How to draw crossed arms. Draw hands

Step 1.

Let me remind you in advance that we have already had a good workout, started to study, examined in some detail in full growth, as well as men using examples and. And it was the turn to pay enough attention to the hands. This is the never-receiving part of a drawing of a person that can ruin everything.

First, start drawing the hand with anatomical tips! We will try to refresh or replenish our knowledge about the structure of the human body. This is very useful, because most beginner artists can find their hands difficult. Well, let's start with anatomy and you will better understand the drawing of a human hand!

Step 2

Here is a slightly enlarged anatomy of your fingers so you can get a better look at the bones and remember their main parts. We will always use them for the base of the hand drawing.

Step 3

Maybe it doesn't seem important, but when you draw larger hands you will need help choosing the type of nails. You can choose the best ones for your character in the picture!

Step 4

And here's some extra help in the picture, so you can clearly see and compare the difference for your character's age and gender!

Step 5

Here are some sketches of hands that give an idea for the drawing style of realistic hands! You should start with any style based on their actual appearance.

Step 6

And now the options for hands from comics or fairy-tale characters. These are just a few examples. You won't notice too much of a difference between realistic and comic or fantasy style.

Step 7

In cartoon style, there are more noticeable differences from realism. It's always helpful if you look closely at that particular detail in the cartoons you watch and then you can pick a style you like and start creating your own for that part of the drawing.

Step 8

If you have animal characters, then these examples will come in handy! Basically, when your animal character walks on two legs, his/her front arms or paws are more like real arms and hands, so you should draw them like human arms, only with some animal specificity and style.

Step 9

And now, the last part of the preparation for drawing the hand. These are the options, angles and positions of the hands and fingers. First, let's look at simpler options and catch the basic principle for the joints and proportions of the fingers and palms. For a female hand, you can increase flexibility, and for a male, increase angularity.

Step 10

Now the drawings are somewhat more difficult, from a different point of view and angle! This is an expression of emotions, gestures accompanying words and actions.

Step 11

This part of the preparation will already be really difficult, but not impossible! When you start drawing hands harder than these, you will remember with a smile. We're just looking at the tip of the iceberg in terms of bases and shapes, and will start moving towards hatching, shading and color grading and editing. And now we are just warming up!

Step 12

let's start draw hands! Start drawing basic shapes and lines. This is useful so that you can keep the shape of the hand and the proportions of the joints.

Step 13

First, let's draw on the base line of the upper and visible ending of the forearm at the level of the wrist!

Step 14

Now draw the basic shape of the index finger!

Step 15

And now, along the base of the thumb, the lines and shapes of it itself. The hand took shape pretty quickly.

Step 16

And now draw the shape of the middle finger!

Step 17

The next step is nameless. Fingers become less and less visible. But the joints line up and the proportion and beauty of the lines are noticeable.

Step 18

And now your last finger in the basic form is the drawing for the little finger - the little finger! And you did everything quickly on the basic shape of the hand from the first step!

Step 19

Now draw the nails on the fingers, as you can see them on your own or in the photographs.

Step 20

Draw small details of the folds in the joints and skin folds. They are on both sides. The hand in a relaxed state tends to shrink.

Step 21

Here are some small details that you also need to draw in order to give the drawing a realistic look/

Step 22

You did it! Now you have to apply shadows and light yourself. In the next lessons we will pay more attention to this when drawing with pencils in the first place. I hope you liked the lesson and you will leave me a positive review and comment at the bottom of the lesson. Good luck to you!

Not everyone can paint like great artists. But you can learn to draw if you make an effort.

A lot can be said about a person by their hands. It is very difficult to depict them on paper. But the task of how to draw a hand can be solved with work and diligence.

Anatomy to the rescue

A complex system is the human body. The hands alone consist of several dozen elements. And in order to draw them correctly, you need to know the structure of the hands. Conventionally, the hands can be divided into three main parts: the wrist, metacarpus and fingers.

• The wrist is the part closest to the forearm. It is responsible for the movement of the hand, but all its elements work as a whole.
• The pastern is the widest part of the hand - the palm.
• The fingers are mobile due to the phalanges. Four fingers (index, middle, ring and little fingers) have 3 phalanges, but the thumb consists of only two phalanges.

Knowing the basics of anatomy will allow you to correctly draw the hands in stages, so that they turn out to be "talking".

