Beginner Figure Drawing - How to Draw Hands

1. Trailer: in this lesson, we are going to go over one of the most difficult areas of the body to draw in. That is, the hand hand is complex, so we're going to try and simplify it down. To get a better understanding of its overall construction and its articulation, we're going to look into proportion. We're going to cover its gesture and then we're going to finish it all off with a 25 minute time during session. This is a tricky area to Kabul, but if you're up for the challenge and ready to go, let's get started. 2. Construction Overview and Recap: hands out notoriously difficult and, to be honest, other buying of many and artist and illustrator. The reason Handzus so devilish is because there are so many components, as well as it being so much articulation involved. As such, it could be daunting to tackle the hands for any beginner all the way back in less than three. The lesson on constructing the body parts We went over the basics of creating the hands. But of course, if you followed that lesson, you'll know that as valuable as it is to getting started with, it's still very much a rudimentary explanation off how we go about creating the hands. So this lesson is going to be a mawr detailed breakdown off the construction of the hands as well. It's a little bit about the forearm area as well. The biggest issue with hands is because they're architecture is so unique, and their articulation is so varied. It throws up all sorts of problems for us when we stop putting pencil to paper. So we're going to take out Tom in each area from the wrist all the way up to the fingernails and work out some simple fight solutions to the problems we are likely to encounter now before we dive head first into the hands. Let's just do any recap off what we've learned from past tutorials, if you haven't seen the lesson on gesture and construction, are highly recommend watching that first. But just to recap when we are looking at a hand or any body part for that night up, there are two concepts we have to think about. The first is called construction, and the second is called Gesture Construction. At its most basic is the individual parts of something. In this case, the parts for the hand would be the risk upon the fingers, etcetera. These individual areas are out construction pots, and they can be either very simple or very complex in their design for what we're doing. Initially, we're going to be looking for the easiest possible shapes to put down Gesture is how those parts connect to each other and what their relationship is to each other. At its most basic gesture is the longest curved line that connects these parts together or the longest possible access line available to us. So we need to know not only how the finger is constructed. But we also need to know how it connects to the knuckle, how that knuckle connects to the back of the hand, how that connects to the wrist, etcetera. The's Kurt connections give out designs, fluidity in life. So the more curved out parts are, the more alive Al poses will look and for the hands we really want tohave that movement throughout in order to give them personality. The worst thing we can do with hands is to make the look stiff and lifeless. There are so many options for their hands because they are essentially the body's natural tools that they can group on two things. They can screw things up. They can be used as a hammer or a club they can even be used to write with. There are so many uses and therefore so many expressions you can give them. Gesture is the lifeblood to that now, going back to construction again. Like I said, we're looking for the easiest possible shapes that represent each part of the hand that were drawing. It's important to remember this. We are not during a hand. We are drawing out concept of what a hand is. We have to think of the hand as an original idea so that finger is not a finger were drawing something that is cylinder shaped or even box shaped. Whatever simplified I D. That is characteristic all that finger. The more I think about the head or any part of the body, for that matter, as being simple shapes and forms, the easier our drawing process will bait. Finding the correct shape isn't always easy, so we're going to go through a few options in this video. Like I said, refer to less number one for a more detailed look at construction and gesture. If you've already done that and you're ready to go, let's get started. 3. Basic Structures: we want to start by breaking the hand down into five separate areas. We've got the fingers. We've got the palm slash back of the hand, which could also be described as being the hands torso. We've got the thumb, which works independently to the other fingers, the webbing structure that joins the thumb into the hand. And we've also got the risk to contend with as well. So five parts in total were including part of the wrist here because we don't just want to be drawing the hand on its own. Floating in space, we want to feel its connection into the wrist and into the forearm, and that goes for any body part, really, the head to the neck, the neck to the torso. We want to feel those connections and draw them in. We do this because we want to get good not just drawing the parts, but also have a connect to the surrounding areas. So that's why we'll be covering part of the forearm as well, right? The basic ideas we wanna have in mind for the hand when it's relaxes that it's roughly a fan shape. If we overlay some guys for ourselves over this reference image. This is approximately what the overall outline of our structure is. Of course, we can't exactly do much with this, but this is a general idea of the direction and moved with shapes and making together. This is our foundations, but we obviously need to do a bit more work. So the easiest way we can go about that is to break the hand down into those five separate components. So the first area we gotta look at is the risk. Now, just so we're 100% clear, we're going to be doing this from the back view of the hand. So the knuckle side of the head now the risk is pretty simple to start with, it's more or less just a box shape. If you look at your own risk and draw over with Marca or some type of crayon or piece of choco water, you'll see the shape is basically just a rectangle. That foundation is obviously going to change, the more we move up the forearm where it starts to become Bulger. But that's for a different lesson for now, as simplest foundations are box. Now, if we move up to the back of the hand. This is the main structure that connects everything together. This is another box structure, but we're going to make a few alterations seat. What we're going to find is that it's going to make a little bit of a slope area where the knuckles are. If you make a fist on your own hand and place your pencil on top of your knuckles, you'll see there's a peak on that middle knuckle that slopes down near the site. That slope is usually, but not always a lot steeper as it moves towards the little finger side that it does the index finger side. So we've got a more square structure at the bottom, connecting into the wrists and aim or triangular pig structure where the knuckles and fingers begin. What we're also going to do is bulge out this box shape a little and slightly round off the sites, but we're going to do this a little more where the little finger is. Then when thumb is, we'll get to the thumb shortly. We do this because there is an underlying structure here where our bones are that starts to fan out. If we don't do this if we just had our four fingers into that squared space, What we're going to find is out hand will no longer fan out like we need it to. In fact, our fingers are going to look way too crowded if we do that. So that little finger area is almost its own individual pot. Not exactly like how the thumb is, but similar. The best way to think of it is being more of an extension of our box that needs to be a little wider than our wrist. The overall proportions off this bulging box structure of the hand is about a 3 to 4 ratio , so it's slightly longer than it is white. Now, the reason we want to go through a rounded, bulging boxer is because there's a curvature to the head. If you run your finger over the top of your hand, you can feel that bulging roundness. And if you move your finger underneath your hand, the palm side you'll feel that arching movement. So at its most basic, the main body about hand is a rounded box shape with a slight seeker. Bento it If I put that a quick 3/4 view off the shape. At its most basic form, you can see it's much more of an arching design that it is a flat surface. So a rounded box shape with a slight arch to it is the main body of that hand, but onto the fingers. Now, the length of the middle finger up is roughly the same length from the knuckle to the wrists, so that's going to be a unit of measurement here. That middle finger also sits more or less in line with the middle off the wrist. So