How to Draw Hands - The Easy Way

1. How to Draw Hands Intro: Hey, how's it going today? I'm gonna go over how to draw hands. Four beginners. So if you're a beginner, this is a perfect place to come. If you haven't really drawn that much, This is also perfect for you. Ah, hands is a very hard topic for beginners and even some intermediates. Eso I'm gonna try Simplify the whole thing down for you, step by step. And to make it easy to digest, let me go over what is gonna be in this course? Number one. I'm gonna go over the art supplies. So what? I use like pencils and paper. And, you know, I take price into account because you don't want to go into debt over, you know, just drawing eso. I kind of give you some choices. Then I'm gonna go over a structure points of the hand that I think are absolutely vital. I'm gonna go over a few kind of anatomy sections. Very few, very few. Don't worry just to simplify it down for you. And the measurements are also to make it basically easy for you to draw any hand in the future. There are structure points in any hand. Very, very simple. then I'm gonna go through fat pads of the hand so your hand contained thes fatty portions right here along there and I simplify those down. And I teach you kind of how to identify those so that you can see them in reference. And also, you can kind of create them. They're extremely important. I was gonna put them along with structure section, but I thought they deserve their own video just dedicated to these fat pets, cause they're so unbelievably important. Then after that, I'm gonna go for parts the finger, you know, kind of how the bend and small measurements in an average finger on that has its own. This its own science. Uh, but after that, you go through a demonstration, and the demonstration is gonna bring everything I was talking about in those last videos together. And I'm gonna be walking you through as I'm drawing and I'm gonna draw three poses of the hand. I'm going to the front of the hand, the back of the hand, and I'm gonna draw like a fist, you know? So you see a little fat pads mushed up, and I'm gonna be describing it every step of the way. So at very into that there's gonna be a bonus video where I give final thoughts and a little bit of art advice. That's just a bonus, But let's get into it if you want to learn this. If you always wanted to learn hands, let's get started right now. 2. Supplies I Recommend: cool. So let's go over the supply list really quick. I'm gonna be using pencils, graphite pencils of different kinds. So with the pencil that you want to use, basically they sell them in two different two different sets. A taste for art pencils. There's the soft and the hard. The heart pencils tend to be more for kind of buildings. Architecture on the stuff that we use, though it's soft. For example, the beads. So to be three b four b like the number two pencil that you use in school to fill in. Um, you know, filling tests. That's a to B, in fact, so that could work. But like it goes, there's a range. This is a six B. It goes up 2345 gets darker as it goes up. I like using like a five B, because you can get a range of very dark, very light with one pencil. Um, so I kind of like that I'm gonna be using the six Paedo. I think I have a five year well around here, so I'm gonna be using one of these. I recommend getting any of those I would for for the eraser I would recommend. Using this is kind of half opened kneaded eraser, And so what the kneaded eraser is. It's essentially a clay ball. And the reason I like this race or so much as it doesn't leave a stain, you can get a large area erased, just kind of like my flattening it out. And you can also get a small range erased by squishing it at the end. You have a point you can literally kind of erase strategically, almost like you would like a pencil in a way with negative space. It's just the perfect eraser. In my opinion, I would get kneaded. Eraser is better than all the other ones. That's it for the eraser. For the actual paper. I personally use computer paper. You could get a gigantic reams like I made a huge, huge sack of it for, like, 20 bucks, and it lasts you. For me, it was lasting like eight months, and I was drawing pretty actively to and still lasted, like eight months. That is 8.5 by 11 paper, or you could also use the tabloid size, which is larger. It's 11 by 17 you can use either one. I think I believe both around 20 bucks that, like Office Depot or you get it on Amazon Very, very good for sketching for stuff you just want to, like, sketch yourself in terms of sketching for yourself and drawing practice on love. That paper, another paper you could use is literally buying sketchbook paper, right? It's bound together, Uh, and it does kind of give you a catalogue. It makes you a little bit accountable because you have this book that you're gonna have sketches in, and it does make you a little bit more accountable. I do like that. If you do want to dio like, for example, ah, portrait of a family member, I would not use those papers. I would use Bristol board. Bristol Board is high quality paper, and that's a whole other thing. I believe that paper is good because it's just like a harder cardboard and just stuff last on it much, much longer, and it won't it will not yellow over time. This paper sometimes will yellow over a couple of years. If you save it, not always. Sometimes it will. Sometimes it will also, if you do any kind of artwork for yourself. Please don't hang in where direct sunlight hits it. Sunlight