Really cool seeing the tricks that make some cool comic panels work!

I am trying to get back on track after dropping the course for a month. I was writing everything out at first but it really takes a lot of time if you are not used to doing the excersice. This is a really good practice I want to do more often!

Jacek Yerka Diminution - 4 Convergence - 4 Foreshortening - 1 Overlap - 2 Atmosphere - 3 MC Escher Diminution - 2 Convergence - 1 Foreshortening - 2 Overlap - 2 Atmosphere - 1 Moebius Diminution - 5 Convergence - 4 Foreshortening - 3 Overlap - 2 Atmosphere - 1 Zdislaw Beksinski Diminution - 4 Convergence - 4 Foreshortening - 2 Overlap - 1 Atmosphere - 5 It was interesting taking not of how strongly some of these perspective tricks were actually used in some of these pieces. the MC Escher one didn't seem to use much at all, I guess that's just how isometric is though.

1. Kentaro Miura D: 5 - The monster's legs get smaller as they get farther C: 5 - The monsters body converges to the ground F: 5 - The monster is foreshortened at an angle to fit its entire body in a relatively close shot O: 1 - Only two birds and some smoke overlap the creature A : 5 - The ground is pitch black and the monster's legs fade the farther down they go 2. Feng Zhu D: 5 - The size of the person in front is comparable to the building and the giant bug in the background C: 3 - Three of the buildings converge to points up and to the left F: 4 - The giant bug is shown at an angle O: 3 - There is a lot of overlap, but many objects are also positioned within their own space A: 5 - The people become silhouettes, and the buildings and background fade in the distance 3. Craig Mullins D: 5 - The people and the archways in the back are much smaller C: 5 - The rows of people converge to a point F: 2 - The elephants are foreshortened, but not much else is O: 5 - People in rows are being covered by the guy in the front, the flags, and other people. A: 1 - Minimal or no fading in the background

Foreshortening will always be the bane of my existence, especially with things like fingers and arms. I LOVE atmospheric perspective, and right now I'm using it as practice in Blender 3D. One thing I still gotta practice is adding more things into a scene. Mine tend to look a little...meh. As for the favourite artworks, I'd better dig into my old collections because I can't think of any currently. I did, however, collect several during concept art courses. I'm gonna look then edit this post. :D

The thorough analysis of the images I selected previously made me realise which style of image I like and also gave me a new way to analyse and better understand a composition and how each artist uses depth techniques for unique renditions. Diminution, Convergence and Overlap have my (huge) preference. Funnily enough, I realised after the course that Atmosphere is also one of them by looking at some other books I have at home but apparently I didn't select any significant work within it. Well anyway it was very instructive and now I look with fresh eyes on old favourite artworks and try to analyse them with these new comprehension of perspective in mind. Ps: I am publishing most of my comments on this course as normal ones, not the "help needed" ones but I noticed the tag is added automatically after I publish them (and can't remove it afterwards). I also experience sometimes the comment box not appearing at all so apparently comment section is a bit buggy. If needed, I can help and provide informations in order to debug it. And if this one publishes again as "help needed", this wasn't my intention so please don't mind it :)

I initially submitted a pitiful attempt because I was scared of the fact that I yap too much at times and it would be too much but after watching your critique I realized that being over analytical and taking a lot of time to observe is a good thing. I didn't go as in depth as I would've loved too as im trying to catch up to the rest of the class but I went in e tough that im satisfied. I will try to be doing this with every image that catches my eye now. The major thing I noticed is that despite seemingly being the "easiest" trick, OVERLAP is the most prominent in almost every single one of my favorite artists work. It's probably because I am most drawn to character art and artists that overlap plays such a huge role in their images. It's also very interesting how simple the perspective in the images really are, mostly one and two point perspective but how they arrange certain elements, characters and objects is usually what makes these images. Basically I've learned that while it is a tool to create depth, overlap is one of the most important parts of composition. I've always known that enough knowledge of perspective makes your compositions better but seeing how much of composition is playing with the placement of objects in space is very eyeopening. I'm looking forward to rest of the course and I'm going to start saving up to buy more Proko courses.

