Page 120 - sarah-simblet_sketch-book-for-the-artist

THE BODY120

Hands and Feet

THERE ARE MANY different ways of approaching h a n d s and of form. W h e n starting, it is important to leave aside all
feet, and they need not be daunting to draw. This exercise details of the fingers and toes, especially the lengthwise
is useful when struggling with proportion. It also helps the divisions between them. Focus instead on how planes
beginner to progress from drawing outlines to drawing change direction across the knuckles from one side of the
confidently across the surface of the whole form. hand or foot to the other. These planes, drawn in relation
to each other, express structure and gesture far more
Practice by drawing your own hands and feet, or those successfully and easily than ten worried outlines wandering
of a friend. A mirror increases your range of views, and a up and down between the fingers and toes.
gooseneck lamp casts shadows that clarify planes and depths

GESTURES OF THE HAND

Curled Fingers

1Begin by drawing lines to encompass the 2 Start honing the shapes of the dominant Open Palm
whole hand, swiftly marking its essential planes, starting with the largest. Then
gesture. Draw large shapes and their orientation. subdivide each shape so that you work from 3 Build your drawing gradually from light to
Group the fingers together as one mass. Do not large to small, general to specific. Keep lines open dark. Don't worry about achieving perfect
separate them yet, and ignore all details. to change and take measurements if they help.
solutions, but regard these practice studies as
ongoing processes of thought and observatio

Add details such as nails last if you wish.