I have to study Jeff Smith for my art job, so, might as well combine that assignment with this one! Image 1: Diminution: 4, Characters clearly different depths and sizes from each other. Convergence: 1 Foreshortening: 1 Overlap: 2, ground plane helps exaggerate the distance between foreground and middle-distance characters Atmosphere: 2, the trees on the right fade into blackness, as does the ground plane Image 2: Diminution: 3, cart is proportionally smaller than it would be if it was not affected by diminution. Convergence: 5, cart displays strong 1 point perspective, as well as the floor plane Foreshortening: 5, cart is in a very foreshortened state Overlap: 5, characters in front of the door, overlapping the cart, and the sloping ground plane Atmosphere: 1 Image 3: Diminution: 2, a little bit with the character sizes Convergence: 1 Foreshortening: 1 Overlap: 2 tiny bit with the branch at the bottom of the panel Atmosphere: 4, the way the trees and foliage fades into white in the background Image 4: Diminution: 2, the puddles on the path Convergence: 2, Path ground planes slightly converging back in space. Foreshortening: 1 Overlap: 2, rocks and branches Atmosphere: 5, the "grumping" figure in the distance emerging from the solid black. And he manages to accomplish all this with only black and white at his disposal! So amazing.

Rating And Analysis Kenneth Anderson: (https://pin.it/1M692vOJr) Diminution: 2-3 (the ghost at the top gets progressively bigger than the characters as they move down the stairs) Convergence: 3 (there are some converging lines on the stairs and in the framing of the house as well as the checkered tiles and the railing) Foreshortening: 3 (the viewer is looking down at the scene at an interesting angle, distorting the characters and setting) Overlap: 3 (the characters are overlapping each other and they are overlapped by , or overlap the objects they are holding) Atmosphere: 1-2 (there is a little bit of fading in colour as you move into the background) Soyun Park: (https://www.behance.net/gallery/52184619/The-Nutcracker) Diminution: 4 (objects and pieces of furniture shrink significantly moving back into the picture) Convergence: 3 (a good amount of converging lines in this image like the steps, tabletops and shelves for example) Foreshortening: 3 (there are some foreshortened objects and some elements of furniture angled away in different directions from the viewer) Overlap: 5 (there is a huge amount of overlap in this image from the objects on the tables, the furniture, beams, steps, drapery etc.) Atmosphere: 2 (not much but there are some differences in the line weight in the foreground and background) Soyun Park: (https://www.behance.net/gallery/52184619/The-Nutcracker) Diminution: 4 (buildings and mountain peaks get smaller as they move back in the scene, characters especially get smaller) Convergence: 2 (there are converging lines on the buildings however some of the lines on the left buildings aren’t really parallel but seem to curve. Foreshortening: 1-2 (there are a few objects like the shop flags and a few elements on the buildings) Overlap: 3-4 (the left buildings, mountains, and people all overlap quite a bit. Atmosphere: 3 (as you move back into the scene the colours are more faded and objects almost start to “blend” together a little bit) Sheryl Yap: (https://www.behance.net/gallery/133931813/Nimbos-Hickory-Dock-%28Complete-art%29) Diminution: 3 (there are a lot of clocks on the wall that get smaller as they move further into the scene. The difference in size to the main character and the two characters in the back is also significant) Convergence: 3 or 4 (a lot of the floor planks converge as well as the angles of the furniture on the right wall) Foreshortening: 3 or 4 (again the objects on the right wall are all angled) Overlap: 2-3 (there is some overlap of the furniture and characters) Atmosphere: 2 or 3 (the scene loses some vibrancy as it moves further away. The top of the canvas to the right side have a sort of vignette effect) KatiStarSoul Art: (https://pin.it/69jlFeU2f) Diminution: 4 (the objects in the front, the characters and buildings, are all staggered in size and get smaller the further they go in the image) Convergence: 3-4 (there are a lot of converging lines in the buildings, structures and the chains) Foreshortening: 3 or 4 (there are a lot of objects turning away from the viewer in some of the circular structures, the buildings and the chains. The buildings closest to the viewer are very angled) Overlap: 4 (there is quite a bit of overlap in the buildings, structures, floating objects, chains and characters Atmosphere: 4 (the background gets significantly faded) Mengxuan Li: (https://pin.it/2bPqX3q1m) Diminution: 4 (there is a lot of this effect in the image with the characters, objects and buildings. The cat in the foreground is a lot bigger than the buildings in the background. Convergence: 2 (I don’t think there’s a lot of convergence in this image. There is some in the foreground and a bit in the mid-ground but the background is densely packed with a variety of edges in different directions making it hard to see many converging lines) Foreshortening: 2 (there is a bit of foreshortening in the storefronts in the foreground and midground. There is also some foreshortening in the background but it’s a little harder to tell as the edges get less distinct. Overlap: 4 (highly used, the buildings and objects start to jumble together in the mid and background) Atmosphere: 3 or 4 (the colours get significantly less vibrant and objects start to lose clarity. JaeCheol Park: (https://pin.it/4UrntUiA9) Diminution: 3 (the buildings and balconies get progressively smaller moving back) Convergence: 5 (this image is essentially made up entirely of converging lines) Foreshortening: 3 (the building fronts are all angled towards the vanishing points) Overlap: 5 (an endless amount of building fronts and balconies overlap each other) Atmosphere: 4 (the furthest part of the image loses a lot of value. Especially in the top and bottom centre of the image in-between the buildings. The line weight on the buildings is decreased moving up vertically, however the lines jumble together in the back centre of the image making the value darker than the buildings just noted) Armand Serrano: (https://pin.it/5vrCVTBt2) Diminution: 3 or 4 (there are some bigger objects in the foreground, such as the hooks, ropes and other objects that are bigger than some of the elements and characters in the mid and background) Convergence: 3 (there is some convergence in the buildings, balconies, framing, windows and on the docks. Foreshortening: (some foreshortening on the dock, the boat, in some of the circular elements, as well as some of the curved structures and architectural details) Overlap: 3 or 4 (there are a lot of elements overlapping in this image such as the hooks, ropes, characters, architectural details and other objects) Atmosphere: 2 (the image slightly fades up the right side, and down the waterway to the left affecting the buildings and characters)

