Drawing For Complete Beginners - Hands Made Easy

1. Introduction: When we think about drawing an expressive character, we often think about polishing his face, his posture, but hands are actually one of the most expressive things in character drawing. They are also unfortunately known to be one of the most difficult body parts to draw. So my goal with this class is to give you an approach to drawing hands that break them down to their most fundamental structure to give you a start as easy as possible. Hi, I'm Pan Asia. I'm a fluence illustrator and concept artist, and this course is part of a series called Learn to draw from beginner to Expert that aims to teach you how to draw in a simplified way first to begin gently and then how to complexify your style step by step. This class is the third of a series. The first two classes teaching how to do faces and how to draw anatomy. I think the best way to learn how to draw hands is through practical examples. During this class, we'll start by getting a quick overview of the hand structure. Before jumping into a series of different poses that we'll study together that are not too complex to avoid overwhelming you. You can learn how to break down and poses and be able to draw what you want by yourself. If you're ready, let's get started. 2. Class Project: Project for this class will be to follow along and draw the poses I use as examples. Just disclaimer, I've already said it into another class. But even if the title of the class is drawing made easy, the most correct phrasing would be made easier because nothing is never truly easy when you learn to draw. And this is particularly true for hands. That's why I would encourage you to only select the poses that seem the most achievable to you for your project and get used to them before diving into more complicated ones. So don't feel pressured to draw all the poses we'll see. A good way to make learning easier is also to allow yourself to only learn a few bits at a time. I'm going to draw digitally for convenience, but you can of course draw traditionally. You will be able to find the photo references I use attached to this course. Now let's begin with the first lesson. That will be about the hand structure. 3. Hand structure: In this lesson, we're going to talk about the structure of the hand. No complex accurate anatomy here, but more like a few tips to keep in mind that will help you structure your drawing properly. We will start with a quick reminder of what we saw during the anatomy course. So if we want to summarize the structure of the hand from a top view in two D, we can see that what I'm calling the body of the hand is pretty much squarish shape, a little bit wider on the inside. And to that square, you can stick a triangle. And then from that square, you'll have the five fingers protruding that you can start by indicating like this. Each finger is basically an assembly of three tubes, except for the thumb that has only two tubes. Then if we want to represent our hand in three D from basic shapes, you can consider that the body of the hand is a big tube. A tube or you could also draw it as a flat box. This is what you prefer, then you stick that triangular shape for the thumb barrier and the four fingers minus the thumb are basically tubes next to each other. Mm hmm Then let's see the proportions. You can see that the tallest finger is about the same size as the rest of the hand. And I also want to highlight that if you draw a line following the tips of the finger and lines following each articulations like this, those lines somewhat follow each other. As for the tip of the thumb, it lands about in between the two first articulations of the index finger. Then we can highlight that the thickness of each finger rather equals. And for a given finger, its valanges are fairly equals in size. The last thing I want to add is that even if we represented the body of the hand with a tube or a box, it is actually fairly flexible. This is what makes the hand actually so expressive but also so tricky to draw. It's important to use references. To recap, the structure of the hand can be summarized as an assembly of tubes. Is tallest finger is quite equal in size with the rest of the hand. The fingers are quite equal in thickness. The phalanges on each finger are equal in size. The thumb lands in between the two articulations of the index finger. And the hand is overall quite flexible. Now it's your turn. You can start by doing the structure of the hand by paying attention to its proportions. Don't try to make it pretty yet. It's just so you get familiar with it. For the next lessons, I think the best way to learn to draw hands is by practicing on different examples. For the rest of the course, I will show you how I draw different hands postures and show you the tips I use to make it easier. For the first example, we will start fairly easy with that hand posture. See you in the next lesson. 4. Hand Pose 1: So here we go for the first hand pose. As you can see, this pose is fairly easy. We won't have to deal with the stem because it's completely hidden and all the fingers are fairly aligned. So the body of the hand would be in that direction. And even if we don't see it, I'm making sure I'm taking into account the whole three D volume and not only the shape in two D because it will help me understand better how the hand is structured. And then instead of jumping right into drawing each finger one by one, I start by simplifying the whole shape as a block. So what I'm paying attention to here are that the body of the hand and the tallest part of the fingers are at an accurate distance compared to the reference. And as a reminder, normally, those two parts are equal in size, as we saw previously. But here you can see that due to the perspective, the finger part appears taller. This is why even if you know the proportions, you still have to check how it appears on your reference. And