Do you have any advice for understanding hands better? Iâve been practicing them for years but feel like compared to other aspects of anatomy itâs the one thing I havenât seen much improvement in. I draw both from life and images and draw nearly everyday but nothing Iâm doing seems to help
I personally get by mostly from remembering poses that Iâve already practiced a ton, like I figure out how to draw it once and am able to file that away in my brain and use it again later, and tweak bits of the pose or the level of simplification to suit what Iâm drawing.Â
Iâve paid special attention to drawing hands for likeâŚ. most of my life so I have a LOT of poses Iâm easy comfy with now, but when I need to figure out something complicated or new, I can usually work it out by breaking a hand down into shapes, remembering a few key points/ârulesâ from what Iâve learned about hands in order to help me break it down in a way that makes sense. And if thatâs not enough either, then I take photo refs.Â
^^^ here is a pose I use a ton. I have a quick way of drawing it from various angles. the first time I had to draw a pose like this, I had to think and figure it out, but in drawing it a bunch of times and having to use various angles like this, Iâve eventually come up with a quick, reliable way to draw it from a few of the most common angles that fits the style I like to draw in. Iâm blessed with a good memory for observations, so when I see a beautifully posed hand, I can usually really quickly analyze what I like about that pose and why, and that helps me absorb it so I can recreate my saved impression later. But I know not everyone thinks the same way. it might benefit you to quickly scribble down a study in a sketchbook when you see a pose you find beautiful and want to learn from for later.
^^^ here are some poses I had to stop and spend time figuring out, calling up the ârulesâ for how hands are built to kind of logic-out how they should look from angles Iâm less familiar with. results can be mixed, but⌠if I end up with something expressive that fits the style of the rest of the drawing, Iâm usually really forgiving of fudged anatomy or slightly wonky proportions. as long as the thumb is on the right side and there arenât too many fingers, thatâs a great start lol.
^^^ and here are ones I had to take reference-selfies for. I try to use this as a last resort because 1) itâs a lot of trouble 2) interrupts my drawing and 3) if Iâm not careful I stick too close to the reference, and the drawing ends up with the hand looking referenced and the rest of the pose not, which is jarring to me. not to mention I have tiny manlet wrists that without fail, look horrific and emaciated in photos, and the lens distortion makes my fingers look scary too⌠ugh, photo reference has definite flaws. I actually donât like the look of drawings for which I can Really Tell the artist drew from photo reference, because most often that means theyâre taking the ref too much at face value and incorporating ugly lens distortions into their drawing. so I have to think extra hard not only about interpreting the ref, but also might have to make multiple passes just to get the hand to look normal, AND match the style of the rest of the drawing.
Anyway, here are some of the âârulesâââ I mentioned earlier that I fall back on to help me figure out more complicated poses:
1. probably seen this before, but basic proportions. the palm is usually half the total height of the hand. obviously you can mess with this purposefully.Â
2. I think of joints as like, ball joints or hinges. I find that easier than trying to remember bones & muscles. hereâs a drawing of the wrist as a hinge. note that when youâre thinking of it this way, itâs a shortcut, but a shortcut is only good if you use it with precision. notice the pin for the wrist hinge is not just halfway, itâs closer to the top of the hand. being precise about that is what allows this shortcut to work. the heel of the palm juts out, while the top of the hand transitions into the wrist quite smoothly.
3. simplified planes. planes are important yo. in super simple terms: top is flat, bottom is round. this works on the fingers too, actually. the tops are bony and tendony, and the bottom is where the fat is, so itâs rounder and soft
thinking of the hand as abstract shapes REALLY helps simplify the task of drawing hands, and is just as helpful even if you are drawing from reference. I can say âthe palm is a boxâ and obviously the palm is not really as simple as a box, but if I think of the palm, wrist, and each finger joint as various shapes of box, then all of a sudden, psychologically, my task is SO much easier. Iâm not drawing a Hand, which is hard, Iâm drawing boxes, which is easy.