It will be easier to draw if, during sketching, you decide what the subject of the image looks like - something simple, even primitive. Agree that the human hand is similar to a shovel, not only in appearance, but also in functionality? With this, you can start a sketch - draw a contour similar to a shovel: the wrist is the stalk of a shovel, and the contour of the palm with fingers is its canvas. It is difficult to immediately decide how to draw a hand with a pencil in stages, which is why it is worth starting with an elementary sketch.

The key is proportions.

In order to correctly and beautifully draw any object or detail, it is necessary to observe proportions - the ratio of different parts to each other. This rule also applies to the image of a person.

So, how to draw a hand? We start by determining the correct proportions. The ratio of the length of the metacarpus and fingers is on average 1:1. Naturally, this ratio will vary slightly for different people, because some have long fingers, while others do not. But on average, the proportions will be equivalent.

Depending on the length of the fingers, the contour of the palm will be either more elongated or square. With thin lines (even before drawing the hand), draw the outline of the brush according to the proportions. The thumb does not fit into the overall silhouette, it is always somewhat apart from the other four "brothers".

Draw fingers

The fingers are mobile and flexible due to their articular structure, each of the three or two phalanges, if we are talking about the thumb, is attached to each other with the help of joints and tendons. The bones of the phalanges, located one after the other, become shorter and thinner, so the fingers gradually become thinner.

Ideally, each phalanx is 2/3 the length of the previous one. These proportions are called the golden section - it is perceived by the eye as the most perfect.

Again, when drawing details, it is necessary to make allowances for individual characteristics - not every person's hands have harmonious proportions. It should also be remembered that the fingers are not the same in length: the longest finger is the middle, index and are approximately the same and shorter than the middle finger, the smallest are the little finger and thumb. Although the big one is rather the thickest. Its length corresponds to the length of the little finger.

Lines are the basis of certainty

Before you draw a human hand, analyze again what parts the hand consists of. Remember that the contours of the palm and fingers, taking on concrete forms in the drawing, become more and more rounded. For example, the line connecting the fingers and the palm is in the form of an arc, as is the outline of the hand itself - the different lengths of the fingers make it possible to obtain a semicircle when drawing the fingers clenched together. The thumb is somewhat turned in relation to the rest of the palm, its contour will not be straight, but somewhat rounded.

Small details matter

We sketched out the contour of the palm, then we begin to deal with the details. So, how to draw a hand reliably? This is impossible without drawing small details - folds, thickenings, fold lines, the contour of the nail plate on each finger. These seemingly minor touches will make the drawing more realistic.

Let's start with the fold lines on the fingers. As already mentioned, the wrist, palm and fingers are made up of many elements. They allow the fingers to perform the functionality for which they are given to a person. How to draw a hand so that it looks as natural as possible? With the help of drawing all the nuances. In places where the bones are connected by joints, there will definitely be folds both on the inside and on the outside of the palm. If the hand is drawn from the inside, it is necessary to draw the so-called "life lines" - deep enough grooves in the places where the joints of the palm work.

Each finger at the end is protected by a fingernail - a hard plate that must be drawn to make the image realistic. The nail plate is another essential element in solving the problem of how to draw a hand. Nails can have a different shape - from elongated almond-shaped to almost square.

Fingers indicate a person's age. Children's fingers are rounded, with a uniform thinning along the entire length. The older a person gets, the clearer the traces of time appear on the hands. For example, in older people, the thickness of the fingers will be uneven - the joints become more and more swollen with age, many years of work and illness affect. Also, the joints are very visible in thin people.

How to draw a hand in different positions?

Hands not only gradually participate in the conversation, but often they themselves serve as a "language", for example, in sign language. Palms and fingers will clearly tell what a person is thinking about at a given moment in time, what his mood is, what he is doing. How to draw a hand so that it truthfully reveals all the secrets?

Always when depicting the human body, it is necessary to rely on the basics of anatomy. Hands are no exception. The size of a fist, for example, is determined by the length and fingers. And the rule of the golden section will be important in any position of the fingers, even clenched into a fist. When drawing an open palm, special attention should be paid to drawing the lines of the metacarpus and slightly bent fingers.

And how to draw a hand on the side? In this case, it will be important to draw the viewer's attention to the fact that from the back, the palm and fingers will be drawn in almost straight lines, but from the inside, both the fingers and the palm itself have pads, which must be drawn with rounded, smooth lines.

Step-by-step drawing of human hands, with a systematic transition from a sketch to drawing small details, however, like any other object, will allow you to get a realistic drawing.

