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Art Lessons: Overlap

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[MUSIC]
So
now we're gonna be talking about overlap.
And overlap is one of the most important
things with respect to drawing
because it's really how we set the stage
for creating the illusion of space.
There's only a couple a ways to create
space with overlap,
with perspective, with edge.
But overlap, particularly with drawing is
the greatest way
to show space, dimension.
And the ability to see things from a depth
of field.
Okay.
So, what is overlap?
Let's get into a little bit of the basics
of that.
So, for example, if I have this.
If I have a horizon line like this, and I
have a.
A sphere and
a triangle and a cone
like that.
We can see that this sphere here is in
front of this triangle
which is in front of this cone because of
overlap.
Right?
This edge literally.
Overlaps this edge.
And this edge literally overlaps that
edge.
So that's a really simple thing to
understand.
If this square here.
Is in front of this square here.
Our brain registered, that this square A
is definitely in front of square B.
Doesn't mean it's necessarily bigger.
Doesn't mean anything other than the fact
that we know it's in front.
So when we create overlap
we have to really be a mindful because
sometimes overlap can be confusing.
So let's talk about that.
So.
If you have one object like this
and you have another object like this and
you have another like this, this object.
Is in front of this, which is in front of
this.
And as it goes back and it goes back and
it goes back.
It's like a centipede right?
And it goes back and it goes back.
Et cetera and so on.
Now you see what I'm doing here is.
I'm making sure I'm not closing the form.
And this is, this is really
will resonate true when I'm talking about
the figure, the human figure.
I'm not closing the form.
So.
We're gonna get into that right now when
we draw the thigh.
Because the thigh is a really good example
of that.
Oftentimes [SOUND]
Oftentimes students will have.
A thigh like this and it's coming this
direction.
And it's like a cone in perspective.
And this cone is going down like that.
And often times you'll have student who'll
draw the knee.
Like this, but they'll close the form off.
In other words, they'll take the knee and
do this.
They'll take the thigh.
And close it off.
So, even though she's sitting right here,.
This form.
We'll be closed off like that.
I'm just showing you little bit more.
So, when you close off these forms, it's
just wrong.
It just doesn't look good.
And that's not how, that's not how the
figure is.
That's not how nature's designed it.
[MUSIC]
[MUSIC]
Let's talk about overlap,
not closing off the form, cuz now we
understand what overlap is.
Now let's try to use it without closing
the forms off, to create
the illusion of space, the illusion of
something is coming out at you.
So if, for example, if we have, we'll take
her pelvis.
Her one thigh is here.
Now, as I draw to the other side, I'm
closing it off in my imagination,
but I'm actually not literally pushing my
prisma down on the paper like that.
I'm phantom drawing, so I'm thinking about
the form connecting to the other side.
So ,I'm pushing my pen down, lifting it,
phantom drawing, because when you draw one
side you always wanna draw the other.
But I'm not closing the form off.
Then I pick it up here, and
I draw that direction, like that.
See, so, I've created the illusions of
this sphere, like that.
That string's going that way.
So, you can see her thigh is relating to
this side, like that.
And it's, it's very subtle.
So, like, even the rib cage here, there's
an overlap, and
it's a subtle overlap where that pelvis
is, like that.
Subtle, subtle, subtle, subtle.
Belly button to the other side of the rib
cage, and you can see as I draw the rib
cage, I'm phantom drawing that, but I'm
drawing from one side to the other.
I'm drawing one side, pushing down.
I'm drawing an arrow as it goes to the
other side but
I'm not really putting a mark down, cuz
otherwise I'd be closing that form.
I'd be saying, you know, here's a rib cage
like that,
and then here's this shape like that.
Now, that doesn't look like a form.
That doesn't look like a human form.
That looks like architecture.
But I am doing it.
I'm phantom drawing, phantom drawing,
picking it up here.
The rib cage tucks, and
the pelvis sits behind,
Like that.
Same with here.
Same with, we get to the kneecap.
Well, the kneecap overlaps like that.
Goes back into space.
And this piece here, comes up,
and around like that.
So ,this piece overlaps this.
Now, I'm drawing from one side to the
other, but I'm not closing it off.
Same with the way the leg is working.
Here we have this, this shin, the tibia is
going all the way down.
And I'm making a mark here from this part
all the way down like that to her ankle,
right here.
Now as you could see, there's a line here,
and the calf sits behind there, like that.
But there's an overlap.
See, these little, little overlaps are
giving us clues to space.
We know that this bone is sitting in front
of this muscle, like that.
And we obviously can experience it with
value.
We can experience it with texture and
color, but
we have to know that this, sits in front
of the gastrocnemius muscle.
Just as we have to know that this piece
here
sits in front of this piece here, like
that.
Her other leg,
you know, is sitting behind here as well,
but
all of these clues are going to help us
see
and experience the figure with way more
clarity, way more understanding.
Now, we have this, we have the the thigh
here overlapping here,
and we know not to close that off, cuz
once we do that, we get this.
We get the thigh, and we get the knee,
right?
So imagine if we were to close that shape
off.
It just looks, it just looks wrong.
It looks like a looks like a mannequin,
you know, it's not built like a doll.
It not constructed out of wood.
These are organic forms that are rolling
from one side to meet the other side.
So, when you think of overlap,
really think about a form being in front
of another form.
And, not closing off forms, but drawing
through forms.
We're drawing through the form, pick up
your pen, put it back down.
You're drawing through the form, pick up
your pen, put it back down.
Clues, clues, overlap.
This is an overlap, this is an overlap,
this is an overlap, this is an overlap.
And even when it comes down to like, her
bikini right here, you know,
this, this string is overlapping this
form.
That's the illusion of the space.
This is actually wrapping all the way
around that.
And if we get deeper into it, we could
overlap with value.
We could do very subtle overlaps, like
right here.
This will probably, this piece right here
will overlap.
This sits on top, this knee, and as you
could see, you know,
it's a, it's a very good beginning for a
very deep and
comprehensive understanding of not only
the figure, but for everything.
Because, know this, the figure is single
handedly the hardest thing for
an artist to draw, because we're the most
complex structure in the world.
In the world, in the universe, so because
we're so complex we're really,
really difficult to draw.
A lot more difficult then animals and
certainly architecture, and cars, and
buses, and flowers.
So, you have to really learn the figure,
really understand the figure,
and understand these simple things that
will help guide you to the next level.
Overlap is one of those.
[MUSIC]