Assignment - Perspective for Drawing Anything
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I Teach Creatives
assignments 672 submissions
These are my references: James Gurney, Gustaf Tenggren, Shaun Tan, Alex Alice, David Noren. They represent a lot of those abilities I would like to achieve:
Invent environments and put believable characters into these.
Combine an imaginary object into a realistic scene.
Play freely with different perspectives.
Create character sheets and turnarounds.
More specifically I would like to learn:
How to turn and bend any object.
Develop an environment from sketch to perspective construction to finished drawing.
LESSON NOTES
Unlocking the Secrets of Creating Depth
In this course, you'll learn how artists turn a flat surface into a deep world. Perspective is more than just drawing boxes and buildings, it applies to everything around us. By understanding perspective, you can draw anything you imagine in any position and style.
Why Learn Perspective?
Do you get ideas for images but find them difficult to draw? Do you struggle to depict subjects from different viewpoints? Learning perspective allows you to move beyond copying what you see. You'll be able to create your own scenes and bring your visions to life.
The Foundations of Perspective
We'll start with classic perspective which is 600 years of Renaissance knowledge. Establishing strong foundations, we'll explore how basic forms like boxes and spheres can represent many objects. By adjusting these forms, you can create anything, from simple feet to complex structures.
The Power of Imagination
When you draw from imagination, you create your own worlds. Artists who understand perspective can illustrate anything from any point of view. You'll learn how to make trees get smaller as they recede, draw people walking down a street, and render objects credibly.
Treasure Hunt Project
Your first project is to collect your favorite drawings by perspective masters. Seek out artworks that showcase perspective, like studies by Leonardo da Vinci, or environments by De Vries. Also, gather potential perspective problems you want to solve, questions and puzzles you care about. Check out the assignments tab for more info!
Examples of Perspective Problems
- How do arches get smaller as they recede? There's a science to it, and it's not difficult.
- Can you alter that science and still look credible? Yes, you can experiment while maintaining believability.
- How do you change the viewpoint of an object? Learn to draw something from a different angle.
- How do figures on a merry-go-round appear in perspective? Discover how they clump at the edges and spread out in the middle.
If you're eager to tackle these challenges, you're in the right place.
Want to learn more about perspective? Join the premium course to get access to all the lessons, demos, projects, and critiques!
DOWNLOADS
perspective-for-drawing-anything.mp4
276 MB
perspective-for-drawing-anything-transcript-english.txt
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perspective-for-drawing-anything-transcript-spanish.txt
8 kB
perspective-for-drawing-anything-captions-english.srt
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perspective-for-drawing-anything-captions-spanish.srt
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ASSIGNMENTS![]()
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For your first project, you’ll have 2 tasks to complete.
- Collect some of your favorite drawings by perspective masters to set a standard for skill development.
- Big picture goal - think about problems you'd like to solve that require skills in perspective. Maybe drawing something from a different angle that you don't have reference for, or creating mathematically sound architecture from imagination.
I will be doing a video critique for this project, so make sure to share your thoughts with the community and you'll have a shot at being in the video!
Submit your assignments by 10/01/2024 for a chance to be in the critique video!
Hi everyone! I'm excited to start this course and improve my perspective skills.
My Perspective Goals – Collecting Masters
My main goal is simple: I want to be able to draw anything, and I believe there is something to learn from every work of art.
I want to understand perspective well enough to apply it naturally, whether I'm drawing people, animals, birds, architecture, landscapes, or everyday objects.
I especially want to improve my ability to plan compositions and place multiple subjects in a believable three-dimensional space. I also love traveling, and I would like to sketch the beautiful buildings, streets, and landscapes I discover with greater confidence and ease.
Ultimately, I want to look at a scene, understand its structure, and know how to approach drawing it, rather than simply copying what I see. I also hope to use these skills to illustrate my own stories.
Artworks I've selected:
1. Marcantonio Raimondi, after Raphael – The Massacre of the Innocents
2. Leonardo da Vinci – The Last Supper
3. Georg Pencz – Tarquinius Rapes Lucretia
I really just want to be able to draw anything. all art has something to learn from.
My goal with this course is to be able to set up "scenes" really well and place my characters in the scene where they sit in the space instead of feeling disconnected from the scene. I aim to be able to draw characters and more in general from angles where I don't necessarily have a reference for.
