👉What Everyone Gets Wrong Drawing Hands – Critiques👈

👉What Everyone Gets Wrong Drawing Hands – Critiques👈


Hello, welcome to Proko. My name is Stan Prokopenko. This is gonna be a hand critique video. Sorry for the little haitus. I’ve been hanging out with my son. There’s a picture. There’s another one. Anyway, so I’m gonna like finish up these
hand critiques so we can move on to leg anatomy. A lot of you guys have been really anxious
to move on to leg anatomy. So let’s get these out of the way first, because
hands are important and there were a lot of assignments. I think I had you guys do three or four assignments. One of them was drawing from photos that I
provided you, another one was to go back to the hand bone assignments from back when we
did hand bones, and to pull those assignments out and add the surface anatomy to the bones
that you drew. And then another one was to just invent hands,
just imagine a hand and draw it from your imagination. That’s obviously the hardest one. So your watching the free version of this critique session. The free version, I’m gonna focus on a problem that I saw you guys having, which is being able to construct the hands out of basic forms. I saw that this was hurting the way you guys are drawing things. Your hands were out of perspective, or when your starting a shade your not understanding the volumes that your shading. And starting the construction of the hand with basic blocks and cylinders will help you solve a lot of those other problems. So I’m gonna focus on that today, and if you wanna watch all the other problems that I talk about, goto proko.com/anatomy. And watch the full video. Alright let’s begin. The first critique will be for Apollo Jeanne
Hyacinthe. I don’t know, Apollo. Okay. So aside from them being kind of messy and
scribbly, I feel like you are drawing purely observationally. You’re looking at your photograph or your
hand and you’re just trying to copy the contours. You’re copying exactly what you’re seeing,
and there’s nothing wrong with that. That’s one way of drawing. It’s a good way of drawing. With hands, I feel like it’s important to
understand the structure to draw them better. And I really think that it would help you
to improve your hand drawings, is to learn how to construct the hands. Rather than just copying what you see, you
reconstruct what’s actually happening there, starting with simple forms, your primary forms,
then adding secondary, and then adding tertiary forms on top, then adding light and all that
stuff. That’s actually gonna also help you to be
able to draw from imagination, because if you are reconstructing what you’re seeing
in your photograph, then you can put it away and reconstruct it again because you know
you can start from a simple thing and then just slowly add complexity to it. It’s a lot easier to do it that way than from
your imagination, just start drawing details and get it all correct. So I’m gonna take this one drawing that you
did, and I’m gonna try to draw it again. But I’m gonna reconstruct it with some simple
forms. This is step one of the construction phase. So instead of drawing all these little squigglies
that you have, a little line, line, little lines like and trying to follow the contours,
instead I’m gonna think about the first form, which is like the palm. It’s a box. It’s not a perfect box. It’s slightly curved on the front, and it’s
got that carpal tunnel curve this way. And then it’s a little… Watch the video to figure out…you know,
to see what the little differences are from a perfect box. But we can think of a boxy form for the palm. So I’m gonna follow the curve of the knuckles
that you have here, like that. That’s a simple plane. Then you have the back of the palm, the plane
that connects to the wrist, and there’s the top plane of the boxy form. And we’re looking at that box slightly from
the side. You know, we’re not looking straight at the
top plane. So we’re gonna see a little bit of the thickness,
like that. We have the thickness of that box. Here you go. And then, you know, you got that little hockey
puck in the back for the wrist that articulates with the arm bones. And then for the thumb, I like that triangle,
right, that little triangle that you extend from the palm box. For the fingers, I’m gonna start by figuring
out the curve. I feel like some of the back fingers are a
little too short, like if they look shorter than that index and the middle is supposed
to be the longest. So that’s not gonna work. So I’m gonna curve it like this with the middle
being the longest, index being a little shorter, so big-picture stuff first. And then, for the index finger, instead of
following the contours, again I’m gonna simplify it into a simple form. In this case, I’m gonna use cylinders for
the segments of the finger, for the fat pads and stuff that are attached to it. So I’m thinking of the cap of the cylinder
right there. And as far as proportions, that first segment
is gonna be about half of that entire finger length. Okay. And I can continue going down, same thing
for the middle finger, segment here, segment here. I’m gonna go through here a little quickly. You could do a little more carefully, but
basically thinking about the cylinders and how they are positioned in space, is it going
away from you, is it going towards you, and how much? And same thing for the thumb, except the thumb