will kill everything. I mean, it will kill paintings. It'll just kill everything. It fades. It, uh, any on any surface. So just be careful about that's a little warning. But that's it for tools. Uh, yeah, that's pretty much it for tools, guys. So let's move on the next part. 3. Structure and Measurements of Hands: Okay, so let's talk about some structural points of the of the hand here. So when you're looking at a hand, let's just look at my hand real quick. I'm thinking of First off, let's go over really quickly the parts of the hand, at least of the bones. So we have the car pools, which are the bones. If you're to see through my hand, you'd see a lot of the bones that are stuck together. It here in the wrist, maybe the carpal, right. Metacarpals are kind of those wrist bones all the way to the knuckles. Those of the metacarpals so think of like carpal tunnel syndrome, right? That's that's a little what that is. It's the bones in the hand and talking about carpal medical. Okay, carpools right here. The wrist metacarpals are the bones from the wrist to the knuckle. And then all the way to the top. These up are the Filan's Jeez, the phalanges, the fingers of the phalanges. So that's just to kind of give you some reference of what we're talking about. I mean, I'll still just use same thing like knuckle finger. All that, um, is that just a quick run through. So when you're looking at the metacarpal section, I always draw that as a box, always thinking of that section as a box and they would say, Think of it like I don't know, like you're like I would her cigarette box. Although it's a little bit outdated now, right, most people smoke than ever. Three. Do you would be something like that. You thinking of this is box section Generally, the longest finger is the center finger. So when I draw hand, I like to draw like a line up there, almost like a roof of a house, and stick on those fingers. Top portion, right? Think of visit the knuckle area. This is obviously without the thumb. The thumb itself sticks out its own way. There, the thumb comes about about where the knuckles are a little bit past knuckles. It was draw the wrist on there for some, so we know we're looking at. So this is really, really simple Leah, and it's already kind of looking like a hand right. You can already tell what it is. It's just very simple shapes that you're sticking on. So let's stick on. Let's think of it still simply, we're gonna draw the fingers on here. Obviously, there's five fingers, but what I do is I like starting with, like, that big flap and then dividing those up. I'm usually on Lee Cognisant of the main finger here, the middle finger because is the longest, and then the ones on the side. I kind of break them up in that way. Hopefully, that's kind of easy, as far as that goes. Um, let's go over that a little bit more again. Uh, just to kind of recap. And I mean, I will go over Maura's. Well, so I think of the box, right? Uh, the this section of the hand right here in the metacarpals. I think of that as a box. I think of that. Let's go over here on this side view. I think of that as a box. Let's put the wrist over here just to kind of know what we're looking at from this box, and I'm doing in a bit of a three d view. I usually pull Ah, long line over here for the middle finger around this section. But, uh, I would say about 2/3. This would be about 2/3 into it. So, for example, uh, yeah, let's just say 2/3 So 2/3 then we have 1/3 over here, and then the same thing over here pulling that straight line up and in terms of how far up , I mean, it's kind of up to you. You can pull it about the same length as that metacarpal section. So this is the Flandy section. You can put it about the same length. This is a little bit from here to here is a little bit shorter from the from here to here, but it could be the same height. So from here here, you could make the same height, make that little house shape, and this is not quite the how to. I'm just going over the structure. This is what goes through my mind as I kind of draw hand. Let's make this on a little bit, uh, three D. Since that's kind of what we're dealing with a side view here. I think I curl in a swell. So this is the kind of you I'm thinking of in terms of structure again. This is what going through my mind and I would pull the thumb as an extra appendage up the side here, the thumb has three. Uh, you know, three segments, at least visually. That last knuckle on the thumb, it usually is about the same height as the rest of the knuckles. That shape right there, We're gonna go over the finger shapes, so don't worry about that right now, but I'm more or less like you could think of the structure of the hand in this exact way. Be, like, again just to recap. This is what we're doing. We're breaking it down. So it's understandable into kind of small chunks. So these are literally structural points I always start with. I always think about them. Their second nature. Now, eso I guess I'm not consciously thinking about them. But this is almost always what goes through my mind. So this is all you need to learn for this little chunk? Okay, This little chunk one more time I start with a box when I'm thinking of so So first off, let's go over the parts of the hand. Right? So right here. These are the metacarpals and right here, the bones of the hand. You would see that those are the carpools, Carpools. Apple spelled it wrong. And then over the fingers. Those are the phalanges, the pH. So that's the part of the hand. Then when I drawing