I'm so late you probably will never see this but I've been battling crippling procrastination and adhd just to get to this course so I don't stay forever stagnant. I had to go back to the first videos of the course to find my artists so I could complete this assignment. Seansketches: •Dimunition- 2 •Convergence- 5 •Foreshortening- 5 •Overlap- 1 •Athmosphere- 0 Juanmao: •Dimunition- 4 •Convergence- 5 •Foreshortening- 3 •Overlap- 5 •Athmosphere- 3 Inkpangur(formally sirpangur): •Dimunition- 1 •Convergence- 5 •Foreshortening- 2 •Overlap- 5 •Athmosphere- 1 Yuto Sano: •Dimunition- 5 •Convergence- 5 •Foreshortening- 4 •Overlap- 3 •Athmosphere- 4 Horikoshi: •Dimunition- 5 •Convergence- 5 •Foreshortening- 5 •Overlap- 5 •Athmosphere- 4 I think overall their strong grasp of convergence, diminution and forshortening; despite being the hardest to learn is what makes these artists so visually stunning and captivating. Horikoshi especially works with all these concepts all at once in that image and I struggle to wrap my head around how much understanding of perspective I have to acquire to recreate it.

Assignment - Tricks to Make Your Drawings Look 3D

A real eye opener to see how 5 techniques can be used in varying degrees to create depth on a 2d plane. I enjoyed scrutinizing my chosen artist work to see the decisions they made when creating an image.

It's both fun and empowering thinking of how I can already apply a few of these techniques to my drawings :D Thomas Wells Schaller (Transept) A subtle use of DCFOA D: 3 While the buildings in the back are tall, they are barely half the size of the one in the foreground. C: 3 The main building in the back has a strong convergence going up and away. The scene expands downward, but there are many parallel lines elsewhere in the painting. F: 2 The building appears foreshortened, but this effect is used only slightly. O: 4 Yes! There is a lot of overlap. From the connection in the middle that overlaps the large building behind it. To the clear overlap of the other smaller buildings in the background. A: 5 Aside from the transept, all of the other buildings behind it start to fade. They have fewer details added in, especially the black buildings on the bottom left. Thomas Wells Schaller (Camp dei Fiori) I always get hungry when I see this. There are some great places to eat here! When I am there next, I'll use some of these techniques to draw it :) D: 3 The umbrellas are smaller the farther away they are, as are the people. C: 3 We see the base of the statue and the umbrellas in the foreground all have converging lines. F: 3 The umbrellas! We see the umbrellas "turn" as they get farther away from the camera. O: 5 Overlap does most of the heavy lifting to make the space appear to recede. A: 2 The foreground umbrellas are darker than those in the back. This draws our eyes to the umbrellas in the distance. Neat! CLAMP: Tsubasa Reservoir Chronicles You may be big, but I'm bigger! A case where overlap adds size to the thing behind it! It's two in one! D: 2 The building gets smaller as it converges upward, but with only two things in the drawing, there isn't a lot of this! C: 2 A bit with the building with the slope of the figure's arm nicely flowing down to the point at the top of the building as well. F: 2 A little foreshortening with the figure's right arm and with the building. O: 2 The building overlaps the figure, but it only serves to make them seem even larger! but you can clearly see they are located behind it. A: 0 Zilch. You'd think you'd see it in the building's details, but there isn't much change between the individual tiers :) Wu Guanzhong: Water Village in Jiangnan It's impressive the impact a few lines and shapes can have. D: 3 While the people, note the red circles, are not drastically smaller, the buildings and the bridges do differ in size dramatically. C: 3 There is a slight convergence of lines into the distance. Looks like they're aiming straight for the bridge in the back. F: 0 There is not much even with the boat. O: 1 The buildings continually overlap each other, but the effect is not very strong. A: 3 Yes! The details in the back are less detailed. Even the bridge is painted in one color.

