| Copyright (c) 2006 Todd Harris | | | | Once your block-in or lay in is complete, you |
| | | | can finish with some shading and refining. |
| Artists consider drawing hands one of the | | | | Draw the main visible wrinkles, shadows, |
| hardest parts of the human form to draw. It | | | | nails and then refine the lines. |
| takes a lot of practice to master drawing | | | | |
| hands, however, it can be learned and less | | | | Add some rough shading to bring the form out. |
| daunting than the task seems. Hands are a | | | | Then refine with more subtle shading while |
| very expressive part of the body, much like | | | | observing the fine lines of the hands. It's |
| the face, this is why it is sometimes so hard | | | | good to know where your light source is |
| to draw. There is a formula to the process | | | | coming from so you know where the shadows |
| that makes it easier for artists to master | | | | will fall on each finger. |
| drawing hands. Let's take a look at the | | | | |
| process. | | | | There are some tips that you can consider |
| | | | when drawing hands that are helpful. First, |
| Start with blocking in the hand. Artists do | | | | draw your own hands. Set your hands in |
| this differently, do it the way you feel | | | | various poses and look for how the light |
| comfortable. A quick block-in might look a | | | | falls on them. Next, know what's |
| little like a fisted hand outline, with | | | | underneath the hand. Have a good |
| fingers outstretched. | | | | understanding of the structure of the hand |
| | | | from an anatomical view point. This should |
| When you are drawing the hand, you do not | | | | give you a good understanding and help you |
| have to worry about all of the detail, this | | | | with how the shading should be handled. |
| will come later. You always want to start | | | | |
| with the overall shape and then work the | | | | Start with easier poses and then work on more |
| finer details last. Break down the hand with | | | | complex poses as you become more familiar. |
| simple shapes. | | | | |
| | | | Get critiques of your drawings. Feedback is |
| Then form the fingers. Notice the shape of | | | | very important when learning to draw |
| them and the space between them. Make sure | | | | anything. Get new perspective from others |
| your proportions are correct. Once you have | | | | comments and don't be afraid to try them out. |
| everything in the right position, then and | | | | |
| only then, can you begin to refine the hand. | | | | Lastly, drawing takes a lot of practice. |
| Make sure the thumb is in the right position | | | | Don't get discouraged if your first few hands |
| relative to the other fingers. You can use | | | | don't turn out. You'll get it, with |
| the thumb and pencil method to check these | | | | persistence and practice, you'll be mastering |
| proportions. | | | | hands in no time. |
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