Assignment - Perspective for Drawing Anything
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About instructor
I Teach Creatives
assignments 357 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
7 kB
perspective-for-drawing-anything-transcript-spanish.txt
8 kB
perspective-for-drawing-anything-captions-english.srt
12 kB
perspective-for-drawing-anything-captions-spanish.srt
14 kB
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!
My main problem with perspective is making humans feel like they fit in the environment i make, especially if the perspective is extreme, making it not feel "off" is a big goal of mine. Besides that i also want to create depth, dimensions and a neat style to go with it! Some of my inspirations are Akira Toriyama, Hajime Isayama, Makoto Yukimura, Gabriel Picolo, Arcane, and Eugene Delacroix.
Those are really nice choices. One suggestion I may offer is to pinpoint exactly what you want to learn about perspective from each Master and ask yourself: "How is this master using perspective in this picture?" and "How would I incorporate this into my art?"
Not necessary to copy, just mental notes are good enough, after all this is the theorical half of the course. In fact, your assignment for the Depth Trick session will be exactly this.
So I think is better to start analyzing works like this and later on things will click easier.
Godspeed on your journey.
I want to be able to create depth, dimension and realism in my artworks! The ability to craft engaging compositions, experiment with dynamic viewpoints, and communicating stories and feelings more effectively are goals that I strive towards. Ultimately I want to be able to draw from my imagination believably.
The problem i want to solve is how to properly place the character into the 3d space and how to change angle if needed
1. Just to clarify why p2 and p4 are 3D renders instead of drawings: I guess lots of people think in 3D you just get perspective for free. It's true from a technical level but not from an artistic level. You'll be surprised by how easily it is to get a 3D render that looks flat. In p4 you see a clear separation between foreground, midground, and background, and how the artist(Piotr Krynski) used volumetrics(atmospheric perspective) and same object but different distances from the camera to create the sense of depth. P2(Ian Hubert) has similar things but the foreground, midground, and background are even more closely integrated. You can feel the claustrophobic cockpit.
2. The short term goal is to be able to draw complex shapes in perspective. p7(Len H. Nicholas) is a good example of this. I want to know not only how to reduce complex objects into primitives but also how to draw them so that they're in the same perspective and connected in ways I envisioned. The longer term goal is to learn how to use perspective skills to do compositions(p1(Marc Brunet), p6(David Nakayama) and p9(Ryan Stegman)), how to create environments that I feel I can explore(p2 and p4), and how to create sets for stories or storytelling in general(p3(Moebius), p5(Humberto Ramos), and p8(Marco Checchetto)). The long-term goals are probably more application oriented but definitely requires every perspective knowledge I can learn.
I'm curious how to approach organic asymmetrical shapes like a smoke or intricate blobs. Also how to approach things that protrude from cylinders or other objects that are themselves in challenging perspectives.
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7d
For organic shapes, I often use boxes anyway and then guestimate the shape within it. With practice, our eyes get pretty good at sussing out what looks wrong and what looks right.
Hi. Not sure if you noticed but I'm pretty sure the first two are AI-generated. Some of the shapes and lots of the lines don't make sense. I do understand why you pick these two though.
I really enjoy whimsy. If you push things too far it breaks the 3D look and just looks wrong. So I want to learn the rules and be able to break them when appropriate. Some of my favorite masters are Van Gough, Echer, Tim Burton, and Dr. Seuss. I saw the Tim Burton exhibit at LACMA a long time ago and it made a big impact on me.
I want to be able to make elaborate and detailed scenes for my characters in the future. So learning perspective in detail would help alot.
I am very interested in this course but I am a beginner at drawing. How much should I progress before I add this to my course load? I am in the proko beginner class and I am struggling with the perspective section. Would this course be too advanced for me?
I love cozy scenes where perspective is used to firmly root a character or characters within their environment, as if we're getting a glimpse into a small corner of a vibrant, living world. In this regard, my major inspirations are Simone Ferriero (Simz), Gabriel Picolo, and Devin Elle Kurtz.