if we divide the wrist up into two and measure up, that's where middle think it sits. We're going to use lines for the moment, for the fingers will build the rest of the structure up once we get them positioned, right, so we've got out middle finger in place. The index finger and the ring finger are roughly the same length as each other in a slightly smaller than the middle finger. The little finger is significantly short of all of them and is about 2/3 the length of the middle finger. So when we got out rough line work in place, we can start to construct their shapes for the fingers. At this stage, we're really only concerned with the outline of the structures, but we also want to be thinking off their overall forms. We can either think of the fingers as being cylinder shapes or as boxy structures. Whichever way suits you best. We want to think of having these shapes taper in slightly as they approached the tip and also have the ends rounded off into a block like shape is a bit more on that we'll cover later on. Well, we have left is the thumb. Now the thumb can give us all sorts of issues. It's its own unique structure, and it has its own set of characteristics that will go into more details shortly. At a relaxed state, the thumb sits at roughly a 45 degree angle, and importantly, it's positioned lower than the palm in the fingers. The tip of the thumb sits roughly in line with the start of the middle finger and is also facing a different direction. Facing about 45 degrees away compared to the other digits this creates is still in the shape structure that looks curved on the inside and straighter on the outside. What makes the thumb different is not just a position but also its connection. We've got this webbing, he which connects to the hand. This wedding is a triangular shaped that allows the thumb to have its great range of articulation and connects about halfway up the thumb and all the way down to the wrist. So those there are five basic components of the head. Let's now have a look of them individually. 4. Finger Structures: Let's start with the fingers. Each part of the finger, in its most basic form, is simply assumed. So if we drawing out basic cylinder shape here, this is the easiest representation of what a finger is. But of course, it's too simplified. It's not distinctive enough. We're obviously going to need to do by this into three parts because there are three joints in our finger, which allows us to bend and stretch it. Al finger length starts at the knuckle. The first part makes up about half the length off the whole finger. The middle part ends about 2/3 the length of the finger, and the thing that took part obviously takes up what's left over now. Ah, common problem. You'll come across when you are Constructing your fingers is accidentally making them too short. It's surprisingly easy, even after doing out measurements correctly to inadvertently start shrinking the digits. The golden rule to remember is toe always lean towards making the fingers longer. Even when we set the middle finger is roughly the same length as the back of the hand to the wrist. It's not going to hurt if we extend them beyond those measurements slightly. You'll often see it in classical art, where the artist, maybe fingers look slightly longer to give the characters a more elegant look, so lean towards longer fingers when in doubt. So we've got out basic cylinder that we've split into three parts, but we don't want to make them be this straight. We want the whole shape to taper down slightly. You can see it on your own finger from the side profile that it starts to narrow towards the tip. Now the tip itself is not just a cylinder shape. It's its own unique variation of this, something that could be best described as being almost shaped like a butter knife. It's not the best description of what it looks like, but it's good enough for our purpose around it. North shaped tip. So that's as simplified finger structure. But we have to do a little more. What we also have is a couple of bumps and dents at the top and bottom of their design. On top, we have out knuckles. These are just flattened, ball shaped structures that sit over the middle off each of their cylinder joints. We've also got the finger attendance, which is essentially the body's natural poorly or cable system, which allows the fingers to move. It's a long, tubular design that flows from about halfway up the first part of the finger back to the middle of the head. We'll have a look at that a little later on. We also have these Chloe pads underneath our fingers that protect our underlying bone structures. Their little fat pads that cushion the impact that out fingers absorb and they sag down between each joint crease they have noticed, noticed. One of the fingers are straight out, but thou then on the list. So we've got through these cushiony pads underneath each corresponding cylinder. But we've also got 1/4 pad he that connects into the part of the head. What we're going to notice is, if we add in some of that palm structure, here is the first pad. Covering the first part of our cylinder actually doesn't go away to the joint where the knuckle is. The middle pad is the same distance as the middle solder. The fingertip pad is about the same distance as that law cylinder, but the first pet is a little shorter than the first cylinder. So we've got three of these protective pads covering most of their finger and 1/4 that connects from the finger into the palm of the head. But we could also say to ourselves there were 3.5 pads on a finger. Whatever is easiest for you to remember, things start to change a little when we start to bend the finger short. We occasionally have characters point at something or have their fingers straight out in some type of gesture. Maybe a ninja type of character in a fighting pose something like that. But more often than not, we're going to have a curved gesture to the fingers. You'll see a lot of those curved finger gestures in classical paintings and statues. Nothing is really going to change too much. Overall, our pads under the fingers are going to bunch up a little. But what's going to be noticeable is actually the direction of the joints we originally built out finger with cylinder shapes. But what will start to see if we bend out finger is the ends of each of these cylinders are going to be angled differently, so if we look it out rough construction. The crease under our first ring enjoy is actually going to be angled up towards our first knuckle. The crease under our second finger joint is going to be more or less exactly in line with the knuckle above it, and the crease under out third finger joint is going to be angled in the opposite direction towards its knuckle. So at its most basic, we've got one long cylinder sliced at opposite angles at each end with a cut straight through the middle. The last thing we need to develop is the fingertips, so let's just focus on that particular part on its own. What we have here is a very subtle step that drops down onto the fingernail. I'm exaggerating how steep that drop is for the demonstration, so let's just create something more three D space. So we'll put our cylinder foundations in, and if we curve this outside line down and around like this, we develop that step down. But on top of that, we also developed a fingernail as well. So if we put in our cross contour alliance, you'll see the center line is going to drop down and curve over that tip and what you might also notice he is. That finger now suddenly becomes a point of positioning. We've now got a directional marker. We now know where in space that finger sitting due to the position of the finger now so that small little step is going to be useful for not just developing our finger now. But it will also help us position helping. This is well, the early, tiny detail we have left to do is the area around the finger now. It's not something you're going to have to worry about too often, but if you're designing the hands, it's useful information. The fingernail curves over the fingertip and embeds itself into the skin. So what ends up happening is that skin either side of the finger out, starts to bowl job a little. Normally, this isn't something to worry about. The finger now is more often than not all we need for our top playing with finger. But if we're just drawing hands, this is information we need to know. So that's the finger structures Now. We did most of this with cylinder foundations, but we can also do the exact same thing using boxes for our foundations. We've said in previous lessons the box is going to give us the most information about where in three D space are parts of located. So it's perfectly fine to use boxing methods to mix and match or to go back and forth between the box and the cylinder for your design. Whatever works for you is all that matters. So with the finger out of the way, let's move on to the thumb. 