the second thing I'm paying attention to is the actual shapes that draws the fingers because I will use it as a guideline. Once I'm happy with my shape, I start working on sub divising the fingers. I make sure each finger arrives at the appropriate place on my guide line to make sure they have the right length, and you can see that the pinky finger is a bit away from the others. This is something that you will find a lot while drawing hands. Some fingers tend to come as a pack, but the pinky tends to do it something. Another thing is that make sure you don't draw the fingers all the way to the articulation place because you can see on the reference that there is some gap in between the articulation and where the fingers actually begin. And in the previous lesson, I said that you can simplify the fingers as tubes, but you can see that I'm doing them as rather boxy tubes because it's more accurate compared to the actual shapes of the fingers. Also, make sure that the tip of the fingers are not following the guideline, but are instead fairly perpendicular compared to the long side of the fingers. I'm erasing my construction line to define the shapes of the fingers a little bit more. So to explain what it looks like, let's take a finger from profile view. The fingers are bigger at the base and get thinner toward the tip, a bit like a pretty simple triangular shape. And we can simplify it saying that in between each articulation, you'll have a dip, so that will make a sort of wave shape but rather soll. And underneath it follows the shape on the top. This shape is something that we can perceive a little from that angle. Now before moving on, I'm just going to adjust the size of my fingers. For those traditional art, you just have to erase and redo. But for those who use digital art, there is actually a pretty convenient tool to do it. You can select the Lasso tool and select the finger that you want to resize with it. EclpsiaPaint, I'm not completely sure about the terminology in English, but it must be something like edit, transform and free transform. But this is something you will have in every digital art software. Once you have it selected, you just have to adjust the shape. Then I'm doing the same thing, but adjusting the whole fingers together. And then I'm erasing more construction lines and I'm adjusting the position of the base of the fingers. Then I'm going to redraw it to make a clean drawing. I'm just lowering the transparency of my layer and creating a layer on top. If you're drawing with traditional art, you can of cours erase partially your drawing, and now I'm starting to draw a clean line. Now, a tip to place the articulations properly is to draw the shape that it draws on the reference and then carry that same shape onto your drawing. I and then you just have to draw your waveshape following your guide. And then for the body of the hand, I'm still following that curve that I can see on the reference. As long as you're not comfortable, I advise against trying to draw the nails because there is quite complex perspective involved, so it's wither I think to try to get more comfortable with drawing before attempting it. And now as a finishing touch, you can see on the reference how some of those bone shapes can be more visible. You can place so little line on your drawing to indicate it. Those bones are in the prolongations of the fingers, so be mindful about the placement. And don't overdo it either. It needs to be discrete. And once you refined and you're happy with your drawing, you're done. So to WCA, we first place the shape of the body of the hand, then the wave shape of all the fingers as one block. Then we subdivided all the fingers following our guide. Then we've marked the path of the articulations, and we've drawn each finger more precisely with that waveshape. Now it's your turn. Draw your first hand following my reference or a similar one of your choice. Then don't hesitate to post it in the project section if you want some feedback. During the next lesson, we'll try to complexify slightly by drawing this pose. It's still not a too complex one, so you can get a bit of exercise before jumping into more complicated poses. See you in the next lesson. 5. Hand Pose 2: So here we go for the second hand pose. For this pose, the back of the hand is pretty much facing us. There is very little perspective going on, and therefore very little distortion. But this time, we can see the thumb, so we'll have to deal with it. So what we're going to do here is to start by spotting our square shape that compose the very base of our hand. And you can see how it's not a real square, but it's always wider on the thumb side and actually shorter on the other side, and it's also shorter toward the wrist and wider towards the knuckles. So this is the shape that I'm trying to draw first. And again, when you're on digital art, you can adjust the shape very easily with the frequent foam tool. I'm just going to make my drawing a little bigger so I can see better. And then as we saw in the first lesson, we can stick a triangular shape for the thumb area. And then to place the fingers properly, I first measure the size of the tallest finger and report it to my squari shape, so I can see where it actually lands. And here we can see that there is still a small distortion due to the little perspective and then to know where the longest finger land on my drawing, I just measure the size of my squared shape plus a little bit more like on my reference, and I place a little dot on the right spot, and from there, I draw the overall shape of the finger. I'm paying attention to to do it is the alignment between the square and the fingers. So here we can see it's drawing a curve inwards, and on the other side, we can see that the curve is drawn outwards. To place the thumb, I'm trying to evaluate the distance with the fingers and also the overall shape it draws with the rest of