Video instructions and help with filling out and completing Why Form 843 Overlapping

Instructions and Help about Why Form 843 Overlapping

Last time we learned how to use color to create the illusion of depth now let's explore some concepts of shape the most familiar way of indicating depth for most of us is perspective you have converging diagonal lines for shortening of forms overlapping shapes and scale with all of these principles of perspective we're using shape to create the illusion of depth let's start with scale first the most basic rule of perspective is that as objects get further from the viewer they will appear smaller so to show depth it's a good idea to have objects of recognizable size in both the foreground and background we know that these two figures should be roughly the same size so this smaller one seems further away everybody knows that my biceps are enormous ly large a smaller bicep in the same scene will appear further back the objects don't have to be the same just any object that the viewer recognizes and knows it's approximate scale the house on this hill gives us something to go off of to imagine the size of the hill when we make the house smaller now the hill looks like a mountain and much further away detail since distant objects are smaller there's less space to put detail so don't try to cram as much detail as possible just for the sake of having detail in fact removing information could be better putting more detail in the foreground elements and less detail in the background elements adds to the effect of depth and consider simplifying distant shapes instead of attempting to include every subtle nuance of the objects contour focus on the rhythm of the shape and its role in the picture converging lines and vanishing points everybody knows you can't talk about perspective without mentioning vanishing points basically as objects recede into space they get smaller and smaller and by the time they reach the horizon they are so far away they've shrunk tamir's dots this is best seen on boxy objects like walls and furniture and stuff the top and bottom of the walls are parallel but when perspective is applied all the lines in the scene that are parallel will point to this one vanishing point this is called one-point perspective one-point perspective brings the viewer into the scene to look at whatever action is happening near the vanishing point with two-point perspective now you have one side of the box going towards one point and the other side towards another point instead of bringing the viewer into the scene like we did with one point perspective instead we get an effect of the closest object popping out towards the viewer we can choose to play up or play down this effect with a degree of the angle for example with this car the middle line at the headlight closest to us really jumps forward it's very difficult not to look there the headlight screams look at me I'm in your face so you would decide if that's what you want is it about the headlight or the whole car you can play down this effect by flattening the perspective a bit very different effect and something that many don't even consider as they start plotting their perspective be careful with this because all these decisions have an important role in how the viewer reads your picture let's talk about foreshortening now for shortening and converging lines coming to a vanishing point are basically the same thing they're things receding into space and getting smaller though with organic forms you rarely have obvious diagonal lines directing the viewer to a point foreshortened organic objects like a leg appear to be going back because the viewer is familiar with its extended length and when it's squished down to half the expected size the viewers brain automatically thinks well it must be going away from me it must be hidden from sight behind itself so in this case it looks like it's receding because it's length is shorter than it should be so here's some common mistakes that I see regarding for shortening of the human figure I see it all the time and I'm a victim myself we're in a life drawing class and we're drawing a foreshortened leg except we don't draw it for shortened we draw it as if it was fully extended this is really common because our brain just doesn't want to draw it for shortened we're so used to seeing a leg in its full length that we just want to draw what we know it's an illusion but we're not the viewers where the artists and we should be in control of these effects we should be thinking about how we can use them to our advantage be in control of it instead of fighting it another mistake is when we successfully measure the length but then we just compress the width to make it resemble more of a leg shape then you have a tiny leg seems silly but it happens all the time stupid brain at first just think of it as an abstract shape it's not a leg it's just a shape removing the identity of what you're drawing from your mind should help you stay analytical overlapping lines and forms with an organic form like a leg you also have overlapping forms to help show depth the leg is made up of many smaller volumes the muscles and bones and as these recede some will be in front of others you can show this by overlapping the lines the femur is in front of the vastus medialis vastus medialis is in front of the adductor group which is in front of the pelvis these overlaps tell the viewers eye that the forms are receding backward one after the other so we started with a simple abstract shape for the leg but that's flat after you're done with the simple shape go