What You'll Be Creating

Many people think that of all parts of the body, the hands are the most difficult to draw. We all have stories of how, in the early stages of drawing, we hid the hands of our characters behind our backs or in our pockets, avoiding drawing them whenever possible. And paradoxically, they are our most accessible part, being in the field of view every minute of our lives. With just one additional accessory - a small mirror - we can see the hands from all angles. So the only real problem is the complexity of this amazing compound organ. It's almost like drawing a small shape on top of a larger one - it's hard to know where to start.

In this tutorial, we will break down the anatomy of the hand and simplify it so that when you look at the hand, you can understand it as a group of simple shapes that are easy to put together.

Use the following finger abbreviations:

• BP - Thumb
• UP - index finger
• SP - middle finger
• BezP - Ring finger
• M - little finger

Brush basics

Here is a brief overview of the bone structure of the hand (left). 8 carpal bones are marked in blue, 5 metacarpals in purple and 14 phalanges in pink.

Since not all of these bones are movable, we can simplify the basic structure of the hand. On the right is a diagram - all you need to remember.

Note that the actual base of the fingers (the joint that corresponds to the knuckles) is much lower than the visible base formed by the adjacent skin. This must be taken into account when drawing bent fingers.

Based on the above, a simple way to draw a brush is to start with a basic palm shape - a flat (much like a steak, but more rounded, square or trapezoidal) with rounded corners, and then attach the fingers:

If you find it difficult to draw fingers, draw them as a stack of three cylinders. Cylinders are easy to draw from any angle, eliminating the need to draw fingers in perspective. Please note that the bases of the cylinders are exactly the folds that need to be drawn in bent fingers.

This is important: knuckles not aligned in a straight line, but fall on concentric arches:

Also, fingers are not straight, but slightly bent towards the space between the joint venture and the bezp. Even if you slightly show it in the picture, it will be more realistic.

Let's not forget about nails. You don't have to draw them all the time. In fact, they appear in a certain degree of detail, which only looks right when the hands are seen close enough, but we are usually not taught how they should look, and because of this, for example, I could not get them for a long time look normal. A few notes for drawing nails:

1. The nail begins in the middle of the first phalanx.
2. The line at which the nail separates from the flesh varies: in some people it is located completely at the edge of the finger, in others it is very low (dashed line), so in their case the nails are wider.
3. The nails are not flat, they are more like a tile with varying degrees of curvature - from strong to very weak. Examine your brush and you'll find that this curvature varies from finger to finger, but luckily we don't need that level of realism in drawing.

Proportions

Now, taking the (apparent) length of the UE as a structural unit, we can roughly outline the following proportions:

1. Maximum opening between BP and UP = 1.5
2. The maximum opening between UE and BezP = 1. SP can be closer to any adjacent finger, this does not affect the total distance.
3. Maximum opening between BezP and M = 1
4. The maximum angle between the BP and the M is 90º, taken from the very base of the BP articulation: the fully extended M aligns with it.

I wrote "approximately" because everyone is different, but remember that deviation from the norm on paper may not look right. When in doubt, these options will always look correct.

Details

The basic shape is just one complex aspect of the hand; the next is the detailing of folds and lines. Who hasn't been frustrated when drawing with a brush when it was hard to get all those lines right? Let's look at the fold lines and some measurement details:

1. The supposed continuation of the inner line of the wrist separates the thumb from the rest. A small tendon line may mark the junction of the wrist and hand.
2. When the fingers are closed, as shown above, the BP is slightly hidden under the palm.
3. UP or BezP are often as long as SP.
4. The creases denoting joints are elliptical or parenthesis-like, but when the hand is extended as shown above, they are not pronounced (unless one has prominent knuckles, which often happens on overworked hands) and can be drawn as simple dimples.
5. The knuckle creases are shown in an elliptical shape, but they disappear when the fingers are flexed. They are shown in parallel lines on the side of the palm, but are more pronounced on the lower joint - usually the upper joints are not indicated by two lines.
6. On the back, the lines of the fingers continue to the beginning of the palm, so they look longer on the back of the hand.
   On the inside, the lines are shorter, because the upper part of the palm is voluminous, so the fingers look shorter.
7. The lines where the fingers end are tension lines (short horizontal strokes) on both sides, and on both sides these tension lines are directed away from the SP.

Also note that in the diagram above, the nails are not fully drawn, but only lightly outlined, which is in line with the general level of detail (which is much higher than needed to show all the lines). The smaller the brush, the less details you need to specify if you don't want to make it look old.