Feeling a bit uncertain on this one so feedback would be super welcome! Lantern Rite, by Christina Ji D: Much - the lanterns and edges of the building get smaller as they go up and away from us. This has also been done to some degree with the clouds C: Some - I can see converging lines along the wooden beams sticking out of the ceilings and also some along the various lanterns. I feel like this really brings out the effect of the lanterns going up and above the viewer, far out into the sky. F: some - the beams along the bottom ceiling seem to foreshorten as they are turned to face us (closer to the right side of the screen). I can also see this effect in the tiles just above those beams. O: much - the roofs overlap various parts of the building frequently. There are also lanterns overlapping the building as well as being overlapped by the building. A: Much - there is lots of atmospheric fading especially towards the right side of the artwork and also at the edge of the clouds before the building overlaps it. The lanterns that are furthest away also seem to be faded into the background. The atmosphere is actually the perspective trick that I like the most in this artwork.  Sinister War #1 Cover art - Kael Ngu D: some - Pigeons in the front are larger than pigeons towards the back of the scene. Can also see some diminution with the builidings, both in the sizes of the front vs back buildings as well as the size of details on the buildings e.g average window sizes smaller towards back of frame. C: some - Cross contour lines on buildings towards right converging towards the left. All buildings seem to be converging up towards the sky. Feels like there may also be some covering lines on spidey’s body (e.g. his left arm) but I think that has more to do with the angle of the elipses’ contouring his arm changing as they move away from us. F: some - Can see foreshortening on his fingers and leg as they move away from us. O: much - spidey overlaps web and buildings. Web overlaps pigeon. Other pigeons also overlap buildings. Buildings overlap one another. A: some - a fair bit of atmosphere in the buildings in the back, but also some on the pigeons as a few of the pigeons blend into the background of the scene.

Hello everyone, Unfortunately I am a "bit" late to turn in the assignment [ I was in exam period :( ] , but I would still really appreciate any comments and critiques for my analyses of the images I picked to analyse. Image #1 - The open world field with the kids and large mountain Foreshortening – 1 (None) Explanation: Nothing appears to be foreshortened in this painting; there are no dramatic transitions in any of the objects. Diminution – 4 (Much) Explanation: Several objects appear to become gradually smaller—for example, the birds (which are the most obvious), then the rocks—which makes the mountain creature seem massive compared to the children. Finally, the mountains also become progressively smaller. Even the tree is much smaller, giving the impression that it is farther away. Convergence – 5 (Extreme) Explanation: Convergence seems to be the most prominent aspect of this painting. The mountains and rivers all appear to converge toward the child’s pointing finger, which looks like a deliberate compositional choice. This element makes the painting especially engaging. Overlap – 5 (Extreme) Explanation: Overlap is used repeatedly throughout the scene. The flowers overlap a rock, which in turn overlaps more flowers, and so on. On the left side, the trees overlap the mountains, while the children overlap a rock, the mountains, and another tree in the distance. A prominent rock in the middle overlaps with the river, indicating it is positioned in front of the water, among other examples. Atmospheric Perspective – 4 (Much) Explanation: As the painting moves toward its convergence point near the child’s finger, it becomes brighter, more desaturated, and hazier, with less colour contrast overall. Image 2 - Lee Sin (The kicking guy) Foreshortening – 5 (Extreme) Explanation: The figure shows severe foreshortening, particularly in the kicking leg relative to the rest of the body. Diminution – 2 (Barely) Explanation: The devices he is kicking seem slightly smaller and more distant. Convergence – 1 (None) Explanation: I don’t see any clear lines converging in this piece, so I don’t believe there is convergence here. Overlap – 5 (Extreme) Explanation: Overlap is very prominent. For example, the broken wood is clearly in front of the foot, and the character is in front of other wooden objects (the red fabric and his leg overlap them). Additionally, his hand overlaps his hair, indicating that the hand is in the foreground. Atmospheric Perspective – 2 (Barely) Explanation: It’s unclear if there is significant atmospheric perspective. His hair does fade somewhat into the background, but I’m unsure if the hazy background alone constitutes atmospheric perspective. I don’t believe so. Image 3 - Hearthstone Card (The giant creature and the small soldier) Foreshortening – 2 (Barely) Explanation: I believe the leg is slightly foreshortened, but only minimally. Diminution – 2 (Barely) Explanation: The only instance of diminution I notice is in the tents, which become just a bit smaller. Again, it’s only slightly visible. Convergence – 2 (Barely) Explanation: I think the only convergence might be in the mountains and possibly the tents, which appear to come closer toward the centre of the painting. However, I’m not entirely sure about this. Overlap – 4 (Much) Explanation: I find it clever that the small soldier is overlapping the giant’s shadow rather than the giant himself, indicating that he’s standing in front of the giant. If I’m not mistaken, this is our only clue. The giant also overlaps some of the mountains and tents, which is clearly visible. Atmospheric Perspective – 2 (Barely) Explanation: The background becomes hazier and more desaturated with less contrast toward the centre. For example, the tent on the left is darker compared to the tents closer to the centre, which are more similar in colour to the mountains and background, almost blending in. Thank you very much for all the help :)

Late in homework for a month... gathered lots of good pic and I picked a few artists that I was amazed by, especially Moebius's work, excessive usage in cross-contour in his line work with so much precision and interesting design, to do the assignment. I picked Moebius, Oda, Asteroid_ill and choocoshi3's pieces that are great in composition to show the vibe/tell the story and perspective related. Learnt a lot from them. and Sorry Marshall.

