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LESSON NOTES
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In this final critique for part one, I review your work on contrasting close and far views. I'll show you how to "dare more" with your perspective, pushing the exaggeration for more dynamic and expressive drawings. We'll look at common mistakes and how to fix them, like not spreading your vanishing points far enough. You'll learn how to analyze photos to build an intuitive feel for how proximity changes forms, so you can create that crushed, telephoto look or an explosive wide-angle view from your imagination. This is about feeding your intuition, not just following rules.
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critique-proximity-and-trajectory.mp4
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critique-proximity-and-trajectory-transcript-english.txt
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critique-proximity-and-trajectory-transcript-spanish.txt
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critique-proximity-and-trajectory-captions-english.srt
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critique-proximity-and-trajectory-captions-spanish.srt
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COMMENTS![]()
![Marshall Vandruff]()
Stop trying to make your perspective drawings accurate.
The goal isn't to be correct, it's to dare more. Exaggerating the difference between close and far views builds your intuition. Pushing distortion helps you understand how to control the emotional effect of a scene, moving beyond technical rules.
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3m
4:56 "That's telling us that we are standing closer than we are..."
It is, UNLESS the court is much bigger than an actual court. It could be telling us that the court is many hundreds of steps deep.
That is part of why we do this instinctively. For those who want to exaggerate, herein are the tools.