I didn't mention the hand lines above, so I'll go over them in detail here:

1. The most visible lines on the palm - the so-called lines of the heart, head and life - are the folds of the skin where the palm is rounded. As long as you're not drawing in a realistic style, there's no need to draw other lines - that would be redundant.
2. Do not confuse the life line with the outline of the thumb, which becomes visible at certain angles, as shown on the right. The lifeline is almost concentric with the outline of the thumb, but note how much higher it starts on the palm - in fact the (true) base of the UP.
3. From the side, the pad at the base of each finger appears as a series of curved, parallel bulges.
4. These fold lines partially wrap around the fingers. They are emphasized when the fingers are bent.
5. On the extended finger there is a slight bulge formed by skin folds. It disappears when the finger is bent.

So what do we see from the side when the arm is outstretched?

1. From the outside, the line of the wrist curves into the base of the palm, so the transition between them forms a gentle bulge.
2. The bottom of the hand appears flatter on the outside than on the inside, although the base of the thumb may still be visible.
3. From the outside, the last joint BezP is fully visible, because M shifted to the brush.
4. From the inside, a little SP is visible or not visible at all, depending on the length of the UE.
5. From the inside, the line of the wrist is blocked by the base of the thumb, so the transition is sharper and it is important to show the bulge.

Notice also that when viewed from the outside, another new contour line is shown on the palms. It goes from the wrist and, with a turn of the hand, connects to the M line until it overlaps the base of the BP:

Range of motion

Detailed articulation implies movement, and the arms are constantly moving. We use our hands not only for practical purposes (holding a mug, typing), but also for conveying our words expressively or reacting to emotions. Therefore, it is not surprising that in order to correctly draw brushes, an understanding of how the fingers move is required.

Five fingers

Let's start with the thumb, which moves independently. Its true base and center of motion are very low on the hand, where the hand meets the wrist.

1. With a natural relaxed position, there is space between the BP and the rest of the hand.
2. The BP can fold in such a way that it touches the base of the M, but this causes tension and leads to pain.
3. The BP can stretch to the width of the palm, but this also leads to tension and pain.

The other four fingers move slightly sideways and are mostly bent forward, parallel to each other. They bend at a certain autonomous angle, but not without affecting neighboring fingers; try, for example, bending one joint and see what happens to the rest. Only the BP is completely independent.

When the hand is clenched into a fist and all fingers are twisted, the hand takes on a domed shape, as if it were lying on a large ball. The ball (shown in red) gets smaller and the curvature increases.

When the hand is fully extended (right), the fingers are either straight or lean back slightly, depending on their flexibility. For some people, the fingers bend at a 90º angle when pressed against them.

Let's take a closer look at the fully clenched fist:

1. The first and third creases of a fully bent finger touch to form a cross.
2. The second crease is a continuation of the line of the finger.
3. Part of the finger is covered with a skin flap and the thumb, reminding that the entire structure of the thumb is closest to the outer edge. You can move the NC outward and cover the skin flap with it, it's anatomically possible, but it's not the natural way to form a fist.
4. The SP knuckle protrudes the most, and the other knuckles gradually descend from the level of the SP, so that at the angle shown here, the parallel fingers are seen from the outside rather than the inside.
5. The first and third folds touch and again form a cross.
6. The BP is bent in such a way that its last phalanx is shortened in perspective.
7. The skin fold protrudes here.
8. When the hand is clenched in a fist, the joints protrude and the "brackets" are visible.

brush as a whole

When the hand is relaxed, the fingers are slightly bent, and when the hand is pointing upwards, they are bent more due to gravity. In both cases, the UP remains extended, while the rest gradually wrap, and M is the most bent of them. On the side, the finger sequence makes the 2 or 3 outermost fingers visible between the OP and BP.

M often "runs away" and is located a little away from other fingers - another way to make the brushes more realistic. On the other hand, SP and SP or SP and SP will often pair up, sticking together while the other 2 remain free. This way the brush will look more alive. A pair of BezP-M appears when the fingers are slightly bent.

Since the fingers are not the same length, they always represent a sequential transition. When the fingers are squeezing something, such as a glass, SP (1) is seen the most, while M (2) is only slightly shown.

While holding a pen or something like that, SP, SP, and M arch backwards relative to the palm if the object is held between BP and RP (take a pencil and watch). If you press harder, the joint venture connects and straightens, because. presses on the object. The maximum pressure results in all fingers pointing out to the sides, as shown here.