5. Thumb Structures : thumbs. You will probably end up disliking them as much as I do. They are positioned differently. They are structured differently. They articulate differently. They're probably the most challenging part of the hand. But without them, we wouldn't be able to use our hands as well as we do. As we mentioned earlier, The hand is essentially the body's natural. Took it, and without the thumbs, these tools wouldn't be nearly as useful. So as challenging as they are, it's something we have to deal with. So the thumb is its own individual part of the head. Everything else can be kind of grouped together, but the thumb we have to pay special attention to that. Some area consists off the thumb itself and the webbing that surrounds it, and this starts at the wrist and ends right up where the index finger begins. But to get this right, we are first going to have to break out thumb digit a pot into three sections, like we did with the finger, the same general idea in terms of using cylinder shapes and divisions. The measurement foot each time section is going to be roughly the same as what we went through with the finger. The thumb is going to be a little wider. However, the overall shape off the thumb is going to differ slightly as well. The thumb tip from the front or from the back is going to look a little fatter than the fingertip. And from this odd part ball, it's going to look as if it's hooking round and back a lot more. So there are slight difference to see that we have to remember. What will also notice is that first part of the thumb is covered by this wedding. We went over our basic structures. We said this wedding was a triangular shape, but it can also be looked at as being something like a teardrop shape. So if we put in out foundations for the wrist and hand, we're going to want to try and feel Elway around this triangular waving shape. It connects from the index finger knuckle into the first knuckle of the thumb and down and around into the wrist. Now, a note on the positioning off this part. There's a little fluidity with the thumb area, most of them with the fingers. If we press our hands down flat on the surface, What you'll see is the thumb and wedding become positioned more in line with the fingers. But if we raise our hand in a relaxed state, you'll see this webbing and thumb start to drop down. What this means is our farm is very fluid and in its natural, relaxed state, is actually positioned beneath the hand and the fingers. And you can tell that from these creases that are present, these overlapping Cruces are indicating that the thumb is sitting behind the main body of the hand. These forms are going underneath. You can see it better on the pond site. If you touch your little thumb and finger to get up, you can see the bulk of this area is overlapping the hand so the thumb naturally seats lower than the rest of the hand. Take notice of the creases on your own hand and how they're positioned. They're usually, too. May increase is one that overlaps the first and moves towards the middle of the wedding, and the second that follows that webbing and lines where the knuckle starts. We've also got another bulging, bull shaped structure. He wear the base of the thumb and hand meat. It's not really a knuckle, but you can consider it one if you wish. Remember, we're not doctors here, so it doesn't really matter how you remember these parts were doing illustrations here. We're not doing surgery. That ball structure is going to curve in and down into the wrist. You can get quite lumpy in these areas, especially if you are drawing older hands. But for someone younger or feminine, you want to make these lumps a little more subtle. So there are a few differences here and there between thumbs in the fingers, but overall there, not too dissimilar in shape. So with that out of the white, let's continue on with hand and wrist. 6. Hand, Palm and Wrist Structures: So we've already touched on the main body of the whole hand a little bit. I kind of like to think of it as the hands torso. I know this is a bit of a weird way to think of it, but if you think of the fingers as being limbs, it kind of makes sense. So we already talked about it being a curved box structure, but there's a little more we have to look over. So let's get out. Foundation scene. We're going to do a 3/4 perspective from the top. We've got a curve shape on the top and an arched shape underneath, so the basic bare hand here is roughly a C shape. In its basic form, it's not a perfect C shape. That middle finger is really going to act more like a mountain peak of this arch, and it's going to slope down steep up on the little finger side than it is on the index finger side, and we're just going to attach this to a portion of the wrist. We already talked about earlier how the middle of the wrist will give us the position off the middle of a finger So when we draw this in or we have to do is divide the rest of this plane up into four parts to get the starting position of each finger. For the moment, I'm just going to group the fingers together in that initial fan shaped that we talked about earlier and adding a couple of bull shapes for our knuckles. So this free straight forward so far, But this bit more we have to develop. There are two bones that make up the wrist, and both sits slightly higher than the wrist itself. If you run your fingers over your wrist and down onto your hands, you can actually feel this dip. The bone on the little finger side protrudes up a lot more and is a bull shape right at the end of the wrists that you could feel and see quite easily. It also sits a little further back than the bone next to it. If we go back to our elevated view, this is how these two bones sit next to each other. The smaller bone is a little further back, but actually sits up a little higher on the surface. So we've got this slope from the wrist onto the back of the head. But we've also got another slow to deal with, too. If we continue over, the back of our hand will rise up over the knuckles and down onto the fingers. So from the wrist to the fingers, we've got these two slips. We have to move over. If we have a look at the side profile, this is how these slopes would move. I'm exaggerating it. He But this is how the direction goes down from the wrists, over the back of the hand, up and over the knuckle and down onto the start of the finger. So the fingers, at least a rest, aren't straight across in line with the head. We've got to step down onto them from the knuckle. Now what type of shapes and forms you use is ultimately up to you. You could do all this with a series of cylinders, making sure our hand is nicely curved or you can box things off, have more of a ramp coming down onto the hand and over the knuckles. The more corners we have on our shapes, the better and understanding will have off their position. It's space, so choose which works for you. So let's turn things over and look at the other side. The palm side view. Now we've already stated that the palm side view is arched, so everything is going to be curving inwards. The big difference here, compared to the back of the hand, is we've got a series of padded cushions over out bones similar to the fingers. The back of the hand is very solid and hard. The part of the hand is very soft and pillowy. In order for our hands to absorb impacts, the's cushions can be broken up into three parts. We've got the other side of our wedding and thumb area, which can be looked at as one big ball shape or even a big T drop shaped like we saw on the other side. We've got this second T drop shape on the other side that goes from the little finger all the way down to the wrist and curves around slightly to the front. And we've got this big bean shape or kidney shaped cushion covering the top part of our hands overlaying the other side of the knuckles, which is also the unofficial fourth padding area we talked about earlier with their fingers . What you'll notice is, especially if you cup your hands, is how everything sinks into the middle of the hand. So everything is curving down into the center of the parts, which is the opposite of what's happening on the back of our hands, which are arching over. And that's the basic structure off both sides of the head. The only thing we have to develop is the side profile for the little finger side profile. We're usually going to get only three of the fingers in view, arching up, covering the index finger and overlapping the thumb and the webbing. From the thumb side, we'll usually find that triangular wedding looks bigger than it does from the top view and the thermal point Danna, roughly a 45 degree angle at rest, normally will only get the 1st 2 fingers in view from this perspective, overlapping each other because the arch on this side, as we said earlier, isn't as steep as it is on the little finger side. And because we know the thumb sits further out than the rest of the hand structures, that means it's going to be overlapping all the other parts to their hand from this perspective, so that just about covers the main