Treehouse of Horror V Bart is overlapped in front of Principle Skinner telling us that Bart is closer to the viewer. Bart is also drawn larger than he typically would be compared to Skinner, which makes him appear closer despite being smaller than Skinner. Diminution - 5 Convergence - 3 the horizontal lines appear ton converge but I can't tell if they line up to a vanishing point Foreshortening - 4 Overlap - 5 Atmospheric - 1 Their doesn't seem like there is any to me Herbert James Draper The lower bodies figures further from us a drenched in a layer of fog Diminution - 5 Convergence - 2 Foreshortening - 4 Overlap - 5 Atmosphere - 5 Daredevil Matt is covered in the dark shadows of the room and the ropes in the background are darker than the ones in the foreground. The rope and top of the canvas diminish and converge as they move away from us. There is also more shadow on Matt's head and shoulders than his torso the front and edge of the canvas is overlapping with the fare post and bottom rope; both of thees suggest we are looking up at Matt. Diminution - 5 Convergence - 5 Foreshortening - 2 Matt's pose is square so the foreshortening doesn't feel to apparent, but their still is some due to us looking up at him Overlap - 5 Atmospheric - 3 it is there, but it doesn't feel consistent Jupiter, Neptune, and Pluto Caravaggio The limbs of the figures are foreshortened. The Dog overlaps with the legs of the man and sphere in the canter overlaps with the hand of the top figure. Diminution - 3 Convergence - 4 Foreshortening - 5 Overlap - 5 Atmospheric - 2 Treehouse of Horror VI The staircase and Willie's tongue diminish and converge towards Grounds Keeper Willie and the chalk board diminishes and converges to the sky. Diminution - 5 Convergence - 5 Foreshortening - 4 Overlap - 4 Atmosphere - 1

The 1st is an example of foreshortening. The 2nd is an example of convergence. The 3rd is an example of diminution. The 4th is an example of overlap. The 5th is an example of Atmosphere.

