This Live Class offers Office Hours at an additional cost. Office Hours allow you to join a group video call with Erik every Wednesday from 2:00pm - 2:45pm, starting the second week of class.
During Office Hours, you can get personalized help on class assignments, ask questions, and share your work directly with the instructor. To get your Office Hours Pass, use the link below. You will receive a link to the video call before class starts.
Your Office Hours Pass is good for the entire length of the Live Class, and you can join as many Office Hours as you like.
Important Live Class information and links In this 12-week Live Class, master draftsperson Erik Olson will guide you through the foundations of linear perspective. You will learn how to measure, plot, and problem solve using the principles of perspective.
Erik will teach you how to interpret perspective from photography and masterworks. You will explore how the Old Masters utilized perspective as a tool for visual communication.
After completing this class, you will have gained a solid understanding of perspective that allows you to draft complex scenes and objects from imagination.
Format This Live Class offers instructor feedback and critiques for the pre-recorded course "Perspective I with Erik Olson". Each week, you will be asked to watch the video instruction from the pre-recorded course, complete the week's assignments, and turn them in 24-hours before class. Then, during Live Class, the instructor will answer your questions and critique as many assignments as time allows.
Erik Olson received his BA from Art Center College of Design in 1987, freelancing in Illustration until 2001. Erik received his MFA in Painting from Wayne State University in Michigan in 2010. He has exhibited his personal paintings in various group shows, including the Williamson Gallery in Pasadena and the Museum of Contemporary Art in Detroit. Erik is currently a full-time associate professor at the College for Creative Studies in Detroit. Erik’s current work is a series of paintings that he considers portraits of late 19th century, 20th century, and 21st-century homes, dwellings, and structures, and their surroundings in various stages of decay.