areas of the hand We have to look over. There's a lot more happening underneath the surface with the bone and muscle structure, but that's right, more advanced. Listen, for now, this is enough for us to start with. 7. Tendon Placement: a quick note on the tendons we briefly touched on them earlier. They are the hands natural cable system, which allows the fingers to move now at their simplest forms. They are pretty much just a cylinder, so nothing too difficult there. Their placement. However, it is important for the fitting attendance. It's pretty strike void, they found out from the wrist in the same way the fingers do. They tend to not be too noticeable until about halfway up the hand, unless you bend your hand backwards and a very extreme pose, where they start to become more pronounced. But they are visible roughly halfway up on the hand, then move over the knuckles and then down onto the first cylinder of each finger. So nothing supercopa chi Today, the thumb is a little different in that there are actually two tendons, one that follows the outside edge of our thumb into the wrist. The other sits on top of that and move slightly inwards toe. Wear the rest of the finger tendons meat. It's easier to see on the thumb side profile too long pipes crossing over each other. It's easy to overlook these, but if you want more realistic and natural looking hands. Thes two tendons have to be present in your design some way, so that's just a quick tip on the tendon placements. 8. Hand Gesture: all of these ideas were about to go over available in more depth in lessons, one to enforce. So if you want a longer break down off this part of the lesson, feel free that head on over to those previous lessons to Seymour, however, we'll do a little bit of a recap just for the purpose of the hands. We talked a lot about the construction parts of the heads, but let's just talk about the gesture of the hands for a moment. It's not going to matter too much how well we construct these individual parts if they don't flow into each other nicely. Just as we said. At the top of this lesson is the movement these parts are making together. How they relate to each other, or a better way to describe it is how they flow into one another. So we're looking for a fluid movement between these parts, just like flowing water. The water is curved, so at its most basic gesture is the curves of the hand. If we focus simply on construction parts, what we're going to end up seeing is our heads will start to become very stiff and lifeless . They'll end up looking way too mechanical. So it's important that we bounce those structural parts with the fluidity off gesture lines , and we want to capture as much of our parts in that gesture as possible. So when we have a look at our hand reference here, what we want to be doing is looking for the longest access line available to us or simply put the longest curved line in our parts. We want to find that curved line and build our structures over the top. Now the first image we have here really only has one long gesture curve for us to work with older parts roughly moving in the same direction. Our second image has at least two main gesture curves because our forearm is going in one direction and the hand is going in another. But we've actually the third gesture line here, too, and that's the direction the fingers are making together. It's far easier to think of our fingers as one large shape that we divide later up into separate parts and gestures than it is to do them individually first. Yes, they're going to be times where one finger is going to be doing something wildly different from the others, which requires us to separate it from the group. But overall, we want to try to group these as much as possible when we first start putting out foundations down and then break them up off the woods. Notice the curved arch our fingers are making together here. This is the gesture out fingers and making as a group. So we're looking for these type of flowing parts, rhythms and connections that work together. The analogy. I like to use this sport. Every soccer team, basketball team, rugby team, whatever sport it is has their own unique individual positions on the field. But if they don't work together as a unit, if they don't connect together correctly, they'll lose the match. This part has to flow into the next part. This part has to flow into the one next to that, and so on and so forth. That's the flow of out pots. That's how they relate to each other. It's not important so much how we start our process of sketching. What matters is that we have one. It doesn't ultimately matter too much if we start with more gestural curves first or more structural corners first. What matters is we using both that we're going back and forth between the two tools in order to construct our concept of what a hand is. Remember, we're not drawing a hand. We've never drawn ahead. Whenever going to draw a hand, we're drawing the head as if it's an original idea, something that's never been created before. So that means if we have the tools, we have control over how to build it. 9. Positioning and Perspective: okay, the last area will cover before doing a demonstration is positioning. If you want a better in depth look at positioning overall, go back to listen one, but we'll briefly cover it here again. For this class, the positioning of the hand can get tricky. More specifically, it's the fingers that tend to give us the most problems in this area. If we stripped ahead and respect to being a basic books shape, we generally would have too many issues in getting those position correctly. But because the fingers have so much articulation and so many joints, it's easy to get lost. So even though we describe the fingers essentially being cylinders, what's going to make life easy for us if we run into problems with positioning is if we could vote them into boxes first, the more edges we haven't out forms, theme or information we have about its position in three D space, and we're looking for the simplest and most effective forms to use for our construction. The box is the easiest to it's perfectly fine to use cylinders and spheres, but when in doubt, whenever apart is giving you trouble, always revert to the boxes your default for the fingers. Always looked there outside edges. Your starting point. Work your way down the outside edge to get their position right first and then build the rest of the structure from they. The other thing we're going to use to help us is out. Pencil. You'll find most pencils, pens and markers have either a cap or some type of graphical strike that sits around the surface. This is useful because now it means we have eight natural cross contour line at out disposal that we can use is a guard for positioning. All we have to do is lean, tilt or face the pencil relative to the position off finger. Look at how that graphical strike wraps around the pencil and then use that as a starting point for the direction of that shapes. This will save us a lot of head scratching, frustration and guesswork. But if we want stick to more cylinder or even around the structures because it's our preference, we have some useful guides already built into our hands. If we go back to our fingernails, we've already stated the nail curves over the form of the finger. This becomes really useful because all of a sudden we've got a natural contour line for ourselves to reference. If we look at these different perspectives here, what we're going to notice is the curvature off the fingernail is going to reinforce the direction and the perspective that our finger is in, and that's going to come in handy when we come across more extreme overlapping. We can now use that fingernail as a starting point to build our fingertip and even the whole finger itself, and noticed the shape that we can make using This is a guide. It's a bean shaped, which is far more characteristic off what the fingertip looks from a more front on perspective, we've also got creases on their knuckles that also helped to reinforce these perspectives in directions. So we've got a lot of natural landmarks available for us to use in order to generate the type of structures we want and to help assist us getting out positions correct. And that completes our breakdown of the hand. It's a lot to take in, I know, but don't put too much pressure on yourself to get this correct straight away. There's a lot of components a lot of forms, a lot of things to try and remember. It's going to take some time to figure it all out, but even then you're still going to need to practice like we've got a model available to us at all times. If we ever run into trouble with opposed, it's not always easy to use your own body for other areas of the figure to draw his reference. But our hands are always going to be in a good position to look at if we ever run into trouble. So with all of that out of the way, let's move on to the demonstration section. 