This really pushes your brain to be constantly aware of and measuring proportion. I can feel the gears turning in my brain. Next I would guess is translating the information here into a box distorted in perspective. Thinking about how things line up in different views really makes you aware of exactly where certain points are in 3-dimensional space in relation to each other. Working in a process that has multiple stages, refining as you go has me practicing a few skills I have neglected a little too much up until this point in my artistic career. Line quality I need to put some hours to practice with. Recently I’ve been slacking on that final stage of moving to a carefully execution and refinement. Maybe I should have chosen something boxier but I felt like I was challenging myself such an organic asymmetrical object, and went pretty well. It did take a little bit of time and a lot of taking measurements with my arm extended. First time using vellum. Quite fun. Will try some more soon, simpler ones though.

Miura (Berserk, 1989-2021) Diminution 4/5 Convergence 4/5 Foreshortening 4/5(look at that painting on the wall) Overlap 3/5 Atmosphere 1/5 He's using all these tricks except atmosphere to give a sense of the size of this space filled with people Escher (The Well 1946) Diminution 3/5 Convergence 5/5 Foreshortening 2/5 Overlap 4/5 Atmosphere 1/5 So many lines all pointing convergently up give an immense sense of momentum. Otomo (Akira 1982-1990) Diminution 4/5 Convergence 3/5 Foreshortening 1/5 Overlap 2/5 Atmosphere 2/5 Some off these techniques are being used but it may not be the best to study from. Caillebotte (Paris Street, Rainy Day, 1877) Diminution 4/5 Convergence 3/5 Foreshortening 1/5 Overlap 2/5 Atmosphere 4/5 The atmospheric perspective is what sells this as a rainy day. Caillebotte (The Europe Bridge, 1876) Diminution 4/5 Convergence 3/5 Foreshortening 2/5 Overlap 3/5 Atmosphere 2/5 The steel beams are mesmerizing