Makoto Shinkai: D = 2 = The staircase railings get smaller as they go down. C = 2 = There is a bit with the staircase railing and some of the buildings at the back F = 2 = The staircase railing at the bottom and at the side is a bit foreshortened. O = 1 = Mitsuha standing in front of the staircase railing. A = 5 = Since they are on the steep side of the hill, and the bottom of the hill has the atmospheric blur, it makes Mitsuha stand out more. Franklin Booth: D = 5 = The hay bales and trees get smaller as they are further away C = 5 = The hay bales that are along the same row almost create converging lines F = 1 = The hay bales foreshorten a bit from this point of view O = 5 = The hay bales overlapping other hay bales. The hay bale overlapping the farmer emphasizes that the bales of hay are bigger than people. A = 1 = There's a bit of atmosphere. Or rather the things that are further away have less detail on them. Toshi Yoshida: D = 2 = The people and windows get smaller as they are further away. C = 5 = The whole alley and the building elements converges F = 0 = The cylindrical lanterns have some foreshortening O = 3 = The people and the store signs overlap each other. It creates the feeling of busyness A = 4 = The building at the back is a bit faded out into lighter colours which is interesting since the alley in front has darker colours.

Moebius: Overlap: very clear overlap with the buildings, one building is in front of another. Convergence: Theres a lot of elements converging to different points. The buildings and the character at the front towards one, the aircrafts and bridges all to their own converging point. Dimunition: windows, aircrafts and humans are all smaller the further away. Foreshortening: Everywhere, but most noticeable on the buildings. The sides of the buildings are narrower and have narrower windows than the planes that are facing us, and also get even narrower the further away they go. Atmosphere: it’s subtle, but it seems the colors have a slight darker value the further away. It’s a night scene. Akira: Overlap: the buildings overlap each other. Convergence: Everything in the image goes to a single converging point. You get really sucked in as a result. Diminution: the motorcyclists get smaller further away. Foreshortening: Same as moebius, the building side planes and windows are narrower than planes facing towards us. The motorcyclists also get more squished at the front than in the back, you can clearlky see the difference in size and narrowness of the front and back wheels. Atmosphere: The figures disappear in a sort of white mist. The buildings in the back reflect the colors of the sky more intensely, making them almost part of it. Junji ito: Overlap: The characters at the front stand in front a bush, which stands in front of the labyrinth. Convergence: You can draw a rectangle around the labyritnth and find that the lines will converge. You can also subtly see it in the hedges witch have hatches that, if you were to lengthen them, would also roughly follow convergence towards the middle. Diminution: The characters are very big in the front compared to everything in the background. But we know from context and other perspective clues that the labyrinth is supposed to be much bigger. Foreshortening: the backhalf of the labyrinth seems shorter than the front half. Atmosphere: the furthest part of the labyrinth has less hatches and thus reads lighter. Vermeer: Overlap: the chair and the table overlap each other, the table overlaps the man, the woman overlaps the man, the window is open and overlaps the window frame and part of the wall. Convergence: The table, bench and woman on the chair converge to a point straight ahead front. The chair, window and guitar are on another converging point further to the side. Foreshortening: Everything that follows convergence naturally also foreshortens. Mosyt noticeable on the woman, the table and the guitar. Atmosphere: The floor and wall get lighter the further away from us.

1. Little Birdies by Yuliya Litvinova 2. Interrogation by Franco Spagnolo I've been looking all over for the artist who drew the Skull one :( but i can't find it. If anybody knows please comment!

I know we’re getting to this, but since the line systems already have been mentioned in Assignment - 5 Tricks to Make Your Drawings Look 3D Uo/down - left/right and forward/back.. Sometimes I get confused on whats depth (forward/back) and whats left/right..?