Monthly Archives: October 2015

Hand Drawing Tutorial: Thumbs Ruin Everything!

hand_tutorial_1_Suzanne_Forbes_2015You know they do. If human hands were like kitty hands, they’d be easy to draw.

But instead, human hands have a renegade element, a fly in the ointment, a crazy uncle who makes everything complicated. You know why thumbs ruin everything?

 

Because they operate on an entirely different plane of existence than fingers.

hand tutorial Suzanne Forbes 2015Or at least, they move through a different spatial plane, at a right angle to your fingers.

Let’s look at the basic structure of the hand, then examine this whole spatial plane problem. First, of all, hands (like feet) are wedges. They are not flat.

Why are hands wedges? Partly because the heel of your hand is a thick, muscular body part, with significant bone mass. And partly, because of thumbs.hand tutorial Suzanne Forbes 2015

hand tutorial Suzanne Forbes 2015Your thumb lives downstairs from your hand and fingers, maybe in the janitor’s apartment.

LadyHats public domain imageAnd it’s not just living in a different apartment. Because of opposability, the thumb is anatomically different from the fingers in important ways.

(As you can see in this helpful public domain image I got from wikipedia, verified by my own personal knowledge, thanks to Minerva Durham my incredible anatomy teacher at Parsons!)

The thumb is missing one phalange, the intermediate phalange.

hand tutorial Suzanne Forbes 2015

 

It might be more helpful, however, to think of the thumb as attaching to your hand in a different place than the fingers.

Your thumb and fingers have the same amount of knuckles, three, but the third knuckle of your thumb attaches to the base or heel of your hand instead of at the top of the palm!

It’s like we’re creepy mutants or something.

hand tutorial Suzanne Forbes 2015Your fingers splay out from the top of your palm in a group; your thumb projects from the bottom, on a much larger axis of rotation.

Your thumb rotates from the crazy midden heap of your carpal bones, where things are much more dynamic than at the top of your palm.

hand_tutorial_4_Suzanne_Forbes_2015So your fingers travel in a pack, while your thumb has its own adventures. A good way to understand this is to draw broad arrows on your fingernails, as shown in the drawings, and observe the difference in the way your thumb points for a few days.

A great way to understand the limited rotational arc of the fingers is to visualise a pack of french fries.

Seeing the hand as a wedge is also important for understanding how the hand attaches to the wrist.

Wrist drawing by Suzanne Forbes 2015Basically you have a wedge of meat and bone, your hand, pivoting on the junk pile of carpal bones, which are cupped into the ends of your radius and ulna. Your hand doesn’t join your wrist- it pivots on a ball of bones which attaches to your wrist. BJD dolls provide a fabulous reference for this. If you want to draw some awesome wrists, get yourself a BJD doll arm and practise drawing it from every possible angle.

Of course, the best way to draw great hands is to draw bad hands for as long as it takes.

At Parsons I was notorious for choosing the cruelest, harshest, most obsessive teachers and doing whatever awful things they demanded with glee. One of my favorite teachers insisted we spend two entire weeks drawing nothing but hands, and then two weeks doing nothing but feet. I was thrilled, and everyone else was miserable.

feetI drew hands at home at night, on the subway; I studied my hands obsessively and read my books on how to draw hands for hours.

I wanted the confidence and power of being able to draw hands as accurately as I drew figures, so that I would never be limited in the poses I could draw.

It was really, really hard, and it was worth it. I can’t recommend it enough, taking the time to learn to draw hands really well.

And once you can draw hands, feet are no big deal!drawing detail Suzanne FOrbes 2008detail, Suzanne Forbes 2008

Suzanne Forbes drawing 2007
Zombies Are Coming, One Bullet Left. Suzanne Forbes 2006

Crazy 10am Mantis-Kitty Party in West Berlin!

I finally finished the jeweled mantis. Whew!

I am most delighted. Here you can also preview the drowningly deep teal, the color of Homer’s wine-dark sea, that I have painted the atelier. The room is so big it echoes.

Mantis sculptures by Suzanne Forbes 2015To the left of the jeweled mantis is another mantis, an experiment that failed. The thing I love most about the jeweled mantis is that you can see the scribbly wire armature through the gauzy layers of organza, paper and thread. So…

I have a long-standing obsession with translucent/transparent resins and plastics and I thought maybe I could do something similar with Translucent Fimo.

I made another armature of green florist’s wire and covered it with translucent FImo, as in actually the brand Fimo. In Germany you can get one or two brands or something, not fifty, and of course Fimo is a German company.

In the US I had used translucent Sculpey, which I’d had good results from. (This pin on my Sculpting Tips board explains all the different translucent clays amazingly.) I put the mantis in the toaster oven, since we haven’t had money to get our oven hooked up yet.

Probably it was ill-advised to put painted wire in the toaster oven, but I put liquid LSD in my eyeballs when I was fourteen, so I’m a little cavalier about toxins.

Mantis by Suzanne Forbes 2015Sadly, the Fimo developed “plaques”, just as predicted on the wonderful Blue Bottle Tree. I went to the art store (two minutes’ walk to the U, a two-minute one-stop ride, there’s an entrance to Idee in the U-Bahn station) and bought some translucent green Fimo, and put a coat over the white.

Upon rebaking, it was clear I wasn’t going to get the result I wanted. Which is ok! Because I have another project that requires a posable mantis with a wire armature, a gold mantis, so I’ll just paint that little lady once I finish the sculpt.

Meanwhile, this shot in our kitchen kinda shows the jeweled mantis’ terrifying eyes, which have a luminous focal point that moves with your gaze.

This is because of a subsurface specularity in the beads I used. I learned about subsurface specularity and scattering when I worked in digital effects, and it’s remained an important concept to me when talking about painting human skin. It’s sort of related to my translucency obsession with materials.

In the last picture you can see Viviane is so over this mantis shit and has tipped out to Berghain to dance to techno.

I hope you like my creepy things!