Hello, my name is Louise and I paint as a hobby. My goal is to understand perspective so that I can create depth, interest and fun, into future paintings and Lear a new skill. It has been enlightening looking at everybodies posts of perspective masters and I am inspired by all of them, specifically Vermeer, Franklin Booth, M C Escher, Norman Rockwell, and Gustave Dore and Albrecht Durer. Thank you.

Hi all! I work as an artist in mobile games industry. I am looking forward to: 1) Create dynamic compositions from imagination 2) Maintain accurate proportions and lighting in fantasy paintings 3) Use perspective to enhance storytelling in fantasy environments 4) Confidently rotate and place elements in perspective 5) Create believable atmosphere and light in my work 6) Break complex forms into simple shapes and place them in space 7) Combine figure drawing with perspective to anchor characters naturally in scenes For examples I picked some images I found immersive and inspiring and that I felt drew me into their fantasy worlds. I would love to learn what makes them work and how I could apply similar ideas in my own art.

omg I absolutely loved that cartoon! :)

Here are some examples of types of perspective shots I'd like to be able to draw. Problems I'd like to solve with perspective are drawing and placing characters correctly so that they look grounded and naturally part of an environment. I'd like to be able to concept out ideas for character designs, props, buildings, and various other types of environments for a comic book/manga and illustration. I would like to draw the human form from any angle and make my drawings more dynamic using perspective as a tool to do so. I would like to learn to think like a director so that I can choose exciting and engaging angles for illustrations and comic book/manga panels.

I really want to learn to use perspective to amp up the drama and storytelling of the images I draw and paint. I love art where wide angles, deep shots or crazy distorted perspective can turn the volume up past eleven. I also love art that creates the feeling of epic scale and importance and have noticed that perspective can be used as a compositional tool to enhance these effects. I’m especially interested in learning how to incorporate and ground figures and props within scenes in a way that feels natural to enhance the stories and themes within my future artwork.

I'm an beginner. I like 2d animation especially japan one. 1) I want to draw from imagination 2) Draw correct proportion in perspective 3) Use perspective for storytelling, foreshortening, and create dynamic angle 5) Make believable environment without it look fake Artist: Ten-ten, Novelance, Tyler Edlin, Luhan wang, Fuzichoco. I particularly love ten-ten because he can combine perspective and anatomy he has awesome solid, structure and gesture. So he can make dynamic organic form in perspective

I'm a self-taught digital artist interested in creating art for comics, and for that I want to be able to create settings, buildings and objects that don't exist in the real world and I want to have characters interact with those objects in a realistic way, even if the characters or the objects themselves don't look realistic.

I'm a self taught artist who is interested in visual development for animation and games. Some of my goals are learning how to draw things from any angle i choose , put complicated obj in perspective , work on drawing buildings and other landscapes , and keeping characters in perspective while in a landscape.

I am an art student interested in illustration. Some goals I have are: to be able to create convincing, immersive worlds for my characters, find ways to incorporate the environment into the narrative, be able to draw the same thing from different angles/points of view, and improve drawing from imagination so that I can translate my ideas onto the paper. I admire Miles Johnston's use of the figure in perspective, Shaun Tan's and James Gurney's imaginative yet convincing worlds, Katsuhiro Otomo's cityscapes and characters in dynamic poses, and interiors by Dutch painters such as Pieter de Hooch and Vermeer.

I hate technical drawing and have been avoiding perspective for almost 10 years. The cartoon on this video hit me hard, but good. I first got my foot in the industry as a concept artist and quickly realized I needed to master perspective. I always tend to draw characters or people but I feel it's time to evolve and try to have some fun.

Hi Names Nimbus. I'm a college student working on 3D modeling and Animation and want to get better at the fundamentals of drawing in perspective to help with 3d environments. I'm really excited for this course perspective is something I've always wanted to learn to draw interesting environments. My big picture goals are: Draw exterior and interior perspective angles to create dynamic scene compositions. Utilize perspective for environmental story telling. I choose to study art from into the spiderverse across the spider verse, Mihei Tsumo, and Arcane

Hi, Stephen here. I've just picked up drawing again this year at 30 years old for my own enjoyment after having not drawn since middle school. I'm glad to have found this course because after a few attempts drawing mannequins in accurate perspective it became obvious to me that the theory behind rotating subjects on the canvas is not so easy. My big picture goals are that I'd love to be able to 1. draw wide or extreme angle environments so I can ideate on imaginary worlds 2. rotate and place multiple characters in a composition with accurate perspective from imagination 3. know the rules for curvilinear perspective well enough to break them if I decide to direct the gaze towards graphic designs or to put greater emphasis on the characters. The artists I chose to take inspiration from and study are Kentaro Miura, Sungmoo Heo, Paul Madonna, and Takehiko Inoue. Kentaro had extraordinary detail for enormous scale views in the worlds he created. I'd like to be able to understand some of his thought process by learning perspective in depth. Sungmoo's artworks have a certain style and charm that I admire. After seeing that he could intuitively rotate character mannequins in his head with ease, I thought to myself, "I need to learn to how to do that".