It is somewhat simple to apply this to me when an object is a convenient simple shape like a bus or a bench. Soon as it gets more complex it seems more difficult to me.
Eu gostaria de melhorar a minha base em perspectiva para desenhar cenários com muitos elementos e personagens em perspectiva com e sem referencia, e para melhorar na sensação de profundidade e dinamismo no desenho em ângulos e perspectivas dinâmicas em objetos e principalmente em personagens, já que quanto tento desenhar em perspectiva mesmo usando pontos de fuga sinto que ainda não tenho noção suficiente em perspectiva e que as linhas não parecem está alinhas mesmo saindo do mesmo ponto. Já tive experiencia em Perspectiva na faculdade de Design de Animação, mas ainda tenho dificuldades com perspectiva, mas espero que este curso me ajude a melhor minhas habilidades e noções em perspectiva.
imagem 1 - 3: cenas de aranha verso; imagem 4: concept art de Sonic: Frontiers; imagem 5: Uma cena de perseguição de Scooby-Doo no corredor e imagem 6: pagina de manga de Jojo's Bizarre Adventure.
Eu escolhi essas imagens para representa no que queria focar, mas não sei se usei as referencias certas, já que eu eu não tinha uma referencia ideal de mestre em perspectiva, ai eu escolhi essas imagens.
I'm hoping to become a character concept artist, so most of what I am looking to learn from this course is a better and more intuitive understanding of (mostly organic) forms in perspective and foreshortening.
Some questions that I hope to figure out the answers to using this course:
1. How can I measure something in depth in relation to width?
2. How can I establish 90 degree angles for portrait drawing, do I have to use a cone of vision and station points?
3. How can I rotate objects around chosen arbitrary points in space? How can I rotate them in different / arbitrary axes?
4. Is there anything special I should keep in mind when applying perspective to portraits and figures?
5. How can I draw splines in perspective and how can I properly manipulate them (mainly rotating and moving)?
6. How can I use perspective to project an object/figure's shadow onto different forms?
For the collection of drawings:
I really like Da Vinci's technical drawings. I find it really interesting how the old masters were able to get a grasp of this stuff during a time of more limited information. I also really like Escher's drawings and the way he pushed his understanding and mastery of perspective to craft really cool and clever projections and surreal scenes.
Hello! I’m Vincent . I’ve always been passionate about modern architecture and industrial design—which I’ve been photographing for a long time—as well as science fiction (Syd Mead, Doug Chiang, Sparth…). Today, I want to begin my journey into drawing and perspective, with the goal of creating landscapes, vehicles, and characters in distant, imaginary worlds.
By taking this course by Marshall, I hope to find the structure and guidance needed to achieve my big goal, which is exactly what I’ve been missing by trying to learn solely from books (Perspective Made Easy, Sketching Basics, How to Draw / How to Render, Framed…)"
Thank you and a good day !
Sparth, Jon Juarez, Scott Robertson, Syd Mead
I have recently found myself interested by more graphic and experimental artists who take perspective to create a more ideal or appealing reality. I am transitioning currently from 2D illustration to 3D Animation but I want my 2D skills to be the basis of my work going forwards, and being able to quickly draw incredible compositions as scene below, intuitively and with speed would be a dream.
As for my overall goal, as stated early getting perspective to be intuitive and natural would be the problem I tackle.
Artists pictured below in order. Sam Bosma, Two Tradd Moore pieces, Syd Mead and Mateusz Urbanowicz
PLEASE EXCUSE MY NOT SO GOOD ENGLISH
1:
I am a painter and submit paintings and not drawings, hope this is okay..
The old masters use sometimes perspective in which I can not find the position of the painter. In the two paintings of Picasso I can not find perspective lines like "central", "Two or more points ..."
I love the dynamic these master pieces have.
2:
My main problem: I can't “see” the lines of one-, two-, or three-point perspective in nature, and I suspect there might actually be more than one?
My goal: To understand perspective well enough to apply it and, on that basis, create paintings or drawings that come from my imagination.
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18d
It's okay to submit paintings. No problem!
One thing to remember about masters paintings, is sometimes they may be playing around wither perspective sometimes. Breaking rules for effect. So always keep that in mind. Sometimes painters do what is called "i sotto in sù" which is when you paint so it feels like you're looking up. This is kind of an optical illusion. Other times they are just playing with the perspective for different emphasis.