only has, you know, the big triangle and then two more, so cylinder in here, a little wedge. All right. Oh, and then the way it connects to the wrist,
if you remember. There’s a little step up like that to the
wrist, and this helps me keep all of this in perspective because I’m basically just
drawing angles. All right, let’s move this off to the side. You can see I have a simple version of that
hand. The reason this is important is because I
can make changes pretty easily and also I can visualize the light and I can think, “Okay. This is a cylinder. It’s very easy to invent the light on this
cylinder.” And also, when you’re just drawing details,
even if it’s from a photograph, if you have the basic forms figured out, you can design
your shapes, your detailed shapes to show those forms better, and that’s important. You gotta make sure that your detailed shapes
don’t cause your primary forms to just disappear. That happens all the time. People get so caught up with all the little
details that it actually flattens out the drawing. It actually looks less three-dimensional with
all the details than if you just thought of a simple wood carving of the basic forms and
just drew that. That looks more three-dimensional. But if you think about how those details can
help the simple forms, that’ll make a much stronger drawing. And also, this is much easier to invent and
keep all your proportions intact and your rhythms going in the right direction, all
that stuff. This is how I want you to start thinking a
little bit. You know, you wanna do observational drawing
as well to train your eye, but a little bit of this early on in your education will help
you to be able to think in both ways because they are very different ways of thinking. Okay, Apollo, thank you for submitting that. Next one is Li Hao. It’s feeling very robotic because of that
it feels very stiff. You’re not thinking about the gesture of those
simple forms. So, for example, when I think of the thumb,
before I think of like the cylinder and the wedge shape in there, I think of just a motion
of the thumb. That’s the first thing. Then I put the simple structure. So with this thumb, the gesture that I would
need to think about is this, it’s coming up, and you got that tendon. It’s like a little roller coaster, just swoops
right up. That’s the gesture of the top, and actually
right through there, it kind of follows it, if you look at your own thumb shape kind of
like that. And then skin being stretched out in there,
and then this overlaps. You got that overlap correct. So that’s good. Basically have the forms in here, the forms
in here, and then skin stretching between the two pretty tight. So that’s the gesture on top of that. Then you can start building the cylinders,
but you gotta make sure those cylinders are following the gesture. They’re following the curve. Same thing with that pinky, it’s just going
through there really straight, looks very stiff. Here’s a little pattern I usually see with
fingers that are either three-quarter view or side view. I like to find a curve out this way for the
top and then back this way. So it’s like an S-curve gesture going through
the finger, like that. So see how that looks much nicer, got some
flow. It looks more alive. It doesn’t look like a robot. And let me show you how I would take that
gesture and then add structure to it. Just because this is a flowy curve, doesn’t
mean you can’t take that, add a few little elements and make it look 3D all of a sudden,
like watch. I’ll take that same exact gesture that I did. I’ll duplicate it. And then just by adding a little cap at the
end here, a little top plane to that, and then right where that first segment attaches
to the second, I’ll add another little corner, a little side plane, and then swoop through
to the fingernail. I’ll just combine the second and third segments
for now just because sometimes they will flow one through the other. Sometimes you’ll get a corner there. But you know, sometimes you’ll get a finger
where there’s one corner and then just goes through to the fingernail and you just have
two pieces. Sometimes you have three. It just really depends on the pose. So there’s how you can take a nice gesture
line. Just add a few planes to it. And there you go. Now, you have structure, a simple structure
but with a good flow to it. Now, here’s one where you shaded it. I’m actually surprised that you don’t have
the simple forms shaded in very clearly, because you have been constructing with very clear
simple forms. And then when you shaded it, it became mush. You lost those simple forms. And that’s really where those simple forms
would become important to remember. That’s the whole purpose of designing the
simple forms in the first place. So, here, let me show you an amazing drawing
from Russian Academy. So here’s the final drawing that someone did. You could see all these little details and
tendons on the back. You got the knuckles, little skin wrinkles
and the knuckles in here. There’s a lot of details in there, right? But then what I did on top of that is I kind
of just removed those tertiary forms, a little details on the skin, and now I have only the
primary forms and the secondary forms. You can start seeing now the top plane in
here, the side plane in here. Each finger has the top and side. And it becomes very clear what those forms
are. The lighting that he put or she put on there