the hand. So here we can see it's pretty straight, and I'm also paying attention to the right thickness of the thumb. You don't want to draw it too big or too small, that would look weird. Then I start separating the fingers. Here you can see that the two middle fingers are kind of glued together while the index and the pinky fingers are away from the rest. And as the pinkylon, this is also something that you will see a lot when the index and pinkies are doing their own things while the two of the middle are glued. And just like before, I'm drawing the pattern of the articulations, so I know better how to place them. And from there, I start to erase my construction lines and I start to refine the fingers. O. Then I'm going onto a new layer to clean my sketch a little. Now, if you don't know how to do it on traditional art, you can just quickly hop onto my class called drawing for complete beginners Anatomy Mads and go into the characters in different postures, chapters. Like this, you'll have a mo on how to clean the different phases of your sketch on traditional art. But back on our current drawing, just precising that here I'm just trying to get a cleaner sketch, not trying to get an actual line art. So when you observe the shape of the fingers, you can see that there are places where we can still see that wave like shape in between the joints. But sometimes it can also be more rounded. There's unfortunately no wool that I actually know to make the work easier. It's really all about observing what each segment looks like. But if it's too complicated, just draw everything as a straight line in between each articulation that will simplify your process a lot and will look better than unfortunate quantum shapes. You can see that I'm also playing with a little bit more negative shape than what we have on the reference. Negative shapes are essentially the shape of the holes in your drawing and they are very powerful element to make your compositions more appealing. But of course, you don't have to do it now if you are not comfortable with it. Now that I'm rather happy with my shape, I go over again to clean the line, and I keep on making adjustments here and there when I spot mistakes. And in that direction, the knuckles will draw more like a diamond shape. So don't hesitate to try to and a few more adjustments, and we're done. To recap here, we placed first our square shape, then the triangle toward the thumb. Then we measured our fingers on the reference to see where it land actually onto the body of the hand. Then we checked the alignment of the side of the fingers with the body of the hand to see what shape it draws before drawing the whole block for the fingers. Then we placed the thumb by comparing the landing point compared to the index finger and the alignment with the rest of the hand. And just like before, we separated the fingers and we will find everything until we're happy with the result. Now it's your turn. Draw your own hand following that reference and don't hesitate to post your work to get feedback. During the next lesson, we will complexify again a little bit more with this pose. See you in the next lesson. 6. Hand Pose 3: So here we go for the third hand pose. This pose is a little bit of a mix of the two poses that we just saw previously. There is a slight tilt toward the white with a little bit of overlap with the two middle fingers, but the other fingers stay separated. I also want to show you another way of simplifying the fingers, so here we go. So as usual, I'm first determining how the shape of the body of the hand is placed. And here, as the hand is slightly turned to the side, I make sure to represent the thickness of the side of the hand with that boxy shape. And you can see that this time, it's a bit trickier because all the fingers are not straight. The index finger is straight, but the two middles that are supposed to be taller are actually a bit bent. And there is a tilt of the hand towards the right. So we really need to pay attention to the shape we see instead of the proportions we know. You don't necessarily have to draw on your reference like I'm doing. I'm just doing this for the demo to show you what to pay attention to. But if it helps, don't hesitate to do it yourself, too. So for my actual sketch, I'm first drawing my boxy shape. Mm hmm And then to place the fingers, I watch the curve that is drawing with the body of the hand, and I measure the ratio in between the back of the hand and the fingers. And here the length of the back of the hand is equal to where the middle finger lands. So here again, I place a land mark, and I see that the index finger is going up compared to the middle finger. So I try to match the curve. And then I pay attention to the curve that is drawn in between the back of the hand and the pinky finger, and I use it as a benchmark as well to complete my shape. Mm. Now, let's talk about that simplification of the finger that I was talking about during the beginning of this lesson. There are styles, especially in mangas or comics or cartoons, where we won't actually draw the three penges but we will simplify it in two challenges like I'm demonstrating here. Now, while the shape in itself is simpler, the tricky part is that you can't really count on your reference to guide. So a simplified rule would be to consider that there is only an articulation in the middle of the finger sometimes it doesn't really work either. It depends really on the posture of the hand. So it can be a lot more trial and error to see what actually works. So if you want to experiment with it, the best thing to do would be to find an artist that you like that draw like this and study how they draw their hands. But here is my attempted dis, overall paying attention to the overall shape of my reference and still try to match it. Here, it works quite well because there's usually only one art regulation that is bent. The rest is