Sorry I’m late posting to this and have missed the critique but thought I would still review some of my favorite art Hand with Reflecting Sphere (image 1) Diminution 5 Convergence 5 Foreshortening 4 Overlap 3 Atmosphere 1 Relativity (image 2) Diminution 2 Convergence 1 Foreshortening 1 Overlap 3 Atmosphere 2 spiral staircase (image 3). Diminution 5 Convergence 2 Foreshortening 4 Overlap 4 Atmosphere 1 Cafe Paul Heaston Image 4 Diminution 5 Convergence 5 Foreshortening 3 Overlap 4 Atmosphere 2 Sphere are from Paul Heaston Image 5 Diminution 5 Convergence 5 Foreshortening 4 Overlap 3 Atmosphere 1 Image 6 Waterfall CityJames Gurney Diminution 5 Convergence 2 Foreshortening 1 Overlap 4 Atmosphere 3 and 7 Dinosaur Parade James Gurney Diminution 5 Convergence 2 Foreshortening 1 Overlap 5 Atmosphere 4 Image 8 Thanksgiving Dinner Norman Rockwell Diminution 2 Convergence 1 Foreshortening 2 Overlap 5 Atmosphere 2 Image 9 are from Norman Rockwell Diminution 2 Convergence 4 Foreshortening 2 Overlap 4 Atmosphere 5 Image 10 Ryan Church Star Trek, Diminution 4 Convergence 2 Foreshortening 3 Overlap 4 Atmosphere 1 Image 11 Ryan Church Diminution 5 Convergence 1 Foreshortening 2 Overlap 4 Atmosphere 3

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

I am struggling to understand what makes Foreshortening a separate technique. If I look at a foreshortened arm, I see Diminution, Convergence and possibly some Overlap. It is just like looking at a road that goes away into the distance. An unforeshortened road would be one seen from a bird's eye view. So what am I missing about foreshortening?

Hey there every one! Today I was looking at some of my old sketches from age 18 and so on, I gave all of them a look of DCFOA and picked some of them to share whit you. back then I had the feeling of letting all my emotion drain on the paper and it was the beginning of my adventure in my within universe. after this analyzation, it has been cleared to me that why some of my sketches stood out more to me after reorganization back in the drawing stages. Let me know if my ratting was fair. Thank you.

I couldn't make the critique video (holidays are hard to plan around), but here's my submission: I chose two from my album to gander through, first is by Mat Rockeffeller: Diminution: 2/5 Convergence: 0/5 Foreshortening: 3/5 (This one is a little harder because this image is almost fish eyed to represent the situation) Overlap: 4/5 Atmosphere: 5/5 A bit about this one from my perspective as stated in the foreshortened score, this image is fish eyed as if the viewer is a fish in the environment. The little hidden fish here and there while distracting from the clearly massive being holding the house up is very atmospheric! (Or...maybe i'm wrong?) Second piece is from Donato Giancola: Diminution: 0/5 (This one was difficult to sus out) Convergence: 0/5 (Also hard to sus, the buildings are stock straight) Foreshortening: 4/5 (We are the bird!) Overlap: 5/5 Atmosphere: 5/5 This one seemed poignant on the environment to be atmospheric! It almost feels heavy in the mountains and strong lines. This one is all space babyyyyyy. I could very well be wrong on all of these haha!

Blue: Diminution Red: Convergence Purple: Foreshortening Green: Overlap Yellow: Atmosphere 1. Yusuke Murata Diminution - 4 Convergence - 3 Foreshortening - 4 Overlap - 2 Atmosphere - 3 2. Hajime Isayama Diminution - 5 Convergence - 2 Foreshortening - 4 Overlap - 2 Atmosphere - 2 3. Kim Jung Gi Diminution - 4 Convergence - 5 Foreshortening - 3 Overlap - 5 Atmosphere - 1 4. Ruan Jia Diminution - 5 Convergence - 3 Foreshortening - 1 Overlap - 5 Atmosphere - 2

It was a cop out to not submit. I found that it took time to go slowly and that I kept my eye visualizing the endpoint.

Mark Tedin Foreshortening 2 Diminution 4 Overlap 3 Atmosphere 5 Convergence 1 Todd McFarlane Foreshortening 5 Diminution 3 Overlap 4 Atmosphere 1 Convergence 3 Moebius Foreshortening 2 Diminution 5 Overlap 3 Atmosphere 1 Convergence 4 Donato Foreshortening 3 Diminution 4 Overlap 3 Atmosphere 3 Convergence 3 Quarrie Foreshortening 4 Diminution 5 Overlap 2 Atmosphere 2 Convergence 3 Such a wide range of techniques applied. I found it interesting that Donato’s was the most balanced, it definitely comes a cross as the slickest piece along the collection. The atmosphere in Tedin’s piece is stunning, I have no idea how to study making those forms in perspective! finally caught up. Sad I’m late for this submission but I’ll be there for the next!