As we can see, the hand and wrist are exceptionally clear, each finger almost lives its own life, so drawing hands usually confuses a novice illustrator. But when the brushes start to turn out well, we tend to fall into the opposite trap - we start drawing the brushes too rationally: the fingers are neatly placed in their places, parallel lines, careful alignments. The result is stiff and just too boring for a part of the body that can speak as expressively as the eyes. This is good for certain types of characters (for example, those whose personality is rigid or insensitive), but most often you want to draw lively, expressive hands. To do this, you can go one of two ways: add attitude (i.e. add drama to the gesture, resulting in a position of a moving hand that is probably never used in real life) or add naturalness (observe the hands of people who do not watch their gestures to see the accidents that I have in mind). I can't show every hand position, but below you can see examples of restrained and natural/dynamic hand:

* Case specific note - trained fighters always will keep the fingers parallel during the strike (as shown in the restrained position), otherwise they may break the knuckles.

Differences

Brushes are individual for everyone, as well as facial features. Men differ from women, young from old, and so on. The following are some existing classifications, but they do not cover the full range of characteristics that a hand can have. A characteristic feature is the right word, because brushes should be drawn as if they were characters with their own character: delicate, soft, dry, calloused, rough, etc. (See Practice Time)

Brush shapes

The proportions of the fingers in relation to the hand matter:

Finger shapes

Not everyone's nails are the same! From nature, we are given flat or round nail bases, and people artificially give nails a different shape.

Practice time

• Watch the hands of different people. Firstly, in order to understand the anatomical structure: how fingers look in different positions, how lines appear and change, how certain details depend on tension, etc. Secondly, in order to understand the differences: how male hands different from women. How do they change with age? And what do they look like depending on the weight of a person? Can you recognize someone by their hands?
• Make some energetic sketches of any hands - yours, other people's, from photographs. Don't worry about getting the proportions right, don't even look at them too much - we just need to catch the expression.
  

  Joumana Medlej is a Lebanese calligraphy artist, trained by a master in Beirut and now living in England. Her body of work encompasses drawing tutorials, graphic design, illustration, comic books, digital games and children's literature.

Many will agree that drawing a person's face is not an easy task. However, among some artists there is an opinion that drawing a hand is even more difficult. What is more difficult to draw - the face or the hands - I can't say. Probably, for whom. But, what can be stated quite definitely is that it is really difficult to draw hands and fingers correctly. But this is possible if you understand the basics of plastic anatomy and know the proportions. To do this, I prepared a series of drawings with visual diagrams. They will help you understand the key points that you need to learn to pay attention to in the process of drawing hands.

1. Brush size

The size of the hands is approximately equal to the face (not the head). If measured from the wrist to the tip of the middle finger, then this segment will be equal to the distance from the chin to the upper border of the forehead. This is the size of an adult's hand. The younger the person, the smaller the hand will be relative to his face. In young children, the palms are equal to the distance from the chin to the eyebrows.

2. Skeleton and muscles

The shape of the fingers and the entire hand depends on the shape of the bones and muscles. You can verify this by looking at the given anatomical drawings of the hands.

3. Middle of the brush

In the process of drawing, it is important to compare distances and check proportions. A good starting point for this would be a line corresponding to the middle of the brush. Having outlined it, it will be much easier to avoid mistakes in the future. Therefore, at the very beginning of the drawing, you should not immediately draw fingers and details. It is better to outline the general outline of the brush, similar to a mitten. Then determine the middle. And then you can proceed to the details.

4. Middle of fingers

In order for the fingers in the drawing not to turn out to be crooked, it is necessary to correctly determine the length of each phalanx that makes up the fingers: proximal, middle and distal. The following schematic drawing will help with this, in which the middle of the fingers is easily visible. Having determined the middle of each finger, further comparison of proportions will be much easier.

5. Thumb length

The thumb will end at 2/3 of the proximal phalanx of the index finger.

6. The length of the index finger and ring finger

The length of the index finger is equal to the length of the ring finger. However, this ratio may vary slightly from person to person.

7. Little finger length

The tip of the little finger is at the level of the joint between the distal and middle phalanges of the ring finger. By comparing the length of the little finger with this level, it is easy to check your drawing for errors.

8. Length of nails

The length of the nail of each finger is 1/2 the length of the distal phalanx of the corresponding finger.