10. Demonstration - Full Hand: All right, let's get started with a relatively simple opposed to begin with, We're going to just do a relaxed hand and I'm gonna put the box structure in first, so just want to curve it over and a little indication for myself, just to keep myself a sense of the direction that the hand is moving in the curvature. That's prison. So it really put whatever lines and Marcus you need to In order to help you get an understanding of where the perspective is, what direction things are positioned in. You can erase them out afterwards. It's not a huge problem. In fact, probably recommend doing a lot of that at this stage, especially for something as complex as what the hands can end up being. It's very easy to get lost with heads. It's very easy to get overwhelmed with the amount of moving parts that are present there. In fact, what you might end up finding is that by putting those markets in, it actually improves the rhythm off your posts. So so if you need to put arrows and your gesture lines, that's fine. Put whatever information you need down on your page to help give you a sense of where things a position, where the direction is, what the flow on, what the rhythm opposes. So use these tools in which ever way you need to. So it's abuse the cylinder foundations for this particular image. I will go. I'm not 100% happy with how along this finger is. It's looking a bit too short, so I think I'll just extend this area. Biltmore. So, as I said earlier in the lecture, always make your fingers slightly longer. It is surprisingly easy to start inadvertently shrinking them, even if you've got your proportions down, right, or at least you think you've got them down right when you start to build your structures over the top of your proportions. Sometimes you inadvertently start compressing things, so make them slightly longer, even if that means breaking out proportional rule a little bit. It's just going to end up looking better in the end. We don't want short, stocky fingers for our characters, so I've only done one finger at this time because I'm just trying to work my way through the image. There's no hard and fast rule that says you have to get all the foundations in roughly first and then start drawing over the top. It's perfectly all right to just get a sort of landmark down first and then build everything out from that. Sometimes it's just about feeling. It's not always about measurements and proportions and getting all that right. Of course, that is important, but sometimes it's just good to get one part down and then build the rest around that. So I'm comfortable enough now to stop moving onto the thumb in the webbing area because I've got this finger foundation in place. And as you can see, I've put a number directional marker in place for the position of the thumb, how it's coming out towards us. So just another simple aid to help with the construction process. I can use this directional markup and start to construct these boxes, shapes for our foundations and then be more cylinder shapes over the top. So what I'm doing here as well is that on looking to decrease off the thumb, And I'm using that as a bit of a guide as to the direction that air cylinder shapes should be going so we can create our own tools to aid us. Or we can look for some of the landmarks available to us that are on the hand itself. The creases in the knuckles, the curvature off the fingernails. We've got these options that are available to us to help with positioning. Help with the construction were not just limited to the the directional markers that we put down for ourselves. We've got little landmarks available to us to help with difficult perspectives and help rounding and reinforcing forms and directions off and not just limited to positioning as well. As you can see, I've got a gesture line down the bottom there that is really only for the fingers. That could line, of course, is not gonna be there if also do a fully rendered drawing a full painting. But it's there just to give an indication of the movement. Our fingers, this group of three fingers at the back here I'm making together. It takes about how I've treated a little bit here. I put that initial gesture line for those last three fingers, but unlike the reference image, I've made the fingers more or less the same size as each other. Now, is this accurate to the reference image. No, it's not doesn't necessarily hurt the image. And the answer to that is no. So we're not bound to the literal truth off the reference. We are open to interpretation somewhat so if we make things a little longer, or if we exaggerate things or make a proportions a little off and it all works, that's gonna be perfectly fine. Take note also how I've added some form to that middle finger. Those cross contour lines are not just there to help reinforce the floor, but they're also helping with the direction and the position that the finger is it and this type of reinforcement that curving around the finger is what we want to continue later on. When we start adding color when we start to add in shadowing, we want to have our brushstrokes feel like they are going around these surfaces. So even though these initial foundations for a across contour lines are just, there is a rough idea for the moment. The same idea is going to apply light one when we start putting more, more detailed and more and more shadow and color in there, so there's a lot of curbs. There's a lot of corners. There's a lot of things we have to analyze. When we start drawing out, we focus on the biggest stuff, like the head, the torso, the whole figure. We don't really focus a lot on the hands first off, so I would really encourage you to analyze the hands, really break them down into their basic shapes and forms and focus on their articulation. The positions the fingers can go in. How much articulation there is in the thumb. Doing simplified hands is fine if you're just doing some quick sketches or you've got one minute poses that you're doing. But don't overlook them. Don't just put down the simple basic shapes that we've gone over and then just do the rest of the figure and focus on that entirely. If you're sending out a portfolio for review, one of the first areas that people will look for is your hands and how well you construct them. So it's something that we can avoid. We can't just hide the hands in every single image. At some stage, we have to confront their complexity, but as complex is a eventually you'll develop a feeling and an understanding of how they are constructed so you'll be able to get your foundations for your hands and your fingers down a lot quicker. But when we're starting out, take your time. Once we get a better understanding of their construction and how things move week and then really focus on the gesture and the rhythm off the hands, and then we can start to make really expressive looking hands, and that's ultimately what we want. We don't just want boxing, mechanical looking hands all the time. We want nice flowing rhythms. We want nice flowing gestures. We want expressions in personality toe, Haynes and fingers because they are really expressive. We don't really think about our hands having emotions, but we can clench our fists in Rage weekend, have a handout that's open and welcoming so we can really tell a sense of story just with their hands along by just as expressive as out face. So that's why they are important to study and analyze. Okay, so let's finish this one up here and move on to another 11. Demonstration - Back of the Hand: All right, let's do a back of the hand perspective now. Back. Oppose. So we just put in the outbox e structure in. Now this one we've got, he is a little bit easier because we don't have is many cylinders with the digits and play because some of them are being hidden. So that's actually a little bit of a benefit to us. So notice what I'm doing here with the knuckle. I'm using the creases on the knuckle as a guide for my perspective, for my positioning off the individual fingers. So these air, that little markers that we have to look out for in order to help us develop these positions and these perspectives correctly and these landmarks are going to be available to us throughout the hand and throughout the body were going to get a lot of creases and folds that happened when parts of the body start compressing and those creases and folds usually going to help, reinforce not just the form of the body, but they're going to help us identify where the parts are positioned in the three D environment. Now, take note off the foundations that would put the Ampara source We've got some pretty simple shapes. Just the box for the main body of the hand, the four cylinders and four boards for the knuckles. So was only a few simple shapes and forms we've already got for ourselves a pretty well constructed based build from room. But we're not thinking about drawing handsy. The last thing we want to be doing is thinking about that knuckle being and knuckle or that tendon being attended or the finger being