I am a Cinematographer working in the film industry. I read a lot of film scripts and When I do take on a project, Imagination kicks in. Words become images but only in my head. My goal is to be able to read a scene on paper imagine it in my head and then sketch it on paper, Storyboarded and potentially be able to add details to it if the film requires that. Its always quite difficult to share a thought with someone without visualizing it or presenting a reference from another film. Being a cinematographer, I understand quite well lenses, angle of view, perspective, composition, light. I can imagine it in my head. As soon as I grab a pencil nothing makes sense anymore. What I mentioned above are things that I would like to be able to learn. Since Film is my background, Ill go ahead and attach Film stills from Blade Runner and Blade Runner 1982 which I feel are examples that deal well with what I would like to achieve.

I've always wanted to learn perspective and I've been fascinated by the works of many renaissance artist like Hans Vredeman and Michelangelo. I not only want to replicate the unbelievable precision in these works but the scenery and control to create in perspective from imagination. To be able to conjure people and objects from my mind as if its a 3d software, that is my goal.

I want to be able to draw accurate structures with interesting perspective from imagination. I want to master drawing curves in perspective. I want to understand how to change and distort a scene by adjusting the angle and the lens. I want to become more comfortable drawing in perspective so that my artwork naturally takes on more depth and believability.

I want to be able to draw from imagination, people and objects from different angles with more depth and believability. I want to be able to draw scenes that pops out of the paper.

I just enrolled in the course on 5/4/2025. 1. I particularly love artist Paul Heaston's urban sketching work. He draws on the spot, a view of everything in his field of view -- while looking forward (at eye level), he includes all in his peripheral view, in a big cone of sight from his hands and feet to all the way to the left, right and above, while still looking straight ahead. 2. As a child, I came across several images of MC Escher. I was mesmerized: the staircases, the flying black and white swans, his mirror sphere reflection, and of course, his self-drawing hand. 3. Van Eyck_ Arnolfini 4. Mantegna, Lamentations of Christ, definitely had foreshortening, but it seems off. 5. Hayao Miyazaki -- gorgeous landscapes/figures/atmospheric perscepctiv. B. Big picture goal, yes, mathematically/physcially sound angles. especially of organic forms, or non-linear forms.

My largest inspirations in terms of perspective skill are easily Kim Jung Gi and Dong Ho Kim from the Superani crew. Another large inspiration is an artist nicknamed 'Fishine' who I cannot show samples of, since their artwork that shows (in my opinion) their most impressive perspective figure work, is highly NSFW, and most likely not appropriate for this comment section. The largest, broad issue I want to solve with my perspective knowledge is freedom. Having the freedom to draw whatever I want, from whatever angle I want, with whatever focal length lens I want, is the ultimate goal. More specific goals I'd like to really focus on is learning, is exactly how ellipses distort in perspective, how perfectly accurate distances and measurements change in perspective, and how to properly manipulate and distort objects with curvilinear perspective.

I want to get good at understanding and internalizing perspective to the point that I can freehand it “good enough” as I sketch but also know how and be able to take it further with finesse. I also want to understand how much of an accurately plotted cast shadow — be that of a character against a wall/furniture/other character, or of an object over a character/other object — can be sacrificed to manipulate the lighting in order to create a more pleasing composition. 1-4: John Paul Leon. I love how he draws cityscapes! They feel so layered and cluttered and noisy but never to a point of being distracting or unpleasant. The focal point is still clear. 5-7: Pepe Larraz. 8: Jorge Jiménez. 9-10: Jorge Fornés. An example of how much of the shadows were plotted and how much did he alter them to aid the composition (if any)? I also really want to draw spiralling staircases like that. 11: Rodolfo Damaggio. 12-13: Paul Felix. 14: Winsor McCay. 15: Noel Sickles. 16: Albert Dorne. 17: Herb Tauss. 18-19: Bernie Fuchs. 20: Jean Giraud.

This is from a game called Monument Valley. Its doesn’t appear to use vanishing points, so it entirely in a flat 2D orthographic view. But I wanted to learn how to draw things from different angles and taking bits of these buildings will be good for that. Maybe. I could try and add my own perspective lines.