straight. But, I often find it actually more complicated. You could also adapt depending on if it's making it easier or more complicated. As for the pause itself, after paying attention to the overall shape and proportions as I showed before, I'm now paying attention to the negative space in between the fingers to draw it more accurately. I'm particularly paying attention to how the two middle finger overlap. The middle finger is fully in front and the ring finger lands a little below one phalanges of the middle finger. And the first palenge where it bends is a little lower than the one of the middle finger, and this is where it's a little tricky as we have to adapt to only two phalanges on our drawing. But the overall proportions have to stay the same. And spot the thumb, as usual, measuring the alignment with the rest of the hand, paying attention to the shape it draws with the triangle. By the way, this is very normal if you don't manage to be accurate on your first try. I'm not really accurate either. This is why I always spend a lot of time adjusting afterwards. In drawing, we always trying to go for an overall shape to refining little by little. Mmm. And then I'm going over to clean my sketch and doing some more corrections until I'm happy with the result. So to recap on a pose that is tilted like this, draw your first box as a three D shape to understand the placement of the hand better. We also saw that we can draw our fingers with only two articulations if we wish, but that we will need to make some gymnastics in between accuracy to reference and adjustment in stylization. As for the pose itself, to make it accurate, pay attention to the shape of the negative space in between the finger. As well as the shape and where everything lands when there are overlaps with the two middle fingers. Now it's your turn. As usual, draw a hand from that reference and don't hesitate to post it to get feedback. You don't have to post all of your hands by the way. You can just post whatever you want. During the next lesson, you are going to take kind of the same pose, but turn a little bit more than hand and see how we can handle this. See you in the next lesson. 7. Hand Pose 4: So we are at the fourth end pose. This pose looks a lot like the previous one, but it's more tilted towards us and the overlap of the fingers is more important. It's actually a fairly difficult pause already, so I still want to demonstrate it to show you how to get around with difficulties. But I don't necessarily recommend that you already try to draw it if you're not already comfortable with easier poses. I advise that you try to get comfortable first with easier poses before coming back to this one. So as usual, I'm trying to find my box shape. And you can see that this time, as the side of the hand is more facing towards us, the side of the box needs to appear bigger. We can also see better that the lower part of the hand is thicker than the top of the hand. And in a posture like that, I find it helpful to detail the thumb shape more. I'm doing an assembly of boxes here, and that allows me to understand better in what direction it's facing. Then the most prominent shape is the index finger. This is the one I would be placing first and then the two middle fingers act again as a block. When you sketch, don't hesitate to draw across the object that is in front, so here the index finger because it will help you with having the proper alignment. Lastly, if the pinky is again separated from the rest. So now for sketching. I find that my picture has actually a lot of distortion and that might happen a lot when you're taking your photo reference from your own hands as your camera is so close. But that's an opportunity, so I can demonstrate how to use a reference as a guide, but without having to be entirely truthful to. So I place my box, and as the index finger is appearing way too big compared to the rest, I will do a mixing between what I see in the reference and what I know about the actual proportions. So in the reference, when I report the length of the index finger, it lands way below the wrist. So if there was not as much distortion due to the photo, body of the hand will still appear a bit smaller than the fingers because the index finger is facing straight towards us while the back of the hand is slightly tilted. With the perspective, it would anyway appear shorter. What I'm going to do is to make my index finger bigger than the back of the hand, but not as big as on the picture. This stage, don't be afraid of not finding the right balance. This is why we sketch roughly first and then when we see the overall drawing, we can adjust. Then as I was saying, I'm sketching the two middle fingers as a block and across the index finger that is in front. Here again, I don't really bother with the details about how the two fingers overlap. I adjust it later. And I just want to point out that interesting shape that we're seeing on the reference. You can see that line that is drawn that seems to connect the wing finger with the back of the hand. This is something that I want to translate into my sketch, and then the pinky finger really seems to come from behind those fingers. Then I start detailing more my middle fingers, as usual, paying attention to the alignments of the joints and then placing the thumb. Mmm. Oh, and another little digital art trick is the rap transform tool. So just like before you select the area that you want to transform and ing studio, you go into Edit transform and should be called the rap tool in English. Like this, you can move your shape around a little bit more freely by moving around those dots. I just want to point out that in that position, we can see some of the fat of the palm of the hand appearing. Look at that rounded shape that is drawing. You need to indicate those curves too. We'll talk a bit more about that part during the next lesson. At this stage, you can see that