a finger. We want the simplest possible shapes that represent these particular pots and speaking off the tendon. This image is actually a really good reference to demonstrate whereabouts. The tendon starts become prominent on the back of the hand. The tenants do go all the way into the risk, but they become the most visible about halfway up the back of the hand. And take that how all this line work. All these overlapping parts start to flow into each other. The fingers don't feel like they're stuck on. They feel like they are merging into the back of their hand. That thumb side webbing feels like it's going underneath. That index finger gesture, as we said earlier, is the movement. The parts of making together and this line work is there to reinforce that idea. In fact, we shouldn't be putting strokes down that don't reinforce that idea. Our strokes have to matter. The Morrell strokes give the sense that there is a relationship in a movement from one part to the other, the better our images, they're going to look. So in other words, if I'm drawing, say this middle finger in this particular image and I wanted to look like it's flowing nicely into the back of the hand, I don't really want to be putting in markings that run counter to the directional relationship, those two parts of making together. So in other words, if out finger in the back of their hand together are making a kind of see shape gesture, it doesn't make a lot of sense to stop putting in straight lines and our strokes. The more we build construction parts over gesture, the more stiff than the more mechanical things become. So we have to really reinforce those gesture lines within out strokes from the very first pencil sketch, right up to the final highlights on the fingernails. So let's leave this one here and move on to another demonstration 12. Demonstration - Finger: All right, let's do a demonstration specifically for the finger. Now I'm going to do the middle finger in this particular reference image. And given the direction that the finger is in, I'm actually going to simplify things for myself by combining the fingertip and that middle part of their finger together in one shape. What we don't want to be doing initially is putting an unnecessary part. So, for instance, we don't wanna put like an extra joint in between these two parts here. It's just gonna make more work for us. In the end, we can develop things like the knuckles and other smaller areas later on. But initially we want a group as many of our parts together as possible. The idea is to start big and work small, simplify everything first in the biggest, most obvious shapes that are available to us, group them together as much as possible and then repeat the process with smaller secondary structures. The line work that I'm doing that is really that second step tricky. Just dive headfirst into doing this outside Contour work straight away, but there's a good chance that will make him a steak. Our goal is to have an efficient drawing method in order to make the workflow a lot smoother for us. If we have a process, then we know had a control what it is we're doing If we come across an era, if we make a mistake somewhere along the way, all we have to do is look at where in our process we went wrong and fix the mistake. So you're much better off doing those initial rough blueprints getting those proportions, those perspectives as gestures, right then just diving head first with a detailed finger. It's not gonna matter how well branded that finger ends up being if you're just yet if you're construction. If your proportions are off, people are going to notice. There's always going to be the huge temptation to just dive head first into the details. But we can't really have our dessert until we eat our vegetables first, so we'll end this one here and move on to one final demonstration 13. Demonstration - Thumb: All right, let's do one final day. My will just concentrate on the thumb and the surrounding structures, this particular one. So we just developed that t drop slash bull shape foundations for the insult of Air Palm. So it doesn't matter too much if you go for mawr around the structures or even more of a triangle Foundations. What's more important is that we get that sense of roundness without forms in the end and take special attention to this shape off the thumb tip. If you compare it next to one of your other things, you'll see just how much further back it actually hooks. It's connection into its top knuckle looks a lot sharper in comparison to the other fingertips. The connections from those fingertips to their top knuckle feels a lot more gradual than water Dozen. The thumb the found feels significantly steeper. So those air out simple foundations again. We've only used a couple of shapes here, and we've already got a pretty decent base for ourselves, which now means I can start coming over the top without contour lines in a gesture lines and really making it feel like this thumb tip feels like it's moving into that first cylinder. We talk about gesture and the relationship between the forms and the direction, the forms and making together Look at these curved lines that are being created by the creases in our hand reference. They're not just going to help reinforce the three dimensionality off our parts. They're going to help generate the gesture flow from one part to the other, so note how the pencil work is flowing from one part of the thumb into the next. Those curved lines from the palm are hooking around in into the base of your thumb structures. That's the flow from one part to the next. That's our rhythm. That's our gesture. We want the feeling that these parts are overlapping and merging into one another. So with this just back down, it's time to move on to another time. During session, there's going to meet 35 minute posters and 1 10 minute post. Now each pose is going to have two options for you to draw from. You can split the time between both images or just focus on one in particular. For the full five or 10 minutes. I'd recommend going through it twice in order to be able to do both sets of images for the full amount of time. But all these images are going to be available in the course notes, as well as a few more. In order for you to practice outside of this video, listen anyway, so feel free to pick and choose which ones you want to do. So with this out of the way, it's tough for you to do your drawing session for the next 25 minutes or so and then I'll come back and show you how I do it. 14. Timed Exercise Session: - Theo way. Uh, yeah. Uh oh . And no, you know, no way. - Uh and yeah, me. 15. Timed Exercise Demonstration: Okay, let's begin. For anyone who's wondering what so far I'm using, I'm using procreate on the iPad and I'll attach the brushes that I've been using throughout this tutorial in with the course notes. So I'm going to be doing the left reference image, he and just putting in our foundations for the faint shape. Of course, there's the basic shape that their fingers makers a group together, and you can add the thumb in there as well. If you wish. In this particular case, they kind of all group together nicely. So they're going to be cases way that are grouped together like that in other cases where they're just gonna be doing wildly independent things and that sort of start to get a bit more challenging, so far easier if they or kind of doing the same thing when they start doing their own individual action, that's one week can get lost very easily. It starts to get a little bit confusing, but just take it one part of the time. These two images are a pretty good starting point as they are quite neutral. The hands are relatively relaxed, so it's always good to start with something simple and then work your way up to the more complex forms in the more complex positioning. So I'm using. As you can see, the more boxier method is a lot off corners going on here. That's just a personal preference, although since the very depending on the posts and you'll probably find that happens for yourself as well, you find that some poses air gonna lend themselves to more boxier foundations and others to more cylindrical ones, and somebody even gonna lend themselves to more bull shape foundations as well. We didn't really go over methods both constructing the hands, using fuses, bulls and other rounded objects like that. If you look at it, some classical pine ing's, you see a lot of hands up very soft and very elegant, and some have foundations that at least feel a lot more round up, then the foundations that I'm putting down here. So it's not like you can't use spheres and balls and egg shapes for your hands. It's just something that I probably wouldn't recommend if you're just beginning. So I'm like, OK, these looking now, so I'm just going to start softening them up, so this is the case of starting with a more structural base first and then bringing Jess job and movement back into the hands. You can see how quickly they got from looking very