Anatomy ad­vice

Get­ting to grips with hands.

ImagineFX - - Contents - Chris is keen to share his knowl­edge of art the­ory. You can see more of his work at www.freshde­signer.com.

Be­cause of its so­phis­ti­ca­tion and in­cred­i­ble range of move­ment, the hu­man hand is com­plex to draw. When I draw com­plex forms, I like to sim­plify as much as pos­si­ble, es­pe­cially when draw­ing from life.

To be­gin, I pre­fer to first note the outer shape. I look for key land­marks such as the knuck­les, fin­ger­tips and the bones of the wrist. Then I draw a shape that cap­tures the outer form. Once I have the hand blocked in, I re­fine my draw­ing by adding de­tails, anatomy and fin­gers. I also want to note the ges­ture of the form, us­ing sim­ple marks, such as straights and C-curves, as much as pos­si­ble. These help me to cap­ture the ges­ture and con­struct my sim­ple shapes.

The fin­gers are a unique chal­lenge, be­cause they can move in a va­ri­ety of ways, which can make the pose very com­plex. To sim­plify this, I like to group the fin­gers as much as pos­si­ble. I’ll of­ten be­gin with the wrist and palm only. Then, I group all the fin­gers to­gether into one mass. When I have time, I’ll then re­fine the draw­ing by sep­a­rat­ing the fin­gers and adding de­tails.

To make the hand feel solid and three­d­i­men­sional, I’ll em­pha­sise the struc­ture us­ing sim­ple 3D forms such as boxes, spheres and cylin­ders. I’m keen to de­fine cor­ners and planes be­cause it helps when I’m ready to add light­ing and shad­ing.

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