my hand is very ugly, but I insist that this is when you should not throw everything away thinking that you fail. Essential is pretty much in place. So all that is left to do is to watch closely your reference and see where you made mistakes and just fine tune your drawing to your liking. Don't fret, if it takes sometimes, it's perfectly normal. The more you practice, the quicker you will get. Mm hmm. Oh. Mm. To recap, don't forget that when you tilt your hand more towards the side, the side of your box should appear bigger. Then when you've got a reference that is too distorted due to the camera lens, use your knowledge of the proportions and perspective to readjust the visual to your liking and don't be afraid of mistakes. Trials and error and readjustments are part of the process. As I mentioned, if you feel like it, you can try to draw that hand from that reference, but feel free to skip it if that's too much for now. You can go back to that lesson when you're more comfortable. During the neck lesson, we will start to talk a bit more about the palm of the hand with that pause. See you in the next lesson. 8. Hand Pose 5: During this lesson, we are going to talk a bit more about the palm of the hand with this pose. I also know that even in my beginners courses, a lot of you still want to attempt to draw more detailed shapes. I'm going to first demonstrate a more detailed hand, a taste in terms of contour, and then I will show you the simplified version. So we're starting with the basic structure as usual. And you recall at the beginning when we were saying that the hand was flexible. In this posture, you can already see that the case because our usual box is curving. You can also see how the heel of the hand appears a lot thicker than the top of the palm. And then for the fingers, what changes here is that we don't have to deal with the space left between the knuckles and the start of the fingers. So we simply stick the fingers to the box. My And then about the palm, contrary to the back of the hand, we can see several areas of fat distributed throughout the palm, one directly connected to the stump that draws that round shape, one on the other side of the heel of the palm, and one on the top of the palm that goes toward the hand in that area where hand can bend. This is just my observations and not any accurate anatomy description. But hopefully it will help you draw more accurately. But the main thing that you need to retain from that is that all those areas of fat will bring a lot of roundness to the hand. Oh. Now for those who want to draw more accurately, that part of the hand, we could simply draw it with a soft smooth line. But some of you might be tempted to draw that little dent in the curve that is caused by the lifeline of the hand. Mistake that I see a lot among beginners is that they will tend to over exaggerate that type of little curve. But as you can see on my demonstration, it's actually very, very subtle, like you almost can't see it if you don't pay attention to it. This can often explain why when you're wondering why your drawing looks awkward while all your proportions are correct. Over exaggerating sole curves or movements in your drawing might be the cause. So to avoid this, it's better to draw the overall shape in a smoother way and kind of carve your little nuances into your line very gently. And it's the same for the fingers. Here I'm trying to follow more accurately the little shapes that my reference get. And I'm going very slowly and gently to try to place each pudal curves properly. Now, you can also place those lifelines. I don't know if it's the right m, but it's very typical of the palm of the hand, but they shouldn't be overpowering. And when you want to get a more realistic result, you will need more time to correct and observe every subtlety. It can take quite some time to get the shape right. One last very convenient tool I want to show to the digital artists here is the liquefied tool. So in ellipsio paint, it's over here, but I believe most should have it. And here I am onto the push option. And what it does is that it allows you to push your drawing around freely like this and you can adjust the size of the area that you want to push. So this is what I'm using here to correct the placement of my palm. Now I'm going to show you how to make a simplified version of that pause. So here I find that two phalanges work quite well. So as you can see, what I'm doing is that I'm basically smoothing out every sodalt into the lines while respecting the dynamic of the overall shape. And as usual with stylization, it can take several trials to find something that works. And that's it. I hope that this video has helped you better understand how to go better from a realistic shape to a simplified one. O. Now, to recap, the main thing that you need to remember when drawing the palm of the hand is that the fat will bring a lot of firmness to your drawing. Also, the fingers are directly stuck to the palm, so no cause to handle on that side. Lastly, when you want to draw more realistically, be careful to keep the small nuances in the line sodal and to place them properly. Now it's your turn. As usual, draw a hand from that pause and post it if you want to get feedback. During the next lesson, we're going to see how to handle more bend finger over the palm with that pause. See you in the next lesson. 