PART 1
Pretty straightforward one. I enjoy perspective, even when you're not directly utilizing the vanishing point concept everything 3D still technically has 3 axis at all times. If you can manage to break something down into a bounded box or other simple shape, you have the tools to rotate it correctly however you want in a precise, unambiguous manner.
Still having a rough time getting a nice contrasting range of values. It's probably a combination of mentally working with light graphite on light paper, and not having a bigger range of pencil types. Charcoal definitely seems to allow for an easier range with a smaller set of tools. Regardless, I like the precision and lack of mess with graphite. The horizon vanishing points were both located 18" from the paper's edge to get a more distant look (versus an ant-view), with the third point naturally being somewhere infinitely far.
Reference image was the famous and endlessly photographed T. A. Moulton Barn in Wyoming. It's a lonely structure on a vast plain so it's already a good subject, plus I added a little tech because I could.
Still having a rough time getting a nice contrasting range of values. It's probably a combination of mentally working with light graphite on light paper, and not having a bigger range of pencil types. Charcoal definitely seems to allow for an easier range with a smaller set of tools. Regardless, I like the precision and lack of mess with graphite. The horizon vanishing points were both located 18" from the paper's edge to get a more distant look (versus an ant-view), with the third point naturally being somewhere infinitely far.
Reference image was the famous and endlessly photographed T. A. Moulton Barn in Wyoming. It's a lonely structure on a vast plain so it's already a good subject, plus I added a little tech because I could.