is really showing off those forms very clearly here. And then I did another step where I took out
the secondary forms, the knuckles and all that stuff. Now it’s just primary forms. It’s only the block of the palm. The blocks of the fingers becomes very clear
what that is. That’s step one. That’s what you think of. Then you add number two, secondary forms,
and then you add tertiary forms. But you could see even with the tertiary forms
on there, you can still feel that blockiness of the palm, the blockiness of the fingers. It’s still there. The details don’t get all mushed together. So if we look back at yours, you see the difference
how you…I can’t feel those simple forms on yours. You know, for example, in here, I can see
that this is a lighter plane and you’re trying to show there’s a top plane. And then it becomes a little darker in here,
but there’s so many shapes within that dark. It’s almost like this is happening, and then
you have this, and then in here you got this form coming out and you got all these little
things. There’s just too many things, which causes
me to lose that corner. Where is that corner from top plane or side
plane? I’m not really sure. Let’s look back again, this one, and I’m just
looking at the secondary forms here. Again, top plane, side plane, and then in
here we got a slightly more complex version where we got top plane, side plane, and then
one more step, like that. But it’s very clear. It’s not mushy. He has very clearly defined edges of where
those steps are changing. So this is the bone corner in here and then
there’s the muscle and fat of the hypothenar eminence, which comes out again. So thank you, Lee, hopefully that helps you
see the whole purpose of why we’re simplifying the forms in the beginning so that once you
add the shading, we can keep that there, not lose it in the details. Next is Hyzalker Lucas. So this one, I wanted to show because it’s
actually a really good example. You’re drawing little details and stuff, but
I can still feel the simple forms. You know, you don’t have to draw a perfect
box in there with every plane in there for me to feel the forms. You can do something like what you did here
where you’re indicating just these two corners, this corner here and then just one little
line going across. And as long as all of those things combine
in the right way to show a box, I’ll feel that box, you know, like let’s say I have
a box. It’s not a box. It’s an elongated rectangular box. There you go. It’s like a segment of a finger. I have, let’s see, one, two, three, four,
five, six, seven, eight, nine lines. I don’t have to draw all nine lines for the
viewer to see that as a box, I could just draw this, this, this and then down, the viewer
can already see, “Oh, yeah, that’s kind of like the back corner of a box.” And then in here, I could attach whatever
I want, but this part of it still feels boxy. That’s what you’re doing with the fingers
here. You’re showing that the back of the finger
is boxy and you’re indicating just one, two, three lines. And then at the front or the bottom is just
soft, cushiony pads. So you don’t need to put boxes there. You can put the little creases of how they
overlap, and I’ll still feel that there’s a box at the top. Okay. And that’s what you’re doing. You’re showing really good example…really
good indications of boxes in the areas where they’re needed and then you’re putting little
details of where you can put details. So this is a good example. A few areas that we did lose a little bit
our structure, I feel like this finger. It’s getting a little skewed, and that’s I
think because that back segment or the middle segment of that finger is like almost hidden,
but it’s just a little bit still visible. You have something like this going on where
that top plane…it’s like almost gone out of view, right, like this. So there’s a finger. Notice how I’m still showing a little bit
of that top plane, but it’s just so skinny because we’re looking like almost right parallel
to that top point. That’s when it becomes kind of tricky. But by showing a little bit of it and showing
the right angles going in there, it actually becomes very three-dimensional because it
looks like it’s coming right at us. So, I feel like, you know, something more
like that with that finger, probably a little longer in the pinky. Actually, shortened it a little too much. That first segment is the longest. But anyway, the whole point is that the middle
segment there is…it’s foreshortened quite a bit, and showing that foreshortening will
help with the depth. Thank you everybody for submitting these. I’m gonna do a part two to these hands. There’s so many. I feel like I needed to break up into two
sections. These were all pretty much…most of these
were inventions. You guys were just drawing from your own hand
or trying to draw surface anatomy on the bones that you did before. The next section will be the assignments that
you guys submitted from the photos, drawings from photos. And that’s gonna be a whole another critique
episode coming up. So, thank you everybody. See you later. Your gonna love the videos in the premium section. You’ll get more drawing demos, extended lessons, printable e-books, and 3D models that you can spin around, study, and draw from any angle. If you don’t want your drawings to look like this, goto proko.com/anatomy.