9. Hand Pose 6: So let's go for six hampos. We're going to see how to handle Ben's finger this time. So like with our previous hampos, I'm starting by placing the box that is curved. So here, again, the heel of the hand is pretty big, and the side towards the fingers is thinner. Mm hmm. Mm. Now let's see how to handle the fingers. As previously, we're going to consider them as one block to begin with, at least do three and we'll deal with the index after. So to place the articulations properly, we are going to consider that this clump of fingers are composed of three cylinders that are interlocked with each other. So here we can deduce that there is one that is going in that direction. Pay attention to the angle of the finger that you see and the thickness of the finger towards the articulation. And then we have another overlapping cylinder that goes in that direction. It's easier here because we can actually see the challenges. And the last cylinder will be facing down. And then we can visually place the index fingers compared to the others. So I start to place it well free on my drawing. As usual, I will adjust the proportions little by little. And I start detailing the fingers like we do usually. The proportions of the hand are fairly complex to get right, so don't hesitate to spend some times to adjust it. As previously, I indicate the fat of the palm, and I keep on adjusting until it feels white. So that sits for this lesson. So to recap, to draw bend fingers like this, consider the fingers that are grouped together as a pack and divide this pack as three cylinders that are interlocked with each other. Pay attention to the angle of each cylinder, and then you can proceed to detail your fingers as usual. Now it's your turn. Dispose is already fairly complicated, so if you don't feel like it, I suggest that you already get accustomed with easier pauses and come back to this lesson when you're more at ease. But if you want to try, please feel free to draw this pause and pause your work to get feedback. During the next lesson, which will also be the last, we're going to see how to draw the fist. We're going to study it in two different angles in one video. See you in the next lesson. 10. Fists: During this last lesson, we are going to study how to draw the fist. We're going to see two postures, one with the back of the hand towards us and the other with the front of the hands towards us. That should hopefully give you an idea of how to cover most situations. So here we go for the first pause. The first thing we can notice is that the main box is curving inwards. And then the main thing with the fist is that it's basically composed of boxes that are curled onto each other this way. And then the thumb is also wrapping around the fingers. So here I go slightly curved box for a start. Then I draw the main shape for the rest of the fingers without bothering too much with drawing actual boxes. As long as you understand the main shape, it's enough. Then the triangle going toward the stated, and I wrap my thumb shape around my fingers. I just draw the wrist minding the shape of the bones. Now let's detail the fingers. As you can see, we don't actually see the whole of the forefingers. The shape of the index finger is actually taking the major part of the picture, and then the finger that wrote the top of the box is actually the middle finger. And for the other two, we only see the joints. This is because when we draw a fist, our finger box is not actually flat but quite rounded, so pay attention to what you actually see on the reference. And then it's again just a matter of refining. The fat of the palm and the fingers are quite noticeable here. I'm simplifying it a bit. And I'm also indicating the bones in the prolongation of the finger at the back of the hand. There's no absolute wool here. You just have to try and see what looks good. Now onto our second hand pose, there's again quite a lot of distortion here, but this time, I'm going to respect what I see. In that pose, I find it easier to start with the fingers as they are in the front and pay attention to how I try to capture the curve of the fingers. We also have to deduce again the placement of what we can't see. Here again, we're pretty much drawing a spiral of boxes. I start drawing it without caring for the thumb for now. It's easier to handle it later. Oh. So now that it's done, let's draw the thumb. I'm mainly placing it visually comparing to the rest. So the knuckle is towards us, so it will appear bigger than usual. I'm also noticing the triangular shape that it has at its base. Again, I'm drawing the wrist trying to follow the shape that I see. And now to detail the fingers, it's the same as before. I'm paying particular attention to what surface you actually see. So here we mainly see the top surface of the index and middle fingers and a little bit only of the wing finger. And for the pinky finger, we barely see the beginning of the articulation. And then I'm paying attention to the direction of each finger. As you can see, they are not parallel and the last step is, as usual, refining until we're happy with the result. So to recap, we can sum up a fist by saying it's a spiral of boxes. The boxes tend to be rounded, so pay attention to that and also the fingers are not aligned properly. So pay close attention to your reference to see how they are actually aligned. Now it's your turn. I would suggest to begin with, to choose between this fist and the other one to draw and submit, but feel free to draw both or skip them entirely if you want to. So congratulations. You made it to the end of the course. So now I'll jump onto the conclusion video. 11. Conclusion: Congratulations. You made it to the end of the class. During this class, we first had a quick overview about how the hand is structured, and then we went through a series of different hand postures to see how to handle them. What you need to remember is to draw the overall structure first and start detailing afterwards one step at a time. If you like this course and want to learn more, you can watch the first classes of this series if it's not already done. I would also appreciate it a lot if you left me a review to let me know what you thought about this class. If you want to follow me on social media, you can do so on insta romantic T and find me with this user name. I hope you enjoyed this class and that I served you well. With that said, I wish you a happy drawing and see you next time.