Life drawing has plenty of challenges, but capturing hands has been one of the biggest for me. That said, I really feel that including them in a portrait tells a much fuller story than head and shoulders alone. In many ways, they can be seen as a portrait (or self-portrait) unto themselves.
©2019 Elizabeth Fram
Several resources that have helped me begin to understand the basic, universal structure of a hand and the intricacies of all its joints and angles, are:
The Human Figure, Life Drawing for Artists by John H. Vanderpoel ©1935
How to Draw Hands – The Ultimate Guide by Matt Fussell, online article
and my personal favorite: The Hand, by Jon deMartin, Drawing Magazine, Winter 2015, order a digital copy here
©2019 Elizabeth Fram
As with most things, there’s no substitute for practice. And beyond keeping the basic building blocks of palm and fingers in mind, I find the most helpful approach, once the overall gesture and contour have been blocked in, is to forget altogether that I’m drawing a hand and to concentrate instead on breaking down the whole into smaller and smaller components, constantly comparing shape to minuscule shape, while repeatedly looking back-and-forth between multiple landmarks of both positive and negative space. There is just no substitute for comparing placement and size to other elements already drawn. Even though it’s natural to get ahead of yourself, thinking you understand what comes next and where it should be, invariably if you don’t double-check, your work will need to be readjusted.
©2019 Elizabeth Fram
That’s not to say I don’t have a good kneadable eraser that gets plenty of use, but it’s a strategy that does seem to help achieve a more successful outcome.
©2019 Elizabeth Fram
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There is still time – barely – to go see Janet Van Fleet’s exhibit “Vanishment” at the Vermont Supreme Court Gallery in Montpelier. It closes on June 28th (today if you’ve received this post via email). If you can somehow squeeze in a visit, you won’t be disappointed. This particular body of Van Fleet’s work addresses the dire impact humans are incurring on other species. Profound yet accessible, it is also visually striking. Read Pamela Polston’s comprehensive review in Seven Days for an overview.
The Beginning ©1998/2018, Janet Van Fleet, Mixed Media
I think you do hands beautifully and I can envision a whole series of pieces in your current series!!
Thanks Judy – that’s something to think about…
I love hands and almost always look at a person’s hands before looking at their face. Hands are one of the most difficult parts of the human body to capture successfully. So many artists just draw a shape reminiscent of a hand. However when you look at the hand in relation to the subject, you know it isn’t the subject’s actual hand. It’s just a facsimile.
Your practice is bearing fruit! The hands you’re drawing are realistic showing a depth of life inherent with the hand’s life experience. The “Praying Hands” are iconic for the beauty portrayed – hands used well and hard during a lifetime. You are well down your path in capturing what a person’s hands say about him/herself. I agree with Judy, I too can see a series created from your current “hand” work.
Hi Diane – I appreciate your encouragement! I too enjoy looking at people’s hands and watching how they use them to express themselves.