Assignment - Perspective for Drawing Anything
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I Teach Creatives
assignments 654 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![]()
![Legacie L]()
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![Melanie Scearce]()
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![Sven]()
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![@cheui]()
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![Jasper Meadows]()
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![@magnumexpress]()
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![Attila G.]()
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![@momokara]()
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![Matt]()
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![@zyjerah]()
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![@kenada97]()
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![Ariann Art]()
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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!
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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17h
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.
My big picture goal is to become a concept artist in the game industry. This means being able to draw objects from different angles, create exploded views, and accurately depict the mechanics of anything I draw so that it may be 3D modeled. I want to be able to create worlds and characters from my imagination, and the more I study, the more I come to understand that perspective is the foundation for all representational drawing.
I've always struggled with fitting characters into scenes, and usually my backgrounds for character art end up being abstracted. I'd like to be able to create a space and place characters in it with believable accuracy.
Some artists that inspire me are:
1. Kim Jung Gi (obviously)
2. Rembert Montald
3. Alan Lee
4. Hiroshi Yoshida
5. Feng Zhu
6. Scott Robertson
7. Thomas W. Schaller
Hello, Proko community!
My big picture goal is to master perspective so I can draw complicated character interactions and poses from any angle, as well as place figures in basic environments convincingly. I have a baseline understanding of drawing figures, but my compositions and poses have been limited due to my lack of perspective knowledge and visual library for backgrounds. I hope to tell stories through my art via comics, so I hope learning perspective will enable to me to elevate my character scenarios, creative composition designs, and establish a decent visual library for backgrounds/environments.
A few of my favorite perspective pieces from artists that inspire me (I love studying character-focused mangaka and animators):
1. Kamome Shirahama (I admire her ornamental paneling, and how she plays with perspective and negative space)
2. QMENG (I admire her dynamic, expressive character poses!)
3. Tatsuki Fujimoto (I admire his cinematic framing!)
4. Kim Jung Gi (I hope to master even 10% of his intuitive, experienced understanding of perspective, and be able to draw figures and scenes from imagination the way he does!)
5. Yoh Yoshinari and Sushio (I admire their loose, ultra-dynamic style with conservative brush strokes, yet the illustrations still pop out of the page)
Hello all!
My big picture goal is to not only learn to draw environments and scenes in the correct perspective, but also be able to place objects and figures within said environments/scenes in a way that is believable.
See below for some pieces by artists that inspire me. I know the perspective on a few of these is subtle, but it's undoubtedly still present:
1. Ethan Van Sciver - "Stalker" Cover from Cyberfrog 2: Rekt Planet
2. Scott Robertson - Various Car Designs
3. Junji Ito - "Labyrinth" spread from Uzumaki Vol. 3
4. Gustave Dore - "Death of Elaine" from Idylls of the King
5. Zdzislaw Beksinski - "Untitled"
Hi Proko Community,
I'm a beginner at art (but not absolute) so please bear with me what I'm about to write and try to take your time to help me improve in art, thanks.
So my goal would be to be able to understand horizon lines and vanishing points more and I would like to train my patience level and details observation and analyzation more so I could identify the "minutia movement" of natural, organic and hard surface objects. I really admire those who can see the even the teeniest tiniest of the details and be able to make believable appeal with it, regardless of any craft.
A challenge I want to pursue and get better at would be "thinking perspectively every single time." For example, I want to be able to depict vanishing points on EVERY SINGLE object in EVERY SINGLE SCENE from ANYWHERE, not just in front of my eyes and be able to depict it not too slowly. I want to train myself to be able to see vanishing points on objects that's not cube, squarish, rectanglish or boxy and try to identifying different shapes and structures more easily so I can create and alter more intriguing and appealing images and objects. I want to not over-exaggerate or overthink things and take things too out of order especially when it comes to the human eyesight and perspective, overcomplicating things. I know simplification is the way to go but my brain just doesn't seem to be able to perceive that. I would like some assistance in understanding different and same scenes especially regarding to vanishing points and horizon lines more. Thanks for helping me and taking your time to read this post.
Hello!
I would like to understand and practice perspective because I would like to be able to draw both from imagination and from observation. To my understanding so far perspective so essential, it will be always helpful if someone has a developed sense of how space works and can work with forms in a 3d space in their head. A cool problem or challenge would be it I could draw the building in the third picture attached from a different point of view using only the pictue as a reference (or a simplified version of it). The very long shot goal of perspective learning would be of course if I could use it creatively, aka I could bend some rules to create even better, believable and "stronger" pictures. Thank you for making the course!
Attila
I'd like to be able to draw whats in my mind well.
i'd like to draw vast landscapes and then eventually paint them. i want to express my imaginary imagery better and create images i took with my own artistic voice.
Takehiko Inoue's Vagabond is beautiful. I'd like to be able to find my own artistic voice
Hello all. I chose artworks by Ito Junji, Yoshitaka Amano, Sargent, Vilhelm Hammershøi, and Edgar Degas.