A little late but I work seasonally with plants so I'll be more on time as winter sets in and we can finally breath a bit. I need to get a little better at collecting images I appreciate instead of just fawning over them in passing! 1. Moebius - Artwork from Jodorowsky's unmade Dune adaptation The first image is from the mighty Moebius. It's pretty jam-packed with information and, at least to my fairly untrained eye, uses the depth techniques very effectively to organize the work. Diminution - 4/5 - There are some inconsistencies maybe? Also it's not entirely clear whether some of the ships in the sky are smaller due to distance or size. Convergence - 5/5 - Moebius seems to be really good at this. Foreshortening - 5/5 - Gives a great sense of heft to the ship in the sky, while keeping it from dominating that space. Overlap - 4/5 - I feel the image could have used overlap a bit more to inform where ships are in relation to each other in the sky but maybe that would have made things in that spot a little too busy. Atmosphere - 3.5/5 - One thing I've noticed in Moebius works is that he often doesn't rely on this that much in terms of establishing depth. A lot of the furthest details are quite crisp and the detail is still pretty evident. I think this works really well for his work as a lot of the interest in what he does lies in the fantastical worlds he draws you into and oftentimes the less obscured the details of his worlds are, the better. 2. Yoshida Toshi - Half Moon Bridge A shift in gears from the expansive busy setting of Moebius to a more placid and cozy setting. I love this image and it uses several of the techniques in question to establish a great sense of where we are viewing this scene from. Diminution - 3/5 - I think this is the technique relied on least to establish scale/depth. Outside of the people in the background, not much can be compared, I don't think. Even the structures are obscured quite a bit and they aren't necessarily of the same size, so that doesn't tell us much. Convergence - 5/5 - I busted out my trusty ruler and from what I could tell, the lines that should be parallel do indeed converge at a common vanishing point. I'm sure I could have measured this more precisely though. Foreshortening- 4/5 - A few spots where I can see foreshortening contributing significantly to establishing depth is on the underside of the bridge, along the wall/path on the left side, and the white building on the right side. These help establish the depth of those areas. Overlap - 5/5 - With the relatively small size of this piece, overlap is used extremely well to establish where in the image things lie. The usage of plants especially helps establish this, to my eye. Atmosphere - 3.5/5 - Not a huge amount of depth established with this but it's done well. The wisteria in the foreground has the most detail and the folks in the building in the background are quite obscured. There is very change in lighting outside of the people in the background. 3. Brian Froud - The Mountain This is maybe not the best image for this study but I though I would give it a shot. I love Froud and others like him. I'm very much looking forward to learning how to apply our perspective techniques to more naturalistic works. Diminution 4/5 - There is less heft on the elements of the "mountain" as you continue around the hat and towards the background. Convergence - N/A - There's no parallel lines? How do we deal with this when creating something entirely organic in shape. I guess this is what I'm here to learn :) Foreshortening - 5/5 - Foreshortening of the "hat" (and nose) are very important for establishing the depth of what we're looking at. Overlap - 3/5 - While it is important and well done for relaying where object/elements are in the piece, it's not always clear. At the very top of the mountain there are a couple small plants. It's not really clear which is in front of the other. Same with the direction of the large tree at the base of the stone. With an image like this, it isn't hugely important that everything is perfectly organized and the composition doesn't suffer from it. Atmosphere - 5/5 - I think this uses atmosphere quite well to help keep you focused on the most important aspects of the piece. The face and most interesting features of the plants and stones, being closer to us, are by far the clearest while the roots and smaller plants as you look towards the back and side of the hat fade into the background of our attention.

