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.

M.C. Escher and Kim Jung Gi are two artists who demonstrate mastery of perspective. I would like to understand the techniques that are involved in creating such awesome images.

I love how these drawings are telling storys and thats what i deeply wish to accomplish in my life too. I want to share the stories I got in my head so much with the world. Thats my biggest wish and my greatest vision. I really hope to learn much from this course. <3

Goal for this course: to get familiar and comfortable enough with perspective, so that I use it intuitively in my drawings. At the moment, when I have to include any non-organic elements in perspective in my drawings, I panic, start measuring everything, taping the paper to my desk and marking vanishing points on my desk (if they're outside of the paper), drawing out all vanishing lines with a ruler, etc. And I do it even when it's not strictly necessary, when the drawings are not technical. I just don't trust myself to eyeball it. I want to progress beyond this fear. I want to be able to draw freely without relying so tightly on photo reference. I want to be able to draw from imagination, playing with scale and placement of things. I'd also like to work up the confidence to try urban sketching and I think having a strong grasp of perspective will help with that. Artistic benchmarks: - Luke Adam Hawker: one of my absolutely favorite draftsmen, he makes perspective look effortless and his drawings are both technically sound and expressive at the same time. - Old masters (John Martin, Giovanni Paolo Panini, Giovanni Piranesi) and contemporary artists (Gregory Fromenteau, Simon Stalenhag, Nathan Walsh, Zdzislaw Beksinski) who, through the use of perspective (and value), achieve awe-inspiring effects depicting sweeping vistas or grand interiors. Also, I love the use of perspective in abstract geometric art, there's something utterly satisfying about it.

My deepest interest in mastering perspective is to be able to render and create from my imagination, purely for pleasure. Also, I’m an artist that works mainly in acrylic paints and mediums, and a better understanding of perspective will help tremendously with accuracy in composition.

Some examples I'd like to understand and emulate. Two of these are actually photos I snipped for reference for a project. I find illusions endlessly entertaining and would like to be able to incorporate them in my work. I also would like to understand how to reproduce relections, or better yet create them from imagination.

As a younger artist I had a pretty good handle on 1, 2, & 3 point linear perspective. I hope to reinforce those earlier learnings which have faded some, as well as to learn the more advanced techniques I never did previously. I chose the "The Riva Degli Schiavoni in The Moonlight" because I would like to learn about shifting or changing perspective, or multiple perspectives in the same picture. I really like artist Paul Heaston's sketchbooks. He often does fish eye perspectives which I find endlessly fun to look at. I would like to know about perspective in early cartography. Not necessarily to implement it, just to understand how its done and how it differs from linear perspective.

Here are images from some of my favorite artists as part of assignment 1. It's clear I'd like to draw from imagination. Then to take those images and show them however I'd like. Manipulate them. I just got the course and I'm looking forward to this very much. I'm a "late" in life learner and though the elasticity of my neural network related to learning is, well no longer elastic as it once was, I have been told I'm wiser and that may help an old dog learn old tricks.

Peter Han is my favorite living artist so I had to draw along. Per usual to his live streams, I was humbled.

incredibly late for this but my goals that requires mastery in perspective is having the ability to draw nature and architecture around my city, which of course won't be easy. I'd like to also understand objects in perspective and how to use them in drawings. I am a huge fan of Chainsaw man, and I would like to set Mr. Fujimotos works as my standard for skill development!

My goal, as a hobbyist, is to be able to create story pages that seem realistic enough and interesting enough, that people would like to view them. Currently, I have just finally overcome my mental barrier on understanding how a 3D box can be rotated in space arbitrarily (I could only rotate boxes correctly when using a grid), so I have gained some minor confidence that it is not impossible for a 40yr old to learn decent enough skills to make his own (non-commercial) comic. Yeah, that breakthrough came just as I was about to give up on this, so I am still nervous, but it was Proko's intuitive perspective lessons that helped me overcome my initial struggles, and Marshal's old Perspective Course is highly regarded, so I have high hopes from this one too. And I intend to put the work, even belatedly. And yes, I am late, but I came from a 18hr work Sep-Nov, and a terrible tragedy in the family, so better late than never.