Havent seen to many blame! panels from nihei so here you go. For me one of the best when it comes to creating huge and tiny spaces and some other ones.

Hi, travelers! I am free to access this beautiful art landscape, full of rich troves! And all thanks to you - everyone, who has posted here so far I'm discovering new artists, styles and inspirations that would've taken me years to stumble upon by chance. There is no overstating my sense of gratitude to everyone involved in building this site, and everyone participating - this is such a contrast to what I had been experiencing before discovering a dedicated space like this: no one to talk to, only the popular landscape to navigate. I am only bummed that this course is behind, it seems. I knew I should've started last year - piques my fear of missing out. On the other hand - one door closes, another open up. Regardless, I'll do my best! For my perspective learning goal I am going to embrace the very fact of giving structure to my imagination and sensation I get when operating objects inside my mind. And then improving my skill of transferring that to reality, using these building blocks, lattices, and abstractions. Scaffolding! Synchronizing internal scaffolding with external one - this is how I imagine it. An approach (and hope) like this is especially important to me because of the specifics of my synesthesia. Will it continue making sense down the line, or will I eventually narrow it down to a more specific, incremental understanding? I'm eager to discover if the answer is there

Hi everyone, thank you for all the inspiring posts, I found a myriad of new artists to learn from just by scrolling down in this lesson page! For my perspective learning goal, I want to: - Understand & know how to spin a 3D object when drawing it in a 2D, flat surface. - Eventually, be able to craft believable rooms, houses and scenes from my imagination.

Hi Everybody, I have some stories I want to tell, graphic novels/illustrated books I want to write and I need to be able to draw people and animals from my imagination, in settings that I will also imagine. Setting and cinematic point of view are really important to me, so I'm taking this course. Plus I really like Marshall. He's a hoot! The artists I've chosen are Benjamin Flao, a french BD artist, Shaun Tan, who does illustrated books and Piranesi, from his famous prison series.

Hey there! Aspiring tattoo artist here. Joining late but excited to get started!

Late to the course, there have been so many wonderful, and amazing examples posted. It overwhelms my mind. My goals? to understand and to learn the skills necessary to be confident in putting to paper what I may have envisioned in my mind. and to be able to breakdown and creatively critique and understand how the image was created. Like what Marshall has stated in the video, there are so many books on the fundamentals of perspective. but I had yet to find anyone to teach it. I love the way that he presents the information in an engaging manner.

My goals for this course: - To take my art seriously and to learn a crucial skill that will elevate my ability to create. - To develop a consistent study/practice routine that allow me to successfully plan and follow through on future projects. - To improve my spatial awareness and observation skills to better analyze what I am looking at in real life. - To eventually apply this knowledge to figure drawing and portraits. - To impress myself with the progress I’ve made this year. Below are some of my favorites from: - James Gurney - John Harris - Gustave Doré - Giovanni Battista Piranesi - Moebius - Thomas Cole

My goals: - Be able to imagine new objects, landscapes, and technologies and effectively communicate my ideas in two-dimensional media - Be able to take inspiration from the world around me but push beyond what I'm actually seeing to create original artworks and designs - Master portraying space and scale to be able to create objects that feel colossal or minuscule in size at will - Be able to introduce my design students to the tools they'll need to begin to do the same Simon Stalenhag is a major inspiration for me as I absolutely love the machines and vehicles he imagines that feel both futuristic and nostalgic at the same time. I also enjoy looking to the Imaginary Landscapes and Imaginary Technology subreddits for inspiration.

Goals: 1) Respect for the process and the ability to follow through on an idea. 2) Planning and the ability to bring ideas into reality through the stages and workflow Marchell has demonstrated so far. 3) No longer using the excuse of "I'm not good enough to do that idea" or "I need to master a certain skill before I try that." These goals are not fully related to perspective, but from what I've done in the course so far, it’s definitely helping with them. The images i chose are those that made me go "Wish i was able to do that!".

Goal : to be able to draw anything I have in mind! :)) I have been drawing for a while now and my drawings with perspective were more or less precise because I never had a formal training for that. I'm mostly relying on intuition and observation to make it work but I noticed that I was really lacking in this field once I wanted to tackle more complex point of views or sceneries. So here I am, a bit late to the party but super eager to learn more about it! My perspective masters (old and new): 1.Akihiro Yamada 2.Bryce Kho 3.François Schuiten 4.Hiroki Endo 5.Hiromasa Ogura 6.Jan Van Eyck 7.Katsuhiro Otomo (refering to MC Escher with this drawing) 8.Katsuya Terada 9.Kazuo Oga 10.Moebius 11.Paul Grimault 12.Takehiko Inoue Special mention for perspective master Kim Jung Gi but he's so popular currently I decided not to include him and instead select some lesser known artists instead.

Ian Fennelly Paul Heaston

Lesson 1: I know these are not like most others but they have some interesting perspective views for me. I would like to learn, understand, and drawing. We have James Christiansen, Peter Hurd, James Gurney, Lisa Aisato, Edward Hopper, and a few I am not sure who the artist is.