9. Location of the metacarpophalangeal joint of the thumb

When a person looks at the hand, he sees just some bumps and depressions. But an artist who studies plastic anatomy sees joints, ligaments, bones, muscles behind each such “tubercle” ... On our hands (more precisely, hands) there are three key joints, “tubercles”, which are important for determining the size and further marking the picture. If these three points are determined at the beginning, then the further drawing will be much easier, since it will be possible to build on these points. Therefore, to draw the thumb, it is better to start with its metacarpophalangeal joint (point 2). And to determine its location, you need to remember that it is located approximately in the middle between the metacarpophalangeal joint of the middle finger (1 point) and the head of the ulna (3 point).

10. The hand fits into a circle

The hand fits easily into the circle. Therefore, you can draw hands using a circle as an auxiliary line.

11. Concave shape of the brush

On the inner, palmar side, the hand has a concave shape, repeating the shape of a ball. The hand is not flat.

12. The fingers are slightly curved towards the center.

The fingers have a subtle bend. They are curved towards the middle of the brush. The fingers are not completely straight.

13. The bends of the fingers on the palmar and outer sides of the hand are at different levels.

The phalangeal joints of the fingers form skin folds. These folds on the palmar and outer sides of the hand are located at different levels.

14. At the heart of the form are geometric shapes

From the above figure, it can be seen that by dividing the hand into geometric shapes, it will be easier to understand its shape.

15. Hand model corresponding to the main anatomical features

To learn how to draw hands, you need to be able to see the basic shape among the many little things. Be able to see the nature of the form. To do this, you can imagine the hand in the form of three-dimensional geometric shapes. As in the drawing of the head, artists use a model called "cutting", so in the drawing of the hand, you can use the above diagram. Such a conditionally schematic representation corresponds to the main anatomical features. It will help novice artists understand the essence, and therefore draw hands more confidently.

Summarizing the above, we can add that beginners should accustom themselves to pay attention to the proportions indicated in this article. If you constantly compare values, compare sizes, then the drawing will be easier and will become much more competent.

Despite the fact that the proportions of the hands may differ depending on the individual characteristics of a person, these differences are unprincipled and insignificant (for example, the length of the index and ring fingers may vary). Therefore, the proportions and features indicated in this article generally

The human body has many parts. As we have already discussed with you here on the site, it is not so easy to draw the body and its individual parts correctly. To do this, you need to learn and know the basics of anatomy and physiology. Very often, children draw parts of the body and the figures themselves in a very simplified way, one might say, in an amateurish way. We want here to teach you how to draw the elements of the human body correctly, primarily from an anatomical point of view. Arm yourself with a pencil and eraser, take an album and start the lesson. Following our tips, you will gradually learn the basics of this wisdom.

Stage 1. Draw the caracas lines of the human hand. First we will teach you how to draw a human hand from the elbow to the fingertips. We build a straight line .. On the upper part we mark a point from which we draw five segments, from which, in turn, we draw five more segments connected at an angle to the first ones. This is the basis of the future hand. Then, along the main straight line, we begin to outline the line of the elbow and the forearm of the arm (this is the part of the arm from the hand to the elbow). The forearm widens from the elbow bend, then becomes thinner and passes into the hand (expanded part). After that, we begin to draw the fingers. Little finger first, then ring finger. We draw them along those lines from point 1 of the same stage.

Stage 2. Now we draw the middle and index fingers of the brush. Along the auxiliary lines we give contours to the phalanges of the fingers. The hand is slightly bent, as if a person wants to take or hold something. Then we will finish the last, thumb. And further. On the fingers and palms, we will show bumps on the skin, depressions and tubercles, skin folds.

Stage 4. Now let's try to draw a separate human hand. We build additional initial wireframe lines like this. Select a point on a sheet of paper. From it we take three features in different directions. At the end of the third line we put a point, and from it we draw segments connected to each other. It is like a skeleton of future fingers. We outline the hand itself with smooth lines around these straight lines to the finger zone. The brush is bent down. Then. Let's draw the thumb. First, we will show its thickened part, then the phalanges of the finger itself and the line of connection with the index finger. Then we draw the index finger and middle finger of the hand, outlining the skeletal lines of the starting point of this drawing.

Stage 5. We finish the ring finger and little finger. They are barely visible because of the front toes. We show the folds on the skin, tubercles, bulges and bumps on the brush. Then we delete all the sketch lines and leave only the necessary ones. We colorize the hand, shading some areas (the play of light and shadows). We hope you learned this lesson well and you managed to draw the hands of a person.