them, I always cognisant of the metacarpals being a box, whether it be right here in three D just to make that a little bit more understandable, what I'm doing here, I'm trying to make that three D hopefully diagram makes sense. Shake this also. So I guess the longest fingers usually the middle one and with the knuckles, you can even kind of do that shape as well. Forget to mention that that kind of house shape I do that shape on the knuckles. You can do that. That's something you do for style. You don't need to do it, but you can do it usually the knuckle as well. That, like, is a little bit higher, but I always think of it as a box in general. Middle fingers into the longest tallest knuckle, usually the middle one. And from there I cascade down and over here I'm doing the essentially the pointer finger and from the middle finger going left to the ring finger and the pinky and those. I usually bunch them up in one shaped like that before I draw them. And then I split them. Unless I have to. And these are the shapes that I keep in my mind. The finger itself is separated out the thumb itself. Sorry, the thumb itself is separated out, and that's just to make it easily understandable. So right now, that should be good enough to small Chuck. I understand that. And then we're gonna move on next, and we're gonna talk about some of those fat pads on the hand. 4. Fat Pads of Hands: Okay, let's talk about some of the fatty pads on the hand. So again, going over this, I'm thinking of it in the palm of the hand now, thinking about the same way. Putting those metacarpals, uh, was metacarpals a zoo box. But that risk there middle finger the longest over here. About 2/3 in little house down that little house thumb out here going up. I think that's a little high and move in a row. Knuckle the back in a hand here, they move it down. Like I said back and also be house shape. I don't not his extreme, but And then, uh, the thumb is broken up into three parts that end of some over here. Okay, so let's start with the fatty portions of the hand. That's very, very important. So when you're squishing your hand, there's these fat pads right here, especially that are very big. I want to call them structure, their kind of added on. But I've always think of this fat pad here, which is really just a kind of combination. The bone, in fact, head right here, or the base of the thumb ends and another one over here So if you're looking at a year and this is the way I see them generally shaped, I think I'm like car seats or something. And what that does when you're putting your hand down, for example, to write or anything, you have that supporting your hand so it doesn't touch bone from the side as well. They are very, very important. And also in terms of just structure. I think of the one here as well. And that's kind of palm right here. Combination of the polls were here. They have those fat cats as well. You can, you know, I'm thinking of, Ah, come flu or something where they do like palm strikes, you can actually hurt. You can could break stuff with any part of these, Especially this right. This is for, like, karate chop in this for palm strike on this stuff as well. But these are extremely important and they always come up in hands. So this last video and this video, you remember these for essentially structure points when you draw the hand and you always see them when you're doing that, the fingers themselves also have that. But that's gonna be video down the line here. Uh, talk about the fat pads on the hand. Actually, let's talk about it. Here we will talk about the fact fatty pads on the fingers will do that. So these are four supports, and they also change shape when you're doing this. So when you're pressing on your hand or on any of these, they will get squishy. There will essentially search, especially that side pad. You'll always see them squish together. Essentially, I'm just get draw a little diagram to show there's squishing, squishing, your kind of pushing downward that's really evident through fingers. So let's talk about the, uh, kind of fat pads of the fingers really quick. Just real quick will touch on it. But I'm gonna go over the fingers more in depth in the next video. So when, like you have a finger pushing downward, let's say that's a finger. If that's pushing, putting force down that says, pushing force and downward that fat pat at the end of that will change shape as well. So you're gonna have more of a mystery. How would this be? Sheet? Something like this, it's gonna squish down like you're pushing it against glass it's gonna have that. That pressure is the bottom could be very, very flat. It's gonna squish out the edge, gonna make this kind of shape, and that's extremely important. When you're when you're doing fingers moving, pushing down anything, it's gonna push down like that and you want it. You wanted to change shape. And so that's the importance of learning where these little Panzar and you don't have to learn every single one of these pads. That's why simplify them down like this on the palm, and they use a combination of muscles. And, like I said, fat pads and then every finger will have that as well. So that's a little preview for the finger, but we will go over the finger. Now let's recap this lesson. Generally, these fat pads are good for structure and show the changing the shape and how things press against one another. How your hands gonna press down So I always remember this with a palm. There's none, obviously, over here on the back of the