I wanna poke into the atmospheric perspective part as I got some experience with it in 3D environment design(not sure if it'll be helpful haha). In 3D we call this volumetrics. In fact we call any sort of foggy or large scale smoky effects volumetrics. In an extremely complex 3D environment(which happens a lot in 3D) it's easily to have things overly crowded to the point where you can't quite tell the scale of things and which things comes before what. This is when you can put a volumetric in the environment such that things further back looks foggy while things on the midground or foreground looks sharp. It helps establish perspective while serves as a composition tool. I guess the reason some people hate atmospheric perspective is because it's overly used and lots of time incorrectly used. I see some people would just make their scene super foggy to the point where only the foreground is sharp and it just looks super CGish. The trick that I use is to add enough to make it barely noticeable(or at least it won't make people think it's a foggy scene when it shouldn't be). P1 is done by Piotr Krynski, my favorite 3D environment concept artist.

I drew a lot of conclusions during this exercise and review. Basically, the choice of whether the viewer is close or far from the elements affects the whole image. As we move through the ages, being close to the "topics" of the images seems to increase in frequency and usage.

Whew, I have a lot to catch up on. The past two months have been brutal thanks to college, but I see there's a lot of new lessons up and I am excited to learn! Thanks for these awesome videos!

Thanks for the feedback.

Good stuff. Lots to absorb in tjis video. Thank you sensei Marshall.

These critique videos are a goldmine worth of contents and I will keep going back to them, I cannot thank enough Marshall and everyone participating.

Thank you for the kind words about my analysis on these. Ironically, I found a copy of "Rockwell on Rockwell, How I Make a Picture" on eBay on Saturday and purchased it. Even though I found a good deal on it, it's still a little pricey since it's out of print. When I saw that I was in the critique video I called my wife over to watch it with me. When you lauded Rockwell's book, it helped vindicate my insistence on getting it, so thank you for your impeccable timing! I find that there are a few lessons on Proko that I keep coming back to and I think analyzing masterworks along the criteria laid out here is going to be one of them. I have done form studies and value studies before, but never shape studies. It was illuminating to examine works along those lines, and something I need to be more deliberate about in my own work. I'm already getting a lot out of the course and look forward to more!

This was a overall great critique Marshall. After watching it all I kind of now understand a bit more grasp of how to analyze all of the 5 techniques were learning about now. This motivates me to practice these techniques on my own drawing that I'll do now this year. Been highly loving this course and def looking for the upcoming lessons.

Being able to better see what goes into great pictures is always really inspiring, and gets me excited to learn more stuff to use myself! My motivation tank is full again.

I was happy to see atmospheric perspective get some time also, thank you for the extra explanation Marshall! Since this lesson came out I've been wanting more control over it in my drawing and painting. So I decided over Christmas to create an admittedly lengthy explanation of it for myself, to try and understand it a bit more concretely and make it more intentional in my artwork. I've shared this below in case it's helpful for anyone in any way (and in case anyone has any thoughts on it!): As an object moves away from a viewer, there is more atmosphere between the object and the viewer. As a result, the object's appearance is more affected by the atmosphere. The object's appearance: 1) Changes colour (including value). 2) Decreases in contrast. 3) Decreases in clarity. 1) The object's appearance changes colour. Assign a colour (and value) to the atmosphere. As the object moves away from the viewer, the object's colour (and value) moves on a path towards the colour (and value) of the atmosphere. The further away the object is, the further along this path the object's colour is. (Thinking of it this way allows you to try out different atmospheres rather than always using a light blue atmosphere that is common in outdoor scenes for example.) 2) The object's appearance decreases in contrast. If the object's colour is on a path towards the colour of the atmosphere, then the contrast between the colour of the object and that of the atmosphere will decrease. As the object moves away, colours on the object that have a higher contrast compared to the atmosphere will move more quickly than colours that are already similar to the colour of the atmosphere. Therefore we will also see a decrease in contrast on the object's appearance itself. 3) The object's appearance decreases in clarity. You could consider this as a result of the previous two points (especially when we group / simplify similar colours and values in a painting or drawing). But it can be helpful to consider it separately also. For example, changing the amount of detail to include in a line drawing as objects appear to recede into space.

Thanks for the deeper dive in atmospheric perspective, I was having a tough time identifying it in comic book art.

Thank you, Marshall.

Thanks for the all the critiques Marshall, it's awesome to see all the analysis being shared in the community! I had so much fun with this lesson, and have already found it really useful in my illustration process. Having the methods defined, and seeing them used in all these pieces, I now feel more comfortable exploring possible choices for a drawing and seeing what effect they have on a composition. I've also created this thumbnailing page as a demo for myself to refer back to. I now try and do at least one page like this before working on longer drawings.