I'm a bit late to the course but I have to start somewhere. I don't really have any specific goal to reach for. All I know is that I want my perspective to aid my art, to enhance it, to make it simply look eye pleasing. I have only these artists for inspiration, I hope to find more, but these pieces are what I mean when I want the perspective to aid or enhance my art.
Hi all! I’m Selina. I’ve just joined and love this project - it’s really got me to think about how I want to use perspective and what visual elements I find most interesting.
After taking a decade away from making art I’m lacking the perspective fundamentals that would help with putting together a scene quickly. What I did know I’ve forgotten and I feel like I’m starting from scratch again, and so am severely limited in what I’m able to achieve.
I want to be able to draw from imagination, constructing dramatic scenes that utilise interesting camera angles, including where appropriate utilising distorted lens effects to raise drama. I also want to be able to place characters and objects easily within those scenes in dynamic poses. Clearly I need a far better understanding of perspective to begin to achieve any of this!
I’ve tried to choose images that demonstrate the sort of perspective choices that grab my attention - unsurprisingly many of these have been posted up before, but for reference the artists are: Dave McKean, Alberto Pagliaro, Ian Miller, Moebius, Shaun Tan, Francisco Vasquez, Kevin Hong, Frederic Pillot, Ramon Nunez, Minna Sundberg, Felicia Chen and also stills from Batman, the animated series.
Hello! I'm Rachel, a painter and aspiring illustrator looking to learn and refine my skills for dynamic storytelling. My goals for this class are to be able to turn objects around in space without reference, and be able to develop full, believable scenes with both complex organic and architectural elements from imagination. I'm very interested in learning more dramatic perspective, and also ways to manipulate perspective to create distorted and surreal images.
Hello I'm Myles, a 31 year old artist from Southern Cali. I've taken Proko courses in the past (Anatomy of the Human Body & Med's Map) this time it's time to conquer perspective. While I'm not a total beginner my grasp on perspective is limited. My main focus is on creating more dynamic characters in my illustrations and while I thought learning anatomy was all I needed I've came to the conclusion I need to fully master perspective.
Here are prime examples of what I'm trying to emulate. I especially got a fixation on super hero media XD
Hey class and professor. My names Cody. I grew up thinking I wasn't creative then at 24 years old I met an artist who thought I was stupid for saying I wasn't creative. 1 friendship changed my life and now I am here.
Who knows what my future art style will look like but I do know I really love this intricate realistic fantasy style derived from Japanese culture.
If you have any artists I can follow who make this type of art work leave it in the comments!
2. I need perspective help because right now I struggle so much with understanding how to make my background and foreground mesh to create a realistic image.
Hi, I'm Lau, I want to draw stuff that I haven't seen yet, but the images in my head are way too complicated :/ I want to create images that don't feel flat, just because I can't draw from a low or high angle. I also want to design architecture that enhances everything, to avoid focusing solely on the characters. I guess I want to add something special to anything I come up with, including posing.
Im not expecting it to become something easy, but I want to do it anyway, it would be harder to remake the whole thing because I realized that I did something wrong.
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2mo
Hi Lau! You’ve come to the right place. Good luck with the course :)
Big Picture Goals
- To develop convincing/believable landscapes and structures from Imagination.
- To draw an imagined figure or object from multiple points of view without reference.
- To add a sense of depth and continuity into imagined landscapes and spaces.
I could've spent my entire day filling this with pieces from my favorite artists so I limited myself to the 3 listed below.
Art Credit in order: Moebius (Jean Giraud), Robert Watts, Ivan Shishkin
I do scaffolding as a job and I would like to draw scaffold from different perspectives
Goals for this course
- Learn how to tell stories with images
- Draw humans and other characters in an environment
- Create environments and worlds for characters to live in
- Learn different camera angles to enhance story telling
- Rotate objects in space to fit into different angles and environments
Art credit: Wlop, Yummei, Padeliciouss, Etcetera.art, Ryoko Kui
I'm new to comics and thought these examples showed the kind of wielding of perspective that I'd like to add to my toolkit. Cheers!