As far as "seeing" the lines of perspective, this just takes time and changing how you think about it. There will be many vanishing points in what you see. The only time things really line up is when square shapes are parallel or exactly perpendicular to one and other. This is why we start with simple perspective, like 1 point. It is not that we are seeing differently when looking at 1 point necessarily. It is just our subject lines up in a way that we see it. If we were looking down straight railroad tracks, everything would line up towards the horizon, but if one of the railroad ties was not quite perpendicular, then that tie would have different vanishing points (and not be in 1 point. You can even have part of a drawing be in 1 point, and then the other parts in 2 or 3. It all has to do with the orientation to the viewer. Does this make sense? I know it is kind of a confusing thing to thing about, but as you use it more and practice more it starts to become intuitive.
Hope that helps!
1. Personally, I have a pretty wide range for different things I'd like to draw in perspective, from buildings and architecture to characters in fictional settings. I'm a big fan of Gary Meyer and Renae Wang style illustrations--ones that I'd love to learn how to draw accurately in perspective.
2. The problems I'd like to solve are fairly basic: Creating, not copying, artwork in different forms and from different viewpoints, and make a drawing scene seem realistic where you can not just see, but also feel the movement through the drawing.
(Here are a few more, including works from Giovanni Battista Piranesi, Sid Mead, and John Harris in that order)
1. Drawing Collection
I have included a number of entries that I found inspiring and/or technically interesting.
2. Big picture goal
a. Create prototype plans for Sol LeWitt style concept art (including those most readily instantiated as sculpture)
b. Use quasi-accurate sketching as a rapid brain storming method by myself and with others.
c. Create industrial design and architectural drawings for such products as lamps or avant-garde houses.
d. Create whimsical, surrealistic, and/or science fiction drawings as the basis for painting.
e. rigorously create drawings of non-existent entities from arbitrary vantage points.
I'm still learning how to get my sketch up in this box. Didn't work well. Hopefully you can see it below the box and the drawing I was using to make my sketch.
Looking my sketch today I see that the counter on the right side is only as tall as the seating. It should be much higher. The corner of the seats on the left side where the two legs of the seating happens - it's at an incorrect angle. I'm definitely not happy with this at all.
I really love fantasy and horror and want to create worlds of my own. I'd like to learn how to draw creatures, vehicles, and characters at any angle imaginable, and manipulate their proportions to intentionally create exaggerated/cinematic/dynamic images. I'd also like to learn how to apply perspective to landscapes/cityscapes, and learn how to intentionally distort or violate it in order to create a sense of unease or horror.
The images I've included are
1 - still from the movie Atlantis
2 - Lovecraftian concept art from HoTcH on artstation
3 - MTG card art from Antonio J. Manzanedo
4-5 - MTG card art from Darek Zabrocki
6 - Bloodborne concept art
I want to be able to create spaces with a sense of depth that use space to evoke emotion in the viewer and make them imagine what could be beyond the space they can see. I've always been so drawn into illustrations of imaginative spaces and would love to have the skills to recreate those for myself.
What I want to create are imaginative and impactful scenes (urban landscapes or indoor environments), novel spaceships or other means of transportation, robots or other objects, etc. What I want to learn about perspective, the first thing is to be correct and avoid any mistakes in perspective. The next step is how to choose perspective angle that is both impactful and expressive. Finally, there is the ability to draw imagined scenes and objects from all angles.
I think most of these images are interesting because of the color, but I don't really understand where to put the colors no matter how much color theory I know. I also would like to know drawing as a better language. I'm an engineer, and I don't see how to be a better engineer without illustration, it's just too much information, but a picture is worth a thousand words. In particular, I've been a little bit more interested in simple product design sketches, which is why I included a photo from a design by Dieter Rams.
Finally worked up the nerve to participate in this course.
This in itself proved to be an interesting study. I've never put much thought into backgrounds. I was taught how to paint flat landscapes in school and never really… Tried anything else or figured out how I'd want backgrounds to be. Initially, the search was frustrating and I couldn't find anything that suited me in background concepts. And then I fell down this rabbit hole and I'm not really sure what this style is (minus the last one), but it's without a doubt what resonates with me.
I guess what I'd want to tackle is:
- How do we go from the line heavy structures to something borderline lineartless that still holds form? That probably won't be covered in this class but it's my honest question.
- How does one sort and manage so many separate elements into one image cohesively without clutter or overwhelm?