hand, but in terms of the palm there, these larger the base of the thumb. There's a big one right here. The palm strikes bam and then right here for a karate chop. You have this big one that they're using all the time. When you're when you're drawing all the time. You're using that as a kick stand, and that's going to squish down and change, though, and when you're drawing it, it's very, very evident when you're drawing it. You're thinking about these fat pads interacting kind of pressing against stuff, or even just the presence of them. There will change the shape of how you draw of the hand when you're looking at in reference or not. And then from there it could said, it makes a big, kind, ball shaped and squishes together. That's my little weird little diagram here, Um, and then over here, talking about as the fat beds at the end of the fingers at the end of fingertips, they will change shape as you push down in, squish on anything you do. But let's go on to the fingers themselves. Right now. Let's move on 5. Finger Function and Shapes: All right, let's talk really quick about the fingers. I'm gonna talk really quick about the mechanics of the finger. The mechanics of the finger pretty much all work the same way. When you talk about a finger, you talk about two side. One thing you talk about two segments, right? Let's just picture them as two blocks, two blocks attached by a school. Give this spool shape, and so that's pretty much it. You have this school shaped like things that you rolled thread on our yard. And what's going on is every joint of the finger works like that. If you think about a school between every one of these joints, it starts to make more more sense in your mind. And like they all work in that way, they all ratchet down like that. So that's pretty much the easy mechanics that you can always kind of sit back on. And I that's what I always do really quick. So that's the mechanics. Very easy now for the quick run down of the shape each segment of the finger makes. So if you're looking at, like with great general Finger, you have the largest part right here. right where, like, let's see, the knuckle is right on this side. Give the largest. Essentially, it's a fat pad that comes out. Then you have slightly less like slightly smaller one essential, like a spore pillow, and then you have the end of the finger. The end of the finger is the most distinct line. The end of the finger is the most distinct has this kind of pointed shape to it. So if I were to isolate that shape, just look at it. Has this almost horn like shape to it, like a fingernail on that and the every ended. Almost every end of the digit has that shape, especially the thumb and, of course, hands air different. There's always a unique part of the hand, but in general they all that that last Filante will have that shape to it. And that's kind of really hit in terms of the shape that even follows through. When the hand is when the fingers air folded, it follows through with these shapes. So when they're folded, let's take this and ratchet it down. They squished together, and it still has that shape right here. So this is where the knuckle isas. Well, let's But with the knuckle is those squished together and you still have this tip right here? And I would say it's like a pulls back and pulls down if you're to make it harder shape cker than straight. And they'll be a little bit more room for, you know, like the organic nous of where the fingernail goes in. But that's the shape really quickly still quick rundown mechanics. This is a school right here. The way the fingers 10 turn the way the knuckles work is they work on a school. So you could even imagine like, uh, maybe, like a string right here, some kind contraption going through in ratcheting it through that spool like structure And then the shape the sheep essentially one long pillow here, a longer pillow here toward the knuckle area of almost every finger. Pretty much every finger on the very last digit has this kind of horn shape is pointed shape when it squishes together. These fat had squished together and kind of triangular right here this center one and then it cost squishes against this larger petting here. But this point in one stays almost the same That's pretty much it for the fingers. Let's move on to a demonstration and I'll show you what I'm talking about, how I apply all this stuff. 6. Demonstration of Process (3 Poses): Okay, So what I'm gonna do right now is I'm gonna go through and what I'm gonna do, it's actually gonna draw my own hand. We look at my own hand and just draw it as the demonstration so wrapped the bat. I don't know why were pulled looking at my own hand. I'm going to start with that box shape in the metacarpals section. I talked about thinking of it as a box, like they would say, a box of cards bought cigarettes. Thing about that. I'm gonna pull up over here. And I didn't think of the actual fingers, which is the phalanges. I'm gonna think of that as one block first. And then I'm gonna split that up over here. Pull out the thumb, the opposable thumb, and I'm usually aware of the joints. I start to go into the joints Now, round pointed shape at the end, Fingers a little bit longer over here. I pull it finger a little bit back in my other hand right here, Right quick. All right. And I have the wrist pulling out. So that would be that general shape. I'm gonna go in here and I'm gonna find the Usually I find the knuckle by drawing a circle on the knuckles if I really want the placement to it. And