A long deskside talk on freehand curvilinear perspective...

I was working on a new panel of Dracula Son of the Dragon, and thinking about a class I taught last week. Wanted to get some of the ideas down in a clip for a while. This is not quite the same as the class itself, but it covers the key idea of a freehand approach to curvilinear perspective. There's a support page for the class on it's site here. http://dd.salgoodsam.com/mid-ground-r... http://dd.salgoodsam.com/tag/perspect... The distortion in it is minimal here, something like a wide angle lens. It can be fun to warp things even more, like a fun-house lens, as you can see in the Kim Jung Gi sketchbook drawings i show in the clip [ref:   / 294716497397815   ] But a bonus is that in day to day practice, using this approach to perspective is both, liberating and forgiving in it "fuzziness", and when used well much more expressive, and rich narratively. I always say that it's better to think about the feeling of the work, than precise accuracy all the time. it's you're authorship for one thing, and far less stressful. It's good to study the geometry of perspective, but in application don't avoid it for the fear of the math. I don't use wide angle scope for everything, but I nearly always do freehand perspective work. it's rare in any of my comics or illustration work, that I'd assume anyone is going to be checking if I got it "right". So, i wing it, rely on many other techniques to depict space and depth, and mostly think in terms of entertaining my eye, and judging things by feeling the space. http://dd.salgoodsam.com/ http://synstudio.ca/dynamic-drawing/   / dynamicdrawingatsyn   http://www.spiltink.org/ http://www.salgoodsam.com/   / salgoodsamspage     / salgood