Sorry for being so late, I hope I can make it to the critique video, but if not it's ok, it was a fun exercise to analyze these pictures! Works by Yusuke Murata First Picture - Diminution: 5. Extreme - Characters, path and environment become smaller as they go further away. - Convergence: 4. Much – The path (parallel lines) converge as they go further away, the trees on the sides don’t quite meet but they get closer as they go away.} - Foreshortening: 5. Extreme – The character’s limbs look shorter as they are facing forward in the view, arms and forearms look shorter, torsos looks shorter, legs look shorter as they come forward or go towards the back. The bicycle the girl is riding is also very foreshortened making it’s body look very short, her torso is also leaning forward so it looks shorter, many of the characters in the back have their limbs shortened as they go forward, the path itself is foreshortened as it gets closer to the view, same for the trees on the sides as they get closer. - Overlap: 5. Extreme - As it’s a close front view that becomes a high angle as it goes away, the characters overlap each other the farther they become, the characters and trees also overlap the ground because of the high angle, the character in the front has his body be overlapped by the parts that are closer to the view. Ex. Head overlaps torso, right shoulder overlaps arm, right hand overlaps wrist, left shoulder overlaps arm, right hand also overlaps torso and right shoulder, body overlaps hips, right leg overlaps lower leg. The bicycle the girl is riding is also overlapping itself as it’s facing the front. - Atmosphere: 1. None – There is no fading as the characters or environment get farther. Second Picture -Diminution. 4. Much – Environment and the creature become smaller the further they are. - Convergence. 3. Some – The buildings on the sides get closer to each other as they go farther away. - Foreshortening. 4. Much – The buildings seems a bit foreshortened as the angle is semi-below, making them look shorter than they are. The creature is long, but it’s facing forward so it’s parts of the body look shorter. - Overlap. 4. Much – The buildings overlap each other as they get closer to the view, the character is in the front so it overlaps a lot of the elements like the path, parts of the monster and the buildings, the characters weapon (bat) overlaps his head as it’s behind it and he is facing his back toward us. The body parts of the creature overlap each other, it’s head overlaps the body, and every subsequent segment overlaps the one behind it. - Atmosphere. 4. Much – The path, the buildings and the monster fade as they go farther away, there is a gust of wind in front of the character, separating the buildings in front of him and also fading their bases, the father body of the monster is very faded, showing it’s really far in the back, the front of the body of the monster in general is a bit faded, showing it’s not only far away, but also really high up in the sky. Work by Katsuhiro Otomo Third picture - Diminution. 3. Some – The characters and the vehicle become a bit smaller as they go far way, it’s not a very extreme perspective so it’s not that big of a change in size, but it is more noticeable as the details in the vehicle become much smaller. - Convergence. 2. Barely – Since the perspective is not very extreme the convergence is not that obvious, but you can see it on the second part of the body of the vehicle, since it’s body is square shaped, it’s sides are parallel lines, and they do get a bit narrower (closer) as it goes farther way. - Foreshortening. 4. Much – Since the view is a front-high angle, the body of the vehicle looks shorter from the front and also shorter in height, the people on the top of the tank also look shorter since they’re closer to the camera view, many of the elements of the vehicle are also foreshortened since they go up in this high angle view, the wheels of the vehicle are very foreshortened. - Overlap. 5. Extreme - Since it’s a front-high angle view, many of the vehicle elements overlap each other, it’s front body overlaps the back body, the higher part of the body overlaps the bottom and the wheels, many of the elements on the very top of the vehicle overlap the parts it’s on top of and ahead of, the people on top of the vehicle overlap the tank since they’re closer to the height of the angle view. - Atmosphere. 2. Barely – There is not really any fading on the lines themselves, but if you pay attention you can see the colors of the vehicle become whiter as it gets farther back, since the background is a light world (white), the colors becoming clearer shows how it’s getting farther.

