HI @Marshall Vandruff - I really excited to be taking your course. When asked to choose my favourite drawings, I immediately remembered this picture of "a guy looking at himself in a glass sphere." It must be so many years ago, and I had no idea who drew it - but it made such an impression (and apparently on many others, because it was very easy to internet search), it is M.C. Escher's "Hand with Reflecting Sphere." I tend to think about perspective in relationship to storytelling. The second one is piece I did last year, it was my first time really measuring things out in 3 point perspective. It was fascinating to me how close or far apart the characters I placed the crowd in relationship to the girl conveyed a different feeling. Also I had no idea how to really draw people from different perspectives, so I basically got my camera out and posed for all the characters on the page to get approximate proportions! Isn't that awfully time consuming? This is why I need to learn perspective! With this in mind, I actually think I don't need very "fancy" perspective. People should be absorbed in the story, not marvelling at how cool the perspective is. So on my wishlist: 1. I need efficient ways to draw. I'm a bit frustrated by vanishing points that are so far apart that my T-square can't really reach it, but in the proko challenge I found that the angles I wanted often were the case. If by the end of the course I can draw scenes from my imagination to a degree of passable accuracy I will be super happy. 2. I would also like to be able to change the perspective of an object. This comes up a lot - I have a lot of photo references - this sofa, this lamp, these people ... and I want them to be in the same scene. Boxy objects like sofas are still doable-ish, but people and organic forms are really hard for me. So back to Escher - I think the reason it stuck in my mind is because it made me look at the world in a different way. It's a different type of self-portrait. This is one of the few cases where the perspective is cool, but in service of storytelling. Oh by the way, I'm also fascinated by paintings that completely ignore perspective. A lot of Chinese/Japanese art, for example.

I want to be able to draw any pose from every angle I can imagine, and also be able to insert my characters into scenarios with a dynamic perspective, which you also can clearly imagine a story being presented. 1 - Francisco Vasquez 2 - Posuka Demizu

I think this assignment has already uncovered a severe deficiency. If I'm struggling to come up with more than a couple of artists that I can say are an inspiration to me and can act as a high-bar for perspective. I get self-conscious when I hear people list off all these great artists whose historical context they understand deeply while I have a couple of obvious choices that I can pull out of my back pocket to try and hold my own in a discussion. Of course this is a good opportunity to see what people consider a high standard and find some new artists to follow. I want to learn perspective so I never need to think about perspective. Or at least think about it as minimally as necessary. I feel like it's a bit of a roadblock right now to the things I really want to do with drawing. I want to be able to create impossible things and make them believable and filled with life and I want to be able to more consistently reproduce them in different angles and positions and even impossible things still need to be represented as the human eye would perceive them. I want to be able to draw scenes from dynamic and unusual angles and make everything look right. I want a better way to make landscapes and backgrounds and not belabor every detail because it requires so much fiddling to get it to feel right rather than knowing what is right. I don't want someone to look at something I've drawn and get that feeling of "something's not right here" because enough little perspective errors are adding up.

Here's everything in 4 slides. What did I learn this month? Through the constant practice, I gained certain insights about my relationship to perspective tools. 1. Unless it's spatially dominant (e.g., chessboard or throne room), it made more sense to first envision/sketch the object, and then figure out the vanishing points/grids that serve it. Often the vanishing points were way way way off the page too, so I would have to plot the grid, zoom in and and crop the relevant grid, and draw on that. 2. Since usually we are taught perspective with the horizon line and left and right vanishing points, I was surprised at how often from top down product shots the two point perspective would be the top and bottom VPs. (e.g., drums, video console). 3. I would like to do more reimagining of forms from a different perspective when I have more time. I tried this with the fire hydrant, the table and the spacesuit. It's something that takes a lot more brainpower but worth doing. The rest are mostly from photo reference and figuring out what perspective they are from, and reverse engineering from there. 4. The organic forms (the spacesuit, the skull) were hard for me. I wonder if it's also because I I have been studying the human figure/we are attuned to notice mistakes more as people. Maybe if I were a car engineer or architect I would feel the mistakes in cars/buildings more keenly! 5. I got a lot of practice with digital drawing this month, mainly because it was more convenient to show the construction neatly. Sometimes I would sketch and draft manually and then go over the lines again digitally. A huge thank you to Stan, Marshall and the Proko team for hosting this challenge. It was a bit of a part time job (3-5 hours a day), but I'm really glad I did it. There's still much much more for me to learn.

Week 4 Day 7: SKULL! I went ahead and Did a Raven Skull. Just in the desert cause you know classic. And with that I have completed the Whole Challenge! It was fun. Learned a lot.

25 - Swiss Army knife. Oh my gosh, I'm DONE!!! If I have time, I might spend the weekend going back and cleaning up some of the earlier entries, and make a post with everything reflecting on this month's work.

28 - Skull I was going to do animal skull but I wasn't familiar with the planes involved, so I went back to the human skull and revisited the planes that I once learnt.

24 - Toaster

23 - My workdesk

Day 19 - Diving Helmet! This started as a sphere construction exercise, and I think that part went well - unfortunately I'm not too happy with the finished product. Oh well, that's what practice is for.