mechanical to looking a lot more fluid. I'm always looking Teoh. Have those pots feel like they're connecting and flowing into each other? That's the that's the real difficult part is making these individual pieces finger and tender, then burn, making them feel like they're all flowing and away working together. It's really easy, actually, just a drawer individual piece. But making that thumb look like it's connecting properly into the hand and making sure things are overlapping correctly. That's when start to get a little bit tricky and lost in overwhelmed. So we're going to take time to get an understanding of these particular structures and how they move in where things are positioned. The thumb in particular to me is probably the the most difficult part because it has a range of motion that can really throw you off the fingers in contrast up relatively simple because they kind of all go in the same direction and they all bend the same. And so when you know how one works. You kind of know how the rest of work, but the thumb with it's different. Top of joints in its different range of motion can really throw an image off. You could think it's doing one thing, and it's actually doing another thing. You can get lost trying to work out. Which direction is this thumb actually sitting in? You're always going to be your best model if you run into problems, you've got a three D model with you at all times. So if you're looking at an image reference and it's a little bit difficult to figure out what direction things Aaron tried to mimic that pose with your hand and try to use that. There's a bit of a God. Okay, let's finish this more up here and we'll move on to the next. So I'm going to do the one on the right, this time being more than interesting pose quite like how this one looks. I should make mention that I'm only going to do one hand for each of our time limits. It's going to be plenty of references that I'm going to accompany this tutorial in the class notes so feel free to. I only use the images he for this time drawing Citian. Practice with that dental, earthy extra images that are with the class and at its end, practice like crazy with those, or look online for your own references. Google Image Search Wall Throw out thousands of different types of hand poses so you are finds. Imposes that art with the class notes. By all means. Look for as many images as you can or just take photographs of your own hand as well. That's also an option. Well, maybe get someone to help because it could get a little bit difficult trying to get specific poses with the You're I Final you DSLR camera. So I'm using more of a cylinder based foundations for this one. We're trying to capture the curvature well, the back of that hand. Now it's it feels like it's rolling over. So the cylinder listing this particular case, I feel like is the better option, using cylinders for the fingers as well. So my thesis thing is a little longer than what they look like in the reference image, but that's perfectly fine. That's not something that's going to really hurt the image too much. In fact, that just makes things look feminine and elegant. If you want sort of more masculine looking hands, you might want to just make things a little more box. Er in the construction. A little stickers well, men will have thicker wrists that fingers will tend to be a little water as well. But the overall anatomy off the sexes is pretty much the same female characters that we want. There's nice, long, elegant Kirby fingers, the male characters. You probably really want to square off a lot of the Ponyo areas, so we talked about things like the knuckles and the bony protrusions at the risk area. The square those off a little bit. You'll tend to make them look a people masculine, a little more rugged and also a little bit older, so you're drawing more older characters. More overly. Characters square those parts off a little bit as well, even the female characters, because bones tend to start showing through a lot more as we age. The tendons, especially, will be a lot more noticeable, as well as the creases around the knuckles and the webbing on the thumb area. So it's something we can all look forward to. On the plus side for artists, they make very interesting gesture lines, so it's not all bad, really trying to feel my white. This is from going over these particular parts going of its knuckler. I'm really trying to imagine my hand going over that rounded bump. They If you compare this to the last one, this one feels a lot more fluid, and that's probably because I've We're like Maurin curved foundations. So the top two structures you put underneath, whether it's more boxier or more rounded, is going to dictate a little bit what the end result is gonna be, what the final shape is going to look like, but not always. If you use boxing foundations, for example, you can just only another piece of paper and then traced a more curved version over the top of that or smudge everything outs and and go over those foundations again with more curved lines. Everything is really just about what you're comfortable with and what your style ends up being. You will find a style eventually, and your star will develop from a variety of sources, from people you learned from from artists you try to mimic. Eventually you go to find something that is recognizable as being you. I want to take the pieces off other artists and inspirations that you find appealing. It developed those ideas into something that is recognisable is yours so that people can Maybe one day you go to a gallery and say, Oh, that's That's your work I recognize it takes time. No to develop will find out eventually. Okay, so this one's done and we will move on to the next. I'm going to do the image on the rights. This one's actually a little bit challenging because we've got a lot of parts better overlapping. It looks a lot easier having these parts kind of all group together and almost into a just a singular ball shape almost. But when things start overlapping like these actually quite challenging something, just slow down a bit with this one and just use up all the five minutes whatever I can get done, and I'm gonna use a significantly more boxier layout for my foundations compared to the other images. But I'm also not forgetting about the gestures world, not how the the wrist, the foundations, for the risk is going away up to the top right of that box foundation. So we've got to keep that in mind. Even if we're doing a no construction based beginning, we have to be thinking about how these parts going to work together as a team in their gesture. This is actually a pretty good example where things could get a little bit tricky with the thumb now bullsh a pot at the base, kind of going in one direction, the middle part of our digit going in another and the tip of the thumb seemingly going its own direction is Whoa, it's also coming towards us. So we have an easy one to get lost with. So it's gonna take much time was I need to just get everything placed right? Process is really about knowing how to make mistakes and what we do about it when we come across one. Sure, it would be great if we can get all the measurements down all the proportions and positioning right 100% at the beginning and to move on to the shadowing in the coloring immediately as quick as possible. But you are gonna find on the way. Even when you start putting in your shadowing in your coloring that you will find those errors, the trick is being able to analyze and figure out. OK, what exactly is wrong with this? Is this particular part going in? The right direction is the construction of this part sound does the gestural oclock. It's flowing correctly from one pot to the other? Have I got my positioning? Correct. How is my perspective looking? Essentially, if you have these boxes that you can take off, you'll be out to correct any mistake, no matter at what stage off the drawing or the painting process you are at. So even though it's Barmal preferential to get the mistakes as many of them as possible out of the way, when we stop putting pencil the piper, the reality is we we won't catch the ball, and you shouldn't expects that of yourself. Anyway. It's too much pressure to put on yourself to try to get it all right the first time you come across opposed, which is just proving to be very difficult. The first thing happen. It was just slow down. I'm spending most of this five minutes here just working on these two fingers and a thumb because because my mind is having a little bit of difficulty trying to figure out the positioning and overlapping properly. And I much rather just spend the bulk off this entire five minute session working on this particular area and trying to get the construction right, then getting the entire hand down just for the sake of getting it down. And sometimes it's just good to spend an entire session of drawing just on that one area that you might find is a bit of a weakness. So if you having difficulty with that thumb or the curvature of the hand or the positioning , you can just focus on that one particular area, just one of the attendants. That's fine. You always want to challenge yourself. You don't just want to stick with the same type of hands all the time. Otherwise you'll build up a database in your mind for that particular pose, and you might end up being really good at drawing that pose. But we want to build up a daughter bites that has been a variety to it. You're not going to know everything. 