- And finally I'm looking for the missing piece in what I'm not fundamentally understanding in structure whether it's backgrounds, faces, or bodies. I've seen the perspective diagrams, I get the idea, but some connecting pieces just make me unable to duplicate or put the lesson on paper. I'm hoping this course helps with that!
1-4 - Various art pieces by Kevin Dart
5 - New York by Yami-Yami
6 - By Jasmin Lai
7 - War Participation by Seongmin Park
8 - By Lea Pinto
9 - A Carmen Sandiego piece by Sylvia Liu
10 - my study on Facial diversity by ‘Sesamefruit’ on IG
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2mo
Welcome to the course! Good luck with your studies 🤘
Hello! I'm Max, and I want to learn how to draw and improve my drawing ability for my own artistic projects! My current ventures have lead me here, for I crave how to make scenes feel enormous, dynamic, and alive on a 2-dimensional surface!
I want to achieve a personal project goal: making a 10 volume graphic novel series. The only problem: I haven't studied art in a course since middle school (aside from Drawabox last year)
I'm familiar with vanishing points (1, 2, 3, multiple), fish-eye views (conceptually, not in practice), and have even delved a little into the contour lines and crosses to measure out space between segments in perspective. However, my knowledge in all of these is quite limited to just after the beginner stage of understanding, but not intermediate either. I cannot comfortably draw figures or objects satisfyingly in perspective (doing the Figure Drawing course in tandem with this), and I have no clue how to construct a scene to completion using it.
High angles. Low angles. Incredible distances. When to use dramatic foreshortening and when not to. Those and most other perspective puzzles that I have yet to encounter/comprehend are all goals I have in taking this course.
I can't say that I remember enough art pieces and their artists by name to provide in this assignment, but I have searched and selected these pieces since they are close to what I hope to achieve with perspective fundamentals, creating scenery and structures that capture the depth of an environment as if we were actually there.
1. "The School of Athens" by Raphael
2. "Ambulatory of the New Church in Delft with the Tomb of Willem the Silent 1651" by Gerard Houckgeest
3. "Sasuke's Return to Konoha" from Naruto Shippuden by Masashi Kishimoto.
A perspective problem I ran into a few years ago:
I lived in a yurt for a bit and wanted to draw the inside of this yurt from a high angle, with the roof removed so you could look into the interior. The part that kinda broke my brain was the lattice wall: evenly spaced crossed slats wrapping around a circular structure.
How would you construct this in perspective?
I was shown a solution at the time, which I’ll post in a comment below in case anyone wants to try solving it first.
I translated the original explanation from Dutch to English, so hopefully it all makes sense!
Man, it’s awesome to see everyone united in tackling this goal of perspective. We’ve only just started and it already feels like a great community. Marshall, your passion for teaching puts a smile on my face, and I’m thankful to be able to learn from you.
My goals for perspective:
I want to be able to invent believable stylized worlds from imagination - characters, environments, vehicles and props - and eventually bring them to a finished level with light, color and rendering.
I also want to be able to draw the environment around me, but interpret and simplify them in a stylized way instead of just copying.
Perspective is important to me because I want the freedom to choose the camera angle, understand what I’m looking at, and design things inspired by reference, rather than being bound to it.
Artist names from these images:
Jeremy Fenske
Michal Sawtyruk
Axel Paumier
Florent Lebrun - screenshots from the 2.5 minute Blender short film The Lost Tower on YouTube
Hi I am Cheui and currently working towards becoming an illustrator!
My big picture goal is to master perspective and being able to depict everything in a more accurate way!
I have always struggled a lot with perspective, but never tackled it. This resulted in A LOT of my illustrations looking very weird, since the dimensions are all over the place.
For future illustrations I want to work with more interesting angles and compositions in general, and I think that learning perspective can help me a lot!
Some of my favorite artists/inspirations are:
1. WLOP - My main inspiration, my style was influenced by him a lot! While he is more known for his breathtaking depictions, his work that include architecture and ornaments demonstrates his skillset.
2. Raja Nandepu - Most of his works depict a more natural scenery. Some of his works, however, have really interesting angles fitting the narrative.
3. Thibaud Delaperche - Their works are really heave on perspective and architecture. Illustrations are following their storytelling!
4. KleinerHai - I love how immersive their works feel!
5. KantaKerro - She always leaves a very strong impressions with the way she plays with angles and colors.