4. that prominent knob some people have on their wrist? thatâs on the pinky side.
1. the knuckles arenât really a flat row on top. the hand is like a cup right, so your palm can hold water and things. so we can think of the hand as a box to make figuring out the pose easier, but when it comes down to it, youâll want to make it more of a curve. this curve is why you can see multiple fingers in a side view
2. when curled up, the fingers nestle together. the fingernails also turn slightly toward the center. even if Iâm simplifying the hands significantly, I usually still draw the fingernails because they are SO useful for communicating the pose of the hand effectively.
3. lots of people suggest to think of the hand as a mitten, grouping the pinky/ring/middle fingers and singling out the index finger. this works great, the index finger is more independent from the other three. on the flip side, those three are really stuck together; if youâre drawing the pinky curled up all the way, then you better not draw the ring finger sticking straight up, cause that would HURT. anyway, singling out the index finger leads to more interesting poses in my experience.
1. this is another illustration of top = flat and bottom = curved. this is a really easy way to organize your line quality. straight lines and sharper angles where there is bone, and soft gentle lines where there is muscle and fat. your drawing as a whole will read very clearly if you find some guidelines like that to stick to, as it means all your lines are intentional and thoughtful.
2. this oneâs about overlaps. when forms overlap, it makes a crease, and when you draw that crease youâre communicating which form is in front of the other. in the second drawing I reversed all the creases, and it looksâŚ. messed up. think about how pieces connect.
so when youâre trying to make up a pose without using specific reference, I think itâs good to think about theâŚ. flow of energy through the pose. honestly, I know itâs really abstract, but if I have an ability to make interesting poses that communicate weight and movement, the things that make people say your character feels ALIVE, like they really EXIST in a space⌠itâs because I started to think of poses this way. imagining streams of energy bouncing through the body, flowing down the limbs and out through the fingers. this is why hands are so important to me, cause theyâre where the kinetic energy of the pose ultimately ends up. I talk about it when drawing the torso and arms and legs, but an interesting drawing has a bounce back and forth between opposites: for every curve, an opposing straight line, alternating back and forth down the entire body. if youâre sensitive to the energy of the pose, then even very simple poses will be interesting to look at.
anyway, with regards to hands, I imagine the energy getting sort of cinched in as it passes through the wrist, and then emanating out through the fingertips. I hope my drawing at least SORT of communicates this imagery. it makes sense because thatâs BASically how the bones in the hand are anyway. and then the right side of the image above is just demonstrating some highly simplified gestures. see how the fingers fan out and curl in, rarely parallel to eachother. when youâre figuring out the pose, using a line to stand in for the row of knuckles is super valuable.
aaand finally, hereâs two hands where I intentionally neglected correct anatomy and proportion because I felt it worked better for the style of the whole drawing. Left side: since this is a really simple and cartoonish style, I was thinking back to kidsâ and shoujo manga I have read where the style was very solid and distinctive, but definitely NOT overly concerned with correct anatomy, or even really drawing hands, uh, âwellâ at all. to me, that sort of approach has a Look that I like to invoke sometimes, since for years I felt like I learned a bunch of anatomy and proportion and drawing from life actually in detriment to the liveliness and appealness of my drawings. this hand is mushy and makes very little sense, but it turned out as intended. Right side: sometimes I like to pretend fingers only have 2 bones in them, cause i am a Queen and i do what i want
and there you go. I hope that helped, like, at all? Look at real hands and photos of hands and hands in motion, but also look at drawn hands as well. find what you like, and work towards expressing that yourself. and remember the hand is part of the whole drawing. not only in the art style like Iâd been talking about, but because the angle and placement of the hand is reflected in the angles of the arm, which in turn reflects on the angles of the shoulder, which affects the whole torso, etc etc etc. and the techniques you can use to understand and draw the rest of the body, works on hands too. as you improve everything else, your hands will improve as well.
DISCLAIMER: I whipped up these diagrams quickly, theyâre not meant to be good drawings or accurate refs, just diagrams to illustrate my thought process lol
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