My ultimate goal is to be able to draw, sketch, and paint pieces with human subjects in ways that are beautiful, yet unsettling. I chose these paintings in particular because they have a certain quality that rests in the middle point between nightmare and dream. As an aspiring horror artist, this is a skill I wish to acquire.
Perspective is, arguably, one of the most important fundementals of art. If I want to be able to draw from both reference and imagination with more ease, I'll need to master it.
Good luck, everyone.
Hi All. The two artist I've chosen to contribute to this encyclopaedia are James Gurney and Jama Jurabaev.
James Gurney is an absolute living master. A true traditional practitioner of artistic study. His Dinotopia books have been a life long inspiration for me. Not only is he skilled, he is also incredibly generous with his knowledge. He has a lot of amazing books and his Blog catalogues years of is personal study.
Jama Jurabaev is a practicing concept artist. He works in 2D and 3D medium to produce images. He was instrumental in developing sketch 3D workflows; using techniques typically only used by 2D artists in 3D medium.
My goal is to become comfortable enough with the rules of perspective to know when to use them directly, and when to be more flexible with them. Ultimately I want to sketch from imagination more easily/confidently and work in concept art.
Kia Ora! My name is Zala and I've just started learning fundamentals of both drawing and oil painting at a local atelier.
I've collected a few pieces that I absolutely love that relate to my goal with this perspective course. Pieces by Nicolai Fechin, John Singer Sargent, Frank Brangwyn, Jeremy Mann, and Craig Mullins.
Big picture my goal is to be able to have a firm enough understanding of perspective to be able to suggest great detail in backgrounds and other secondary zones with only a few brush strokes, like these pieces I've selected. Having an understanding and instinctual grasp on perspective I am hoping will allow me to know where these sorts of limited detail strokes should go in a painting (and then the skill to apply it I will work on in tandem!). Very very broadly I am hoping to gain an instinctual grasp of perspective that will help me apply it both mindfully and subconsciously to my work.
Looking forward to learning from you Marshall!!
My name is james, i enjoy manga and comics and have always wanted to get better at drawing. I've noticed over time some of my favorite panels deal a lot of with perspective and even landscapes and there's one particular series that made me come to this realization. so my goal is to one day draw something of my own that takes advantage of these kinds of perspectives.
Hi! My name is Ariann, I'm an artist from the Mexican Caribbean based in Ontario and currently working as a project manager in animation.
In my free time, I like working on comics. I'm currently trying to set myself up for success to create my first ever graphic novel, but this project requires a lot of perspective and understanding it in a way that will allow me to create backgrounds that aren't just accurate but that have character to them as they are part of the story I'm telling. So, I collected some references from both pictures and art to show what sorts of visuals I'm aiming to be able to conjure up.
Hello!
My name is David Cardona. I'm a Graphic Designer from Colombia and a admirer of art and animation. I've always wanted to go deep into drawing but never had the chance since I was pretty busy working.
I love cinematic perspective and background design. I want to get into the animations business and also develop a intuitive sense of perspective. My references are: Hiromasa Ogura (Ghost in the shell 1995), Shuichi Kusamori Ogura, Jean-Claude Mézières (Valerian and Laureline), Moebius (L'incal), Juanjo Guarnido between many others.
Nice to meet you.
I literally decided to take this course because of Blacksad and it's incredible backgrounds. Also, Moebius work :D
So. Goals:
Putting structures on paper in an arrangement that feels more real. Figure out more unique perspectives to draw things in. Mine tend to stay in the same lane so I'd like to make some changes.
Discover things I didn't know I wanted to know.
Masters or favorite pictures. This one's kind of difficult, because I really don't have a lot of favorite pictures. The two that really come to mind are Salvadore Dali's Disintegration of the Persistence of Memory and the cover art for "The Doors of hIs Face, The Lamps of his Mouth," by Roger Zelazny (author). The artist is Lebbeus Woods. If I had to add others, I would probably throw add Nighthawks by Hopper and any still from Spider-Man: Across the Spider-verse. Chris Samnee. And Gregory Crewdson. He's a photographer, but I think it makes sense to include his work here.
Pictures:
I have two big picture goals. The first is to be able to construct and deconstruct mechanical objects by just using simple shapes and eventually without the need for reference. The second is to be able to create characters and stories that actually interact with the environment around them.
Not all of my reference are your typical sense of a master, but they understand it to the degree that I would like to.
1. Farseeker Card by Toni Infante
2. Magic the Gathering Spiderman Key art by Toni Infante
3. WIP by Eliza Ivanova
4. Grocery Run by guweiz
5. Headspace by briansumcreative
Every single thing from Huge Ferris, mainly I love his graphic/design quality of his art. I never really thought about "wow he has a good perspective" or something. But I think his perspective IS the unseen foundation of his amazing work.
Big Picture Goal:
- Form bender, i can bend/manipulate any type of form in my head into a paper.
- Capturing interesting IRL object into my sketchbook, deconstructing it, thoroughly understanding it