that's just a little thing I do. You don't have to do that. But the four knuckles, some very aware I split them up and then I start going into a little smaller details. I'm putting these in darker. That's fine with a break again. Middle schools going in, final schools going through these fat pads here, taking it cancels fat pets as I'm pulling down on finding my shapes the knuckle over here on the pointer finger like in finger top knuckle right here of the Filante pulling up. I want to hear the other knuckle like they're not very prominent on my actual hand, but what I want to do, I want to make them prominent on the picture. So because you're what you're part of, this is not drawing exactly what you see in real life. Part of this is interpreting real life, this middle finger right here. The knuckles gonna be a little bit more up in this knuckle, and I'm gonna draw the first kind of breaking point a little bit higher than this one because that middle finger is always the longest in terms of the pointer finger or the ring finger. Which one is longer there that varies based on person to person? So that's up to you to kind of decide that I usually draw them about the same, I think mine. I think my obviously my ring finger is longer heard generally and on office is true or not . I heard generally that girls have the pointer finger longer than guys and then guys of the the ring finger longer between these two just between those two. But I don't know how true that is. What up? And the pinky in the back. Over here, sliver of pinky is kind of hidden behind the others. Throw that knuckle shape as well, pulling down over here a little bit, a little bit of fat pad poking at the far side wrist. So now school of the thumb thumb. I'm thinking about this fat pad right here, and it's attaching into the wrist. Pulling into that finger shaped a little bit of Ah, he said, the filante See it a little bit. Here, bend in seat over here as well. I'm gonna make a little bit thinner, I think a little bit too thick Fingernail on there. I don't really talk much by the fingernails because I really feel it's just an add on. It's just an ad on feature is really just kind of a box at the end. I don't personally think Think about it. So that is pretty much where my hand is. And what I'm gonna do is I'm gonna go back any race, hopefully can see the construction lines, but I'm gonna erased the construction lines for the purposes of just kind of the clarity of his drawing. And this is this is this without without shading as well. I know a lot of demos will talk about shading and stuff. I don't really do that. I'm thinking more of the construction, which is the most important part first, before you go into any of that shadings, we really talked about that shooting is going to another series. Not so much for this. So that would be my hand, my interpretation of of my hand. So that would be that on the far side. And I guess after that, what you could do is there was some value here and you know you're gonna add onto it. You had all your during details, like shading. We'll just do some very light sheeting to make it obvious. Yeah, but that's just for the effect. And then you could go back in here and add more detail. So the back of the hand, sometimes you can see some of the bones sticking out. Ah, a little bit, depending on how you know what kind of handed drawing, you can see the carpools there. So that's up to you. Of course. That is that side of the hands A. Let me draw the other opposites out of the hand, more like the palm. And I'll describe that as well on this page as well. So let's draw, Let me see. I'll draw this hand. But I'm not gonna really reference it too much. I'm gonna reference it back and forth. So let's think of a home. Think of that box for that section again. Thinking of the box. Let's have, like, the spark sign. All right. Where is that? I love you. Camera. That's fucked with spox sign and I'm gonna be bunching up two fingers again, thinking in simple shapes. So if you're doing this like that, Star Trek fans, you know, figure, uh, the box, the fingers extruding there in to Chuck's. I'm think of them as a simple, simplified shapes. And then the thumb is going to be sticking out here too long, I think. And, uh, got a reference my hand every now and then. So that's the simple form. Think of sort of that noise. By the way, I'm gonna draw a line right here. It's about halfway up. Not really. That's really higher than halfway up. And I'm gonna be thinking of those fat pads like we talked about in the other in the last video a couple of years. Draw the wrist, it's gonna pull down, and we're going to split these two right here and here. So what I'm gonna do is I'm gonna look, if you look at my hands, see that fat pat? It really curves in right there. You really pull that in? That's a That's a very big kind of visual landmark. Let's look in the top fingers first, so the middle finger is gonna be the longest. Then the pointer finger is gonna be next to it. pulling in, pulling down, It's straight. There's not a whole lot of bend on that sign, you know, pulled toward the center. I'm gonna pull out. I got to remember that the ring finger over here. Look at the palm ring finger. Cannot be as long as the middle finger because it just wouldn't make sense. Scale wise. So I drew a little line right here. Outward to kind of approximate how long that finger's gonna be. They have a pinky down here. Actually, I might make that that middle finger longer a little bit longer. A little bit longer