100 thoughts on “👉What Everyone Gets Wrong Drawing Hands – Critiques👈

  1. You should never be sorry for hanging out with your son, lol. Congrats, A year late, but still Congrats! Keep up the good work, my dude!

  2. Hi thank you for your tips. I have a simple question when i draw a hand in this way, using simple geometric forms how i can eliminate the lines of the skeleton of the hand once i have finish the hand? i have to cancel its with eraser or i have to cover its whit the tones?

  3. During the BushYears, the Smithsonian featured a classic Japanese painting exhibit.n he website was of a geisha using her hand on a fan to cover the lower half of her face. she had a secret stare. The inside SECRET was her fingers were delicate, but a MALE proportion structure,
    I wrote & told them to ask the story about the Artwork & Artist, they changed the website to feature a different artwork.
    On AVERAGE:
    1️⃣ Women’s index finger is longer, compared to ring finger
    2️⃣ on Men’s, it is the ring finger, longer than index

  4. tutorials like these always make it seem so easy, but even when I try to draw the structure of the hand I get confused easily, especially when it's from an angle or curled around something or something

  5. I’ve always wanted to draw good hands but I always fail so that’s why I just stick to things like inanimate objects and places and whatnot

  6. So, fingers are not "1/3, 1/3, 1/3" proportion but "1/2, 1/4, 1/4" instead.
    That explain a lot why they look so wierd on most of my drawings…

    Thanks for the video. ^^

  7. I am so glad I never got the bug for realistic drawings. I do cartooning as a hobby…but I adore these videos. I discovered your channel by surfing…and now I watch them all. Amazing art.

  8. Sorry, Proko, I don't like those simple forms you made for the first one. The tip joints of the index and middle finger should still be completely straight since they are only a little bit contracted. It looks unnatural. I also don't like the simple shapes in general. They seem uncomfortably blocky, they just don't seem real.

  9. Can't show this video to my younger students because of the nudity. Suggest no nudity pictures or drawings for non body drawing tutorials .

  10. Yeah… Apparently that Pinky in 17:50 looks (for me) like it has another bone inserted between the distal and the middle phalanx.

  11. Simple solution to hands , gloves , preferably mittens, cause how do we know the baby Jesus never wore gloves , right ?

  12. Can i request that you show examples from Burne Hogarth? In my opinion he was the best anatomical artist of all time. His book Dynamic Anatomy is mind blowing and he has an entire chapter on hands.

  13. this video blessed my soul. this is the sort of thing that i know i will remember every single time i draw a hand.

  14. You are one of the best lector of drawing here on YT and you have good speech so I understand to you without subtitles. I love your videos. Keep going. It is very helpful for us begginers. 🙂 Btw. drawing hands is horror for me still. More than eye. 😀

  15. You had me hooked until i saw your douchey drawing glove. Sais " I can draw better than you make love" look

  16. Proportion is what the first one did wrong the most. The back of the hand should be at least the lenghth of the middle finger.

  17. When you can't draw hands at all and see those out of your perspective kinda perfect hands and then hear that those aren't correct… kinda died inside a bit

  18. Learning basic anatomy is invaluable with this kind of stuff.
    Also, I think what some people overlook (which you kind of eluded to) is that hands emote, so knowing the action driving the hand shape really gives it meaning and life.

    I’ve seen a lot of technically good and accurate art that only transmits inanimate information like “person wearing stuff and standing in a place while holding a thing” but fails to transmit purpose, mood, or action, and that just results in stiff and lifeless humanoids.

  19. This video is a godsend! I'm trying to make a 4k wallpaper, and while I got all the bodies and faces well done, the hands and feet are killing me!
    Gonna try these techniques as soon as i get back to drawing.

  20. Que perfecto lo que hace.
    Desde Colombia.
    Estoy haciendo cabezas o rostros.
    Ahi estoy haciendo bocetos.
    Pero hay que practicar mucho.

  21. I don’t get the thumb, like when I look at my own hand I just don’t see the ‘triangle’ in the first drawing the end of the thumb comes past the first segment of the index finger which is not true of my hand and as for the triangle my thumb separates from my palm well before my fingers

  22. Video introdution is 0:10 seconds long with just " Proko Hand Critiques Par1 Invented Hands" displayed, and some whistling. It is stuff like this that makes this viedeo almost 20 minuets long.

  23. Why Is Every Letter At The Start Of Each Work in capital? Use capitals for proper nouns. In other words, capitalize the names of people, specific places, and things. For example: We don't capitalize the word "bridge" unless it starts a sentence, but we must capitalize Brooklyn Bridge because it is the name of a specific bridge.

  24. Hi, I enjoy your short introduction tutorials.  I stopped drawing awhile but watching your short films are inspirational.  I am enjoying the hip 3-dimensional tutorials.THANK YOU –kimrola

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