1. Yusuke Murata 2. Kim Jung Gi 3. Peter Han

I have several drawings that give different perspectives--with each representing different art styles and approaches within each perspective. Frazetta is one of my all time favorites. His art is interesting as it relates to perspective. I read that he allegedly rarely used references for his art, thus a lot of his work was from the imagination. His perspective seems to show through a point of interest. His backgrounds are mostly " atmospheric" and hazy. The majority of his perspective relates to the shape around or leading to the point of interest. The result is something like a surreal image but finished with a more realistic render. Frank miller has a distinct style and this panel from Sin City is an example of the overhead POV and ways to scale with perspective. Pat Presley's concept art for Rebel moon is very detailed. It feels crowded and claustrophobic, while still giving a large sense of scale to the rest of the city. The last two are from Alex Ross, both are very impressive and display different uses of perspective. The burning building rescue piece is masterful.

Hey! I’m really excited to start on this journey. I’ve done several other perspective courses and worked through many books but having watched all of the videos in the Intro portion of the course, I feel like I can safely say Marshall is going to cover a LOT of areas and questions that simply aren’t covered in any of the other resources I’ve explored. My overarching goal is to gain an intuitive understanding of perspective, particularly when it comes to placing figures in a scene in a believable and dynamic ways. As well as creating an exciting sense of place and scale. All in pursuit of exciting storytelling. Katsuhiro Otomo: A master of sprawling, epic scenes in intricately rendered detail and placing figures in scenes in a way that emphasises the grandiosity of the scene. The example I’ve attached also has some rotated buildings, which is a reminder to myself that I haven’t yet been able to wrap my head around rotating cubes in perspective in a way that would achieve this, especially when they’re rotated along two or more axes. Kim Jung-Gi: Probably the undisputed master of intuitive perspective and figure drawing. There’s not much to say that hasn’t been said, the man had a visual library of incredible proportions, and to get even halfway to his level would be incredible. Masashi Kishimoto: An underrated master of perspective in the mainstream (though very well represented by my fellow students), Kishimoto has an incredible ability to incorporate wild and dynamic perspective drawing into his storytelling. While all three of these artists are all-round geniuses, for me, they represent the three broad stages of my desired development. Otomo is the technical ability, Kim Jung-Gi is the intuitive master, and Kishimoto is the ability to use that mastery to create stunning, dynamic works that tell a story themselves as well as working as part of a sprawling narrative.

Hello, I'm late to join, but pleased to be here. I'm here to learn only for my own enjoyment. I've submitted some images created by artists that I would like to learn perspective from. James Gurney, I have put a study of one of his Dinotopia paintings here. I liked because it showed the planning stages of the finished painting and show how he is solving the perspective problems that lead to such a believable finished work. I don't have any images of any of his plein air studies but I really admire the skills that allow him to document the everyday world as he perceives it in such a direct way. I would like to understand how to simplify and problem solve to the same end. NC Wyeth, his illustrations always contain so much energy and power. I think as I look back at many of my favorites from Treasure Island, it's his use of different angles and views of the subject, he places us in the scene not just looking on. Dean Cornwell, I really enjoyed this preliminary sketch, "The courtroom" uploaded here. It shows all the planning, and work. If I stop and try to understand all the vanishing points that are in play on each figure, piece of furniture, the room itself, my head begins to hurt. It would be amazing to have that kind of grasp of form in space and have the ability to communicate it. Thomas Schaller, I love watercolor and I have always loved architectural rendering. The contrast of the strong framework and transparent and glowing quality of the watercolor together is very evocative. I want to know how to use perspective to create believable built environments as he does. Hiroshi Yoshida, I have always loved the images created by him but until I joined this class I did not know his name. So thank you to everyone who picked him as an art parent. His work is both powerful and lovely at the same time.

I'm learning to draw this year... my goal is to do manga seriously. It has been my dream since I was a kid. Usually I tell my friends I want to write a graphic novel sometime when I retire from my current job. But honestly, I want to do a manga. I love the style of Hirohiko Araki. I want to be as detailed as Yusuke Murata; and I want to be able to create suspense as Juji Ito (I love horror). I watched some of proko videos and podcasts around perspective and got convinces this is one of the things I need to master and integrate as second nature to move forward. I want to build from imagination, not only copy what I see.

As an aspiring illustrator, I think essential for me to learn and master perspective, to the point where I can use it efficiently in my artwork and problem solve with my knowledge of perspective. I also think learning perspective will help me with my overall life drawing skills and knowledge of depth. Honestly, I haven't really practiced perspective on my own, which is my own fault entirely and I wish to start out fresh with this course. To start out I definitely want to know the basics, especially with knowing how forms interact and bend with perspective. My lack of basics and knowledge about perspective holds me back in my artwork, and my biggest goal is to be able to use perspective from imagination. . side note: learning about perspective will help me with my life drawing skills, like drawing what I see in front of me but also be able to imagine it in different angles.

I’m more focused on character drawing, but I’d love to be able to draw some backgrounds and props to complement them without making them look like they are floating in the air. My goals are: 1-Arrange props and characters in the scene and maintain a consistent scale and alignment. 2-Figure the right perspective when drawing a room corner where the floor meets the walls. 3-Make simple poses more interesting by bending the perspective of buildings around them. 4-Make objects interact or touch each other accurately, like falling buildings. 5-Avoid perspective from breaking your composition but keep the perspective accurate. 6- Know how to use multiple perspectives in a drawing and why. 7-Make the viewer feel small. 8-Know how much limbs shorten when characters are foreshortening. 9-Know how much something bends when close to the viewer. 10-Draw a character with a bottom-up or top-down perspective.