There. Okay. And so now I'm thinking of the fat pads on the hand on the bone here. The palm strike Mother Paul strike area drawn that line there to make make sure that that's visible during another line in here for that kind of bit of ah, kind of attachment from the thumb to, you know, the palm pulling up into this section right here. And remember, the thumb is gonna segmented as well. Let's draw the last the, You know, the biggest digits of the thumb. The last digit of thumb point up a little bit of a bump for the actual knuckle area of that event. Finger pulling down back area of this and pulling in again. Start look like weird lipsticks don't like that shape. I don't like that shape either. See, a lot of this again, you're you're you're an artist, but you're also designer, which is can be one of the same. Uh, so right here, this box. I'm gonna get rid of that cigarette box a little bit, cause that was the framework we had. I'm gonna look into the fat pads again in the palm again. Palm strike. So if I could just draw the straight line right there, draw a straight line that really makes it clear that there's there's a fat pad, uh, you know, kind of in that area and then pulling down over here that but fatty pad at the bottom. And you can design these a lot of different ways, but this is just the way I go about doing it. And with that karate chop area over here, right there on that side of the poem and then the palm of the hand itself, you can literally just indicated like, so Just remember that palm strike boom. You can draw like this. And just basically like you're trying to indicate there is. And this is about indication. So you're indicating that there is, uh, a surface e kind of fat pad there. I say the word fat pad a lot. Forget me. Forgive me saying the word too much, but I just want to kind of get that point across. If you really also would like you Conundrum. Aw, some people like drawing the, uh the rate of the older bone over here that sticks out along the edge of the wrist. So there's a radius and ulna. The only is the one that actually sticks up right there. See that on my hand? It will stick out the edge. And a lot of people do have that. You can kind of put that on there. I think put that over here as well. But all that later or another time, I really need to that, um And so then so? So you're indicating these fat pads by drawing, like around. Kind of like just trying part of it. You're not gonna draw the entire fat pad, right? Not drawing the interim padded area. You're just trying a line to indicate that it is in that area on. You could do that along with parts of the actual finger as well, finger folded to locations after the after the the actual knuckles across. So there's actually fooling here. You can draw those folds in there if you like, and some people have, uh, maybe like the cords right here kind of below. The metacarpals were here, and, uh, there's some like there's some of the veins and then the cords you can draw. You can indicate those chords right here, that wrist not too much, because it tends to make people look older. So it really is up to you style thing. You can kind of do it. I'll do a little bit there, and that is pretty much it. That's the hand for the front in the back. As in addition, let's do another position. Let's do like kind of a squishing motion. Let's Ah, let's say like a fist, like a balled up fist. So with a balled up fist, it's a little bit different. I am thinking of that entirely as one block, right, because we're thinking about that, that that matter, that metacarpal section, right, the square. But in this one, you're here. Let's just say it's like this, right? We're gonna look at my hand and we're gonna look at it and draw it. Were drawing it like a little bit differently because you're drawing it as one large piece and then you're breaking it up. So if I was to look at it again, I'm looking at my own hand Every now and then I'm breaking up this block. You know, I think in larger shapes, and then you break it down slowly, and that's kind of the basis of all of this. Um so the first thing that closest thing to the viewer would be the thumb wrapping around the other fingers. Right? So I'm drawing that. I'm thinking of the brakes and the actual, like, you know how the fingers rap. I'm literally thinking about that that entire time, but I'm also thinking about the two huge again. I guess it is worth fat pads at the bottom of the wrist because that's the two largest. If you can see it on camera. The two largest forms in the fist from this angle. Some thinking of that and I'm thinking of this. It's too fat, padded areas breaking down, the the other, you know, fingers wrapped together. I'm thinking of that in a solid form. And what I slowly do is I slowly start to break those up almost like you're chiseling into kind of marble when they used to do sculptures. That way, you're chiseling in the stone. Do they still do that? I'm not sure, but you're chiseling into our block, and that's a good way to think about it. Pulling down the wrist. And now let's start to break up these fingers so there's four fingers. Make sure this is gonna pull over there. Try to break them up a Z evenly as you can, finding where each segment wrap keeps wrapping downward. All right, we have a pretty good idea. You want to show a little bit of tension, right? So a good idea would be to draw some of the school of the kind of the these pads running like this kind of fold. Marc, draw these lines. When I draw those lines, those lines show