The Zhengyi Wang piece uses every trick to create a sense of scale and emphasize the size of the spaceship. The primary forms are pretty simple - repeated circles, with a few spokes attached to a core cylinder that fades into the distance. •Diminution - 4/5 Each mechanical part in each "circle" is repeated on the circle further back. This makes it clear that the difference in scale is due to distance. This also is done in the blocky buildings on the circle. Each building gets smaller as it moves back in space. I thought it was interesting how this effect with any given few buildings was small, but because there are so many buildings, the effect is intensified. •Convergence - 5/5 I thought this was one of the most intense of the tricks in this piece. Many of the mechanical parts feature parallel lines that move away from the picture plane, creating a lot of converging lines. This effect is intensified by each successive circle and its own converging lines. Almost all of them are wrapped around the center cylinder or outer ring, meaning they all converge toward the same point - the center of the circle. •Foreshortening - 3/5 Since the big, primary forms are simple it becomes obvious to the eye how the shapes are transformed by perspective. The circles along the cylinder of the central spoke become ovular. The outer rings similarly become ovular, and the outer rings have scaffolding that twist as they circle toward us. •Overlap - 4/5 The way that each ring is rotated independently creates a lot of crossing spokes, which allows for a lot of overlap. The spokes in the closest ring dominate the composition, overlapping over every further-back ring. Each building on the outer rings overlaps the one behind it, sort of like roofing tiles. •Atmosphere - 5/5 This is the other most intense tricks used in this piece. The fog becomes so dense that the other end of the spaceship is invisible to us. The rings seem to repeat into infinity. Simple but very effective at establishing a sense of scale and depth. The Amir Zand piece is interesting to me, because it also emphasizes size and scale, but goes about it in a completely different way. Its design actually seems to deliberately avoid or subvert each of the tricks. It accomplishes making the giant rock seem both realistic and strange, grounded but larger than possible. I wasn't sure how to actually rate the tricks here, so I decided to rate how much each trick was PRESENTED in the piece, and explain below how it actually was USED to enhance the design. •Diminution - 2/5 There are almost no repeated objects that would make diminution clear. The giant rock is one of the furthest away objects, but is also the largest object in the composition. This contradiction causes the rock to loom uncannily large. The objects closest to us - the man on the boat - is one of the smallest objects. This emphasizes how dwarfed he is. The algae on the water is shaped in a way that diminishes a bit at first, at least until the middle of the composition, but then the size becomes seemingly random again, creating a contrast and an intentional rejection of the diminution rule. There are a few smaller rocks that diminish in size, and I've marked them with a brighter color. I marked some things with a grayer color that seem to reject the opportunity to use diminution. The flock of birds are painted parallel to the picture plane, which means they do not diminish at all. The left side of the rock has several faces that create shadows. As these faces get further away, they actually get larger in size, which contradicts what we would expect. This contradiction again creates a sense of the rock actually getting larger. •Convergence - 2/5 There are just a few lines that converge into the distance, and I've marked them with brighter lines, but they aren't very convincing. I've marked with grayer lines all of the places that seem to reject convergence as a tactic. The bottom line of the rock, where it meets the water, is flat. It's parallel to the picture plane, despite it having a side plane further up. That side plane meets the lower-down section at an angle opposite to what we would expect on a typical cube. •Overlap - 2/5 Each facet along the left side of the giant rock overlaps the one behind it. This is simple but, along with the lighting, is enough to explain that this plane is actually receding, despite its lack and rejection of the other tricks. The way the algae overlaps the rock's reflection is interesting to me. It doesn't technically overlap the rock, but it sort of pushes it back...spiritually maybe? An interesting way to have the rock acted on spatially without having it covered at all. The rock overlapping the birds is one of the only ways we have to understand our distance from the birds. •Atmosphere - 3/5 The atmosphere used here is less of a mist or fog, and more of a shift in color. The algae becomes less saturated further back, and the clouds are much grayer than the rest of the piece. The effect isn't as intense as the other piece I discussed, for example, but it's certainly there. It's interesting that the shift in saturation seems to happen right at the bottom of the big rock, along both the y and z axes of the painting. This further emphasizes the rock and its "magical" qualities. •Foreshortening - 4/5 This seems to be the most intensely displayed trick in this piece. The way the algae is shaped to present the plane of the water shows a mastery of foreshortening. The way the bottom of the painting spreads out like that reminds me of a wide-angle lens photo, which is very interesting to me - normally, wide-angle lens pictures "shrink" their subjects, especially the things that are far away. If the rock really looked that big in a wide-angle lens, it must be especially large. Someone please let me know if I'm off here, but painting a composition in a way that references photographic lenses to play with scale is genius.

All these tricks are already giving me ideas! Thanks Marshall for the lesson!!

Add some explanations to the ratings, would love to see whether I miss anything

It was interesting to see the use of those tricks in small parts, which created the perspective in the picture as a whole.

Here's a few more Master Analysis, and I have to said these wide-shot of Elbaph is one of my new favorite panels of One Piece

Here is my crack at the analysis of some of my favorite refernce images. It's absolutely facinating to me that these artists have such control of these techniques and use them to great effect to tell stories through their images! I hope some day I can get a fraction of what they are able to do in my own work.