This is from a game called Monument Valley. Its doesn’t appear to use vanishing points, so it entirely in a flat 2D orthographic view. But I wanted to learn how to draw things from different angles and taking bits of these buildings will be good for that. Maybe. I could try and add my own perspective lines.

I love perspective but it's so hard to wrap my head around, here are some of my issues I wanna work on. Perspective problems I want to learn how to solve: 1. spiral staircases 2. understanding cylinders and ellipses and how they change when moved around 3. same thing with spheres 4. learn how to make buildings both boxy and cylindery 5. learn how to draw water with moderately accurate perspective 6. reflections with mostly accurate perspective

I want to learn how to draw in perspective for two reasons. First, I work as an environment artist for video games, and it would be useful for me to have such skills. Second, I want to write books and create illustrations for them that I already have in my mind, but I don’t know how to bring them to life or where to start.

I want to make manga, so these are my goals in learning perspective: Be able to draw characters at any angle from imagination. Create environments of any scale, design, and dynamism for my narratives to take place in. Be able to use whatever perspective I want to enhance the visual storytelling and composition of my manga. I've picked artwork from legendary manga artists Kentaro Miura (1-3) and Yusuke Murata (4-6), and also discovered awesome concept artists such as Feng Zhu (7-9), Sparth (10-12), and Craig Mullins (13-15) while doing this project.

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.