tension and they show crease. You know this line right here, these two lines, when you do that you're showing that there's a little bit of, like, a little bit attention, right? And there's a lot of tension in a fist, so that's kind of what you want to do. Um, but just kind of remember those lines, because that's actually gonna indicate that a lot. So, like, right here, it looks a little bit too relaxed. I'm gonna draw a little line right here, Like it's, like, squishing together. Break up the rest of these fingers, the first just visually, him drawing like a lighter line there until I to a bigger one. And I'm also gonna change the heights of the knuckles because not all the fingers of the same height. I know, Uh, if anybody does martial arts out there, um, doing martial arts, sometimes you can break a board so many times or you punch something so many times that your fingers will change height at a instructor Where, uh, all his fingers, the top three right here. They're all the same size because he was breaking boards with his hand like that vamp. So I remember that was really strange. So they can change height. The more you kind of do that they also can create callouses, and it can change that as well. Pulling over here, I think you're that pinky side first kind of knuckle of, ah, second finger, they're rolling in. It was a little bit too big. And then that other think of the actual middle finger folding in. Going into the side here would be the foreign fatty pad wrapping around here, rapping down here as well. Let's get this top one in knuckle the pad section and then the knuckle wrap around that area. And then the finger right is balled up over here. But then that's folded over the other segment of the fingers. So there's gonna be another fold and here, and that's really gonna bring a lot of tension right there. When you do that, let's erase some of the construction lines. It was a little too many construction lines over here become kind of a mess, So we're gonna pull back on that during a little bit. Uh, we're here as well. I'm drawing. I'm gonna draw a little dark pit here because it's pretty much is what it is. It's a dark pit like swished, get shows, inflection. There some tension pulling down and there's the knuckle way at the bottom right here of the actual, uh, thumb area pulls them downward. And like I said before, if you really want, you can draw well, I mean, it's not really going to show. I was gonna say the old it's not gonna show the old the bone on the way. This is angled you want. You can throw some straight lines to show like you know some more attention if you ever want to see cool like like you're like tension lines in fists, looking like superheroes, Really specifically, If I was to pick one, I would say the Hulk because they vein him out like crazy. And everything about him is about, like trying to make it seem like there's a tremendous amount of force and and intention going on when they're doing. When he's I got like, a fist when he's grabbing anything on that makes it more believable, and you kind of buy it more because you're like, whoa, like it looks more alive because he looks he's putting his all into it, Um, but that's pretty much it for the fist. You see, a lot of like like interaction going on between each other's a lot of interactions between these different shapes. If you want to draw, let's put on that nail at the end of it. It's like a lighter right there. Um, that's pretty much it. That's it for the demonstration. Guys, I do appreciate you being around this long had an amazing, amazing time. I hope you learned a lot. Also check out my other. My other tutorials on this site. I love hearing from you guys practice this stuff. Practicing is the key to all of this. The more you practice, the better. And if you have any hands you want to show me, post them in the project section over here and I will comment on every single hand that you put all of them, and I'm gonna comment on all the pages, so please let me know. I'm gonna give you one more video, and that's just to be a bonus. It's gonna be some art advice 7. Art Advice (Bonus): Hi. This is a bonus video. Just kind of giving you some parting advice. Thank you so much for making it through the program. I know hands is a really big thing for people. Uh, so one thing I want you to keep in mind is I want you to keep in mind the having fun aspect of it. When you're doing this, it can get a little pressuring. You can get frustrated if you're a beginner, especially intermediate. You you tend to make it work in your mind. It becomes a job in a way, and it just stops being fun for some people. So I want you to keep in mind that keep that fun aspect to it. Like think of the things that really made it cool and exciting to do and kind of figure that out for yourself. And it's gonna be different for every one of us. But just don't lose sight of that. And as you're having fun, you're gonna learn faster and you're gonna get better. Just learn to really love the process of actually drawing, then the results of having that drawing. If that makes sense, I think some people do it out of ego. Some people really just want that finished results really quick. Learn to like I said, really director energy to enjoying what you're doing and actually the process of doing it and the end result ironically, will come faster. And it will be better when you think this way. That's it. Thank you so much. I hope to see your drawings in the section and the project's Thank you so much. I'll see you later.