100%. Sure, you may work out the mechanics of how things move and the roughly where things going to be positioned, but they're still going to be occasions where you'll need to reference something. There's no shame at looking at references. Anyone says otherwise. Ignore them. Okay, on 12 big old 10 minute parties that we've got it, I'm gonna lay down some mid tone foundations. I'm doing this because I really want to make. But highlights on this pop canvas is a bit too. What for? This one probably should have changed that sitting earlier. Now I'm doing the image of the rights because that's the most interesting one to May. I kind of like how the fingers place he they've all got their own little a bit of a personality, the thumbs doing something that's are in the index finger, is doing its own thing. The middle and ring finger kind of working together and little finger doing its own thing as well. I'm going to not worry about the pencil. I'm just going to ignore that drawer through all of it. So 10 minutes gives us a lot of time to really analyze and to really just focus on making things as accurate as we can with five minute parties is we can only get a certain amount of strokes down in a certain amount of accuracy in the time that's available. 10 minutes gives us a long appeared to just put the brakes on everything. Try to develop a better understanding of exactly what these parts of doing. What positioned Irene. What's overlapping. What which is which part is closer towards the camera. Tow us the viewer, which is furthest away and also to start taking notice more on where the shadows are. Where the highlights are a much longer time to think in tow. Analyze with a shorter time frame. There is that part of them mine, which is cut about one I'll in that clock and thinking, Oh God, I've only going I think that 90 seconds left. Don't know it barely got anything down, so got a bit more of a luxury here. 10 minutes is a good period of time to practice on a particular parties, but you're free to also try 15 20 even 30 minutes as well. The longer we've got, the better the choices we can make. So where's about making better choices when we've got more time for doing. I posted a hand or even a figure, and we've only got a minute, two minutes for that. Particular parties course. We're not going to get anything close to being accurate. We're going to get at best, a rough I d. That we can't let it build a point. Of course, we could come back lighter rolling after at drawing session, and we want to finish that off. Spend an extra 10 15 minutes, use that as a starting found ocean and build a beta construction on top of it. So they're short poses. There is quick sketch poses, beneficial in terms of capturing gesture. Not necessarily great in terms of building something in a little detail, but something we can come back later on and finish. Let's circle the my in portion of the hands and fingers down. Reasonably happy with how that's looking. It's gonna start constructing the thumb and living area nail Now. We didn't go through any of the underlying anatomy bone structures of the hands in this particular lesson, so that's something we'll probably look at in a future. More advanced. Listen, no on the underlying bone structure is useful because it does give you a sense off. The mechanics of the hands look better. You get a better idea of where the joints of connecting, how they're connecting, what shape they are making course. We are looking to try to simplify things for ourselves as much as possible, and we're not always going to need to build the skeleton first and then at the other structures, the muscles and tendons over the top. Cause I start on this thumb I can already see. I haven't really got this wedding structure, this bone structure here correctly fix that up. So yet the underlying anatomy it's it's gonna be useful information. It's not always going to be required, however. You're doing a zombie top of character, then short knowing that underlying bone structure in the nattering is going to be super beneficial. We touched upon a little bit off the bone structure of your own in the wrists, so take a look at things in more detail at a later date through the tie, a skeleton structure, muscles as well. I'm quite got this bit ride a device of the thumb. This is like chiseling really. It is kind of similar to what a sculptor would do that she's like a piece of marble slowly but surely get all the corners and edges and then eventually smooth everything out. So a similar principle just doing it on a two d surface the big challenge will always have is trying to get that sense of dimensionality in volume and making that hand look as if it's coming towards us in anger or, you know, maybe throwing it a superhero type of punch towards that you are. You see a lot of comic art, those there's covers with Superman or Captain America breaking through something, the big fist punching towards us. So those are the three dimensional challenges will be facing. I'm happy enough with this land, so I'm just gonna spend the rest of the time first of the for seven minutes heading. It's, um, highlight in some shadow. We want the structure that we make with their turns to reinforce out forms to reinforce out gesture. So, in other words, we want to feel a Ziff. That highlight is going around that that ball shaped knuckle and transitioning into the back of the hand so out highlights in our shadows thes strikes that were making need to help to find out gesture. Usually the first gestural strikes we put down is this fluid and is curved as we're going to get when we start to get out parts over the top of that spears cylinders that boxes. We start losing that curvature and fluidity. So if you watch this particular drawing again from the start, you'll notice I start with a curved gesture line. In fact, it's still there. You can still see it to give myself an idea of the direction the whole hand is moving, and over time I've biltmore and more. Let's hope of that. It's a gradually it's become lost in that shuffle, and now the idea is to try to bring some of that back. Take notice of that big crease where the webbing of the thumb is. Take note of the direction that the ring thing attendant is going in that also hopes to strengthen those gestural foundations. So these are the things we have to look for, the route juggling act we have to deal with. We don't want things looking to stiff, and conversely, we don't want things looking to fluid as well when we overdo it without gesture allies, things can get really elastic and robbery. There are going to be times where it's going to be beneficial to have a more elastic or rubbery look, such as in animation, cartoons and other times. Way harder edges and corners are going to be what you need. Maybe you're designing a robot, an android character, some type of Mick warrior in a big, overly extravagant arm and costume that is going to be different times. We'll have to adjust their approach, but in the end you you'll find your style going back to that. If you like the look of more boxy up hands and figures, that's perfectly fine. Just don't forget about the underlying gesture. We still want the idea of the being a rhythm and a movement from that upper arm into that forearm from that forearm into that hand. We still want that idea of movement there in some way. Just it is always going to be the most important aspect. We get that right. It doesn't really matter too much what type of construction choices we make over the top. So as we come to the end of this particular class. I hope this information has been beneficial. As was mentioned earlier, There's gonna be additional images for you to download and practice with. There's going to be the brush is available for procreate uses as well. I don't really use photo shop too much, so I'm not quite sure what a good equivalent to these brushes would be. If you're working practically, I recommend some soft graphite pencils. And if you'll wanting to use color trying to stick to Earth, your tones, browns and tans and reddish colors and a good, solid black pencil is well and try to work with the biggest size paper that you can. So go through this. Listen as many times as you need to and also go over other hand tutorials as well. These ideas and concepts that are presented is just one way of doing things, so look either as many as you can. So as we wreck this up, he please feel free to ask any questions in the comments section. Keep practicing hard and I'll see you in the next lesson.