Drawing Hands in Perspective – Hand Bone Critiques


Hey, everybody. Welcome to another critique episode. Today, we’re gonna be doing hand bones. It’s a very tough lesson, lots of really complicated
shapes in the phalanges. But you guys actually did a very good job. I was impressed with the quality of your assignments
this time, so awesome. Thank you for submitting really good work. So actually, if you haven’t watched that lesson,
pause this video, go back, watch that lesson because it’s gonna be really confusing if
you’re not familiar with the simplified hand bone forms. Okay, so I hope you guys are as excited about
moving on to muscles as I am. The arm muscles are really fun. Complicated, it gets really hard in the forearms
but really fun once you get the hang of it and once you learn the tricks to get it under
control. It becomes a lot easier. So, all right. Let’s finish off these hand bones so that
we can move on to muscles. Okay, Felix, good work. So my suggestion is to start with, well, first
of all start with gesture as you’re doing. And then when you’re doing the phalanges,
draw the box. Okay. So, for example, let’s say this little guy
right in here, the phalange, the whole phalanx, looks skewed. Looks like the perspective kinda it wasn’t
worked out. It was drawn free hand really quickly. What I would suggest is to draw the box first
and that will help you keep its proportions correct, the thicknesses, and the angles. So, let’s see. We are seeing quite a bit of that side plane. Okay, so it’s gonna be something like that. We know that it’s gonna be about that thick
and we’re seeing very little of that top plane. And there’s the flat plane, and there you
go. Okay, so there’s the box. So we know that that cylinder and that little
bridge shape needs to fit in there. Okay. So, let’s put the cylinder in here, right
on that end. You got the cap and there’s the cylinder. We know the other end is more less of a box,
and then the bridge between the two. And there you go, see how it just fits right
into that box. By keeping things under control like that,
the end result is gonna be much better, and not so skewed everywhere. I think you’re maybe moving too fast without
thinking about it. Yingbo, okay. So I could see, you’re starting to get perspective
down. You’re starting to think about it, good job. I would say your forms are still a little
bit too wobbly, a little bit scratchy in the dexterity in your line quality. I don’t know, maybe you’re unsure of your
lines so you’re putting down multiple lines. Draw from the shoulder, stay patient, stay
clean. And then like in here, these digits, I don’t
think you were really thinking about boxes. I think you are maybe looking at the 3D model
and you saw those complex forms and you’re were trying to draw them but simplify them
a little bit. But I would simplify them even more. Think about that box first, I mean that’s
as simple as you can go is getting it to a box. Because what you’re doing is you’re trying
to like take a box and like mold it into the complex shape that you are drawing, but that’s
not gonna really help you. Think of those digits first. So like, you know, the foreshortening of that
first phalanx looks weird because you don’t really have the foreshortening figured out. So let’s say I was drawing that first phalanx,
that front plane is really pointing at us, maybe slightly downward actually. And then you got the… Hold on a second, not that much, readjust. See all of these adjustments I’m making, they’re
a lot easier to do if I’m drawing a box instead of a complex form. Okay, there’s my very, very foreshortened
box of the first phalanx. And now I just extend from there, I’ll extend
another one, another box. And I could think about the length because
all I’m drawing is just a plane, it’s a rectangle. And this one is pointing down more, so I’m
not gonna see as much of the front plane as I did on the other one. So let’s see, how that front plane much thinner,
much narrower. Okay. And then the next one is pointing down even
more so I’m probably not even gonna see, I’ll definitely not gonna see the end cap. It’s pointing away from us at this point like
so. Maybe just a little bit thicker, when these
forms are so narrow it’s a little bit tougher to get the perspective right. Just a millimeter off and it looks too thin. That’s why I was saying sometimes, you know,
draw bigger because when I’m seeing sloppy perspective sometimes it’s just because you
don’t have enough room to really make precise lines. Okay, so there you go. My phalanx because I could tell that one is
going forward, then one is curving down, and then one is curving straight down. And from there it would be much easier to
then put those cylinder shapes of the joints, hooked shapes are on those, the bridge, all
that sort of stuff. Because the hard part, those angles of the
perspective, I’ve already figured that out. And then I just put the little forms based
on that. And with that I’m gonna end it, so thank you
guys for submitting your assignments. As always, I had a great time critiquing you. Thanks for being brave and submitting your
work for everybody to see and for me to tear it all apart. So all right, guys. I’ll see you next time. What’s better than Proko videos? Premium Proko videos! If you want to see more critiques go to proko.com/anatomy
I have several more critiques for all the anatomy lessons, which review common mistakes
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