The Perspective Course
Understanding Perspective(83 Lessons )
Intro to Perspective
Materials to Spare You Pain
Depth Tricks and Old Masters
Intro to Forms
Orthos and One Point
Orthos and No Point
XYZ
Grids
Eye Level
The Picture Plane
Bonus Lessons
Mastering the Skills(0 Lesson )
Course In Progress
Course In Progress
If you want to draw in accurate perspective and turn flat shapes into 3D forms, this step-by-step process will walk you through the technique.
Newest
Dermot
8h
Marshall, I am enjoying the course!
I know much more now, than when I began and confused about some
which hopefully will come!
To Quote You
....this skill does not guarantee worthy art, and lack of aptitude with this skill is common among some great artists,
That might be true but, does that make it wong to learn it?
Thanks
:)
•
5h
Dermot.... Come on! Some great singers can't read music. Does that make it wrong to read music?
The good thing about your question is that it hints at a thrill — that your learning is subversive. Carry on, Dermot, with the revolution.
Carmel
1d
me rn
@culhwch
1d
I think Marshall may have forgotten to apply the rule of diminution to the height of the box, which would require you to “travel” with some lines to account for that diminution. He did that for the top of the ramp, but not the box. My first picture is my recreation of Marshall’s demo, and the next is what I think is a corrected version. The difference is very subtle. Lastly, I did an overlay with some red lines to show how I am moving the un-diminished box height along line systems in order to diminish it to the correct height. To try to clarify, this is all because the box is in the distance — unlike the front corner of the base of the ramp, for example. I apologize for how confusing this might be, and I may be totally wrong to begin with!
•
5h
You are so right. Thank you for wording it truly - it was not to test you, nor confuse you, it's that I forgot. You remembered. Some others here also remembered. We can post a fix. Speff has seen to it already, but we'll fit it into the video. In the meantime, see Speff's post.
V 1.0
@euyoun
6h
I think you are correct. Since I saw the mistake he made in the [How to Draw Objects Off the Picture Plane] clip, I quickly checked the comments this time, and thanks to you, I was able to avoid wasting time. It seems like the Proko team trusted him so much that they thought there was no way he could be wrong—just like I did.
Speff
1d
Hey Prof Vandruff. I've been able to follow this demo for the most part, but I think there were some steps skipped when determining the height of the structure @ 18:46->19:07. The steps to figure that out were described verbally, but the marks weren't made on the page. Not a complaint - just want to put a message down here in case anyone else is wondering about that height. Everything else here was super clear.
•
11h
Let me look this over later and respond.
It reminds me that when I was forced to take algebra in 7th grade, I decided math was too dangerous to pursue. That "momentary lapse of reason" can create a mass casualty.
•
15h
I believe that Marshall made the mark using the side ortho view at 15:53, when he marked the height of the sloped plane. I missed it too the first time around because it was so early!
•
1d
I just rewatched those timecodes and I'm not sure what you mean- looks like the visuals of Marshall putting his marks where playing fine on my end. Maybe it was a loading issue? Can you try watching it on a different browser and tell me if you see the same issue?
Lucie VERGNON
1d
I love this course so much, thank you Marshall
Anthony Hernandez
1d
Turned it the other way for my attempt
Johannes S.
2d
I am burned out on perspective.
•
1d
This part of the journey is where it often happens.
During our critique I hope to offer the most encouragement I can, which is that aptitude with this skill does not guarantee worthy art, and lack of aptitude with this skill is common among some great artists, probably many of your favorites.
In our next set of lessons we will drop this approach to stretch the other way with intuitive wide-angling.
Lin
1d
Perspective is kind of a double edged sword for me because it can feel very safe - plans and boxes are less scary than figures and heads, and guarantee certain results when measured. But at the same time it can feel “‘pointless” if you’re not making stuff with it that’s your own work. maybe doing two contrasting courses might help, if time is available. I keep switching between this and Hampton’s gesture stuff and I find myself craving to return to one or the other because of the contrast. I’ve been trying to apply what we learn here to my figures (I realize I don’t know if we can post nude figures here so I deleted, but they’re in my profile). I started them around the 50 rooms exercise and the most recent are yesterday’s. Knowing I’m using this hard work towards something specific (making flesh look solid) is what motivates me. I hate plans to be honest but I will endure for my goals of humans and churches 😆 (sorry Marshall)
•
1d
I think it's important to note that plan projections are not the method one typically uses. But it's still good to know the logic behind this more precise way of figuring out perspective before going back to a more intuitive approach.
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