| It is crucial never to guess how a hand should look | | | | now look much shorter. If you measure them you will |
| like. Also the finest artists look at the hand they are | | | | discover they are much less than one-half the length |
| not using before them as a example when they are | | | | of the hand. The reason: the skin between the digits |
| drafting hands. Likewise you should find a | | | | appears as part of the palm. |
| pocket-sized mirror and use it to look at your hand | | | | In addition to this observe that all three elements of |
| from different perspectives or to transform your left | | | | the digits now are all of nearly equal length. When |
| hand into a right hand. | | | | sketching hands it's very important to remember this |
| A recurring novice's fault is to make the hands overly | | | | so you do not fall into the trap of sketching identical |
| small. You should examine the proportions exactly | | | | digits no matter which way you look at them. |
| when you sketch a hand. As a guideline, position your | | | | The thumb is a entirely different thing, so do not |
| hand in front of your head. Observe how it goes all | | | | draw it as some other finger. It only has two joints, |
| the way from the chin to your hairline. Think of this | | | | not three, goes in a different direction and has a |
| especially when sketching hands on or near people's | | | | completely different form so view it with care. You |
| heads in your drawings. | | | | must also notice how it bends lightly when fully |
| Whilst starting to study how to draw hands it is ideal | | | | extended. |
| to depict a unstrained hand posture first. Notice how | | | | Drawing other hand positions |
| the digits are not flat when the hand is unstrained. | | | | The succeeding primary hand poses you should try |
| They all of the time bend a little, the little finger much | | | | to sketch is the fist. Notice that the knuckles do not |
| more than the index finger. | | | | end up in a straight line and that the fore finger and |
| First analyze the proportions of your digits. Look at | | | | often the middle finger stick out to a higher degree |
| your digits with the palm turned away. You will | | | | the other digits. |
| discover that the digits are approximately one-half | | | | Once you've mastered drafting relaxed hands and |
| the length of the complete hand. Every finger is | | | | clenched fists, start sketching hands that point |
| divided into three sections of different lengths. The | | | | someplace or grab something. Finally you can also |
| upper section (with the nail) is around two thirds of | | | | test drafting hands that gesture. |
| the middle part, and the center part is around two | | | | Practice these poses over and over employing your |
| thirds of the lower part (which gives way to the | | | | own hand as a example. In just a couple of weeks |
| knuckles). | | | | you'll note a great improvement in your abilities and |
| Now for a little bit magic! Turn your hand all over so | | | | can start adding additional hand poses to your |
| you see it from the palm side. The proportions of | | | | repertory. |
| the digits have changed now obviously! The digits | | | | |