapes to create abstract landscapes. This course will be perfect for learning to create some space and depth in my paintings. Very excited for the year!

Some of these pictures, the more last once are some of the stuff I learned already but I had to stop my learning after drawing that car. I am looking to get back it and learn much much more. I'm hope I can get assistance if I have any questions as I am learning in this course.

Thank you so much for teaching me how to break down my goals, I really appreciate that. By the way you pronounce my name correctly, professor.

What a great project i loved discovering new artist. Here is a drawing with an interesting perspective i like. title : Cyril Power - The Tube Train (1934)

Many people in this course are interested in manga and anime. Hope there are a few artists of the classical genre. My goal is to be so good at perspective that people will say, Wow, that’s a beautiful painting! and only Marshall will immediately see it’s because the perspective is spot on. Lol.

I'm fighting the urge not to confuse myself by looking into orthos early, I've never heard of it before!

Wow, these drawings are terrific inspirations! Completely blown away!

The collection of images brought together by the community is amazing and also overwhelming. I agree with Marshall when he suggests that we sort our idols into sub folders for different stages of our learning. I have been working on a set of categories to sort my "art heroes" for a while now, because there are so many. I try to analyse what exactly I admire about their work and what I want to learn from them. I made a little chart of the system that I curently use - if you have ideas and suggestions I am looking forward to them. Happy sorting!

I am so friggin psyched for this class.

Here are my notes so far. There are some neat tricks and tips in the review—thanks, Marshall! When studying perspective in a masterpiece, thinking about a slider with two extremes helps to better understand the bigger picture: - instructional (how-to) vs. showcasing for maximum impact - simplified vs. detailed - close vs. far away - huge vs. tiny - inside vs. outside - looking down vs. looking up (into the scene) - organic vs. rigid/mechanical - wide-angle vs. compressed 2D shapes layered on top of each other - strict mathematical rules vs. purposely bending principles for storytelling

Master the basics. Got it!

hi, is there any way to see the pictures like marshalls see its in the critique? like a gallery in scroll down?

Marshall, thanks for sharing everyones critiques. I found it very difficult choosing a selection of pictures for the first assignment as I'm so near the vanishing point amoung the amazing artists that posted their interesting choices of artwork. It's all an education to me. Thanks Again.

I was drawing along while watching the critique video. Sometimes studying feels like eating disliked vegetables or taking medicine—it’s good for you but uncomfortable. But in this perspective course, I feel like I want more, and Marshall keeps us on the edge of our seats, waiting for the next lesson to digest. I’m excited for the next videos. Let’s start creating and learning!

I’m confused as to how to or where to post “assignments” — where did people place these images used for the latest critique in the perspective course.

Every video so far I walk away feeling like I've learned something, and it perplexes me because I am not always aware that the learning is happening until after the video ends. Marshall, your method of teaching delights the mind, and instead of feeling crushed and exhausted as I often am by what I can only describe as traditional teaching methods- I am always left full of more questions, curiosity, and intrigue. I haven't felt this way about learning in a long time. Loved this video! It's really left me thinking and pondering about my initial selection of art treasures, and prompting me to look at art with a new mindset of not just trying to identify any perspective but perspective that is useful to learn from. Upon reflection, I think my fear of backgrounds did lead me to initially pick examples of perspective applied to characters mostly, but I am feeling less daunted already and loving looking at the examples other have chosen. I was most fascinated this lesson by the notion of things 'flattening' as they get further away. I would have assumed they would become more warped, not less. But I can't not see it now.

I love the idea of splitting the works into sub-categories to study specific things from; I feel like this could be useful for any project!