Vilppu Drawing Hands And Feet Glenn V.Vilppu A Joint Publication by Vilppu Studio Press and Vilppu LLC
veyow. Drawing Hands and Feet Table of Contents Introduction i Part One: Hands Chapter 1： Gesture 1 Chapter 2： Proportions 2 Chapter 3： Basic Anatomy and Construction 4 Chapter 4： Step-by-Step Demonstration 13 Chapter 5： Construction Examples and Gallery 21 具有版權的資料 Part Two: Feet Chapter 1： Proportions and Gesture 31 Chapter 2： Basic Anatomy 33 Chapter 3： Step-by-Step Demonstrations 36 Chapter 4. Construction Examples and Gallery 47 Chapter 5： Suggestions and Tips 63
Introduction Hands and feet are subjects that tive in the 15th century just as it is seem to continually give artists, in three dimensional computer professionals as well as students,a construction today.Construction great deal of difficulty.There are itself is only part of the process. many good books on anatomy,but Hands are one of the strongest ele- few actually give much instruction ments of expression in humans, on how to draw.It seems a basic and as such,the gesture of the truism,for anatomy books,that the hands is a vital part of the draw- one thing you are looking for is ing.The gesture,what the hands not there.We all end up with a are doing,is the first consideration bookcase full of anatomy books. in drawing them.Once we give the Hopefully this small book will fill hands and feet gestures that fit the some of the gaps,if not in anat- subiect.we focus on how to draw omy,in drawing.In this volume,I them.The analysis takes many am presenting procedures and forms,the essential approach be 版的资 methods of drawing hands and feet ing from the general to the spe- that go back to the 15th century. cific.Most difficulties arise when The two main parts of drawing we attempt to go into the details anything is having an approach to before having a solid foundation to analyze the subject and knowledge apply them to.Hands and feet are about the subject.In the drawings particularly difficult because of the of Albert Durer,Hans Holbein. complexity of the forms to start and Luca Cambiaso,done in the with,and the variety of shapes, 15th century,we see the same combinations and gestures they methods of construction that are take.The natural tendency to fo- used today by fine artists,illustra- cus on the details ends up making tors,traditional animators and them even more difficult,which computer artists to construct com- often leads to overworking.The plicated forms.Simplifying forms end result is that they become using boxes became a necessity even more conspicuous.The abil- with the development of perspec- ity to simplify comes not only Page i
from reducing the drawing to sim- ple forms.An understanding of the basic structure gives authority to the form in simplification.In both the hands and feet,the bony structure is the primary source of construction and dictates the form that the simplification takes.The understanding of the basic anat- omy of the hands and feet is a ne cessity,and as such plays a vital role in this book.The basic layout of the book is designed to go along with the steps that we go through in doing a drawing.First the ges- ture,then construction,and ending with the rendering of the form.I will at the same time introduce the anatomical analysis that is the ba- sis for the drawing.Use this book as a textbook and guide to your studies.In the examples there are many drawings that show clearly the steps that I go through from gesture,to box forms,to anatomy to rendered surfaces. Page ii
Drawing Hands and Feet Part One:Hands Chapter One:Gesture In drawing the gesture of a hand,start with the arm and wrist.These lines should have the same basic freedom in approach that you use in drawing the rest of the figure.These drawings look sim- ple,but in reality this is the most difficult stage in the drawing and the most criti- cal,since everything else follows from this first step. Take some time to look at the drawings of hands by the old masters and in par- ticular the quick preliminary sketches done from imagination,without models. Draw your own hands using a mirror to get a variety of angles.Don't spend more than a minute on each one.Force your- self to put down your impressions of what the hands are doing. Page 1
Drawing Hands and Feet Chapter Two:Proportions As different as hands seem,they all have similar proportions.The biggest differ- ence in hands is in the thickness of fin- gers and palms.The general proportions do not vary that much with the exception of small children that are still growing and in general stretching out.Try to de- velop a standard hand that you can draw from imagination,a prototype that you then modify to suit your subject.The proportion of the hand in scale to the rest of the figure becomes an expressive ele- ment.The large hands of a rough heavy worker,to the delicate hands of a lady, to pudgy,gnarled or cute hands of a child can be imagined by the adjectives we use to describe them. In this photograph,notice that the half- way point between the arm bones of the lower and the tip of the middle finger is the joint between the metacarpal and phalange bones.Also notice that the joints are not in a straight line but corre- spond to the ends of the fingers with the middle finger being the longest.The wrist is the same width as the middle three fingers,as indicated by the lines. 1.Carpal bones (wrist) 2.Metacarpal bones (palm)top of hand 3.Phalanges(fingers) Page 2
Drawing Hands and Feet The top of the hand is not normally a flat line,but slopes away from the middle fin- ger to either side,as shown in the photo. Notice that the flat of the thumb does not line up with the rest of the fingers. In looking at the profile of the hand you will notice that it is larger than the top of the hand.The muscles must go past the joint to have any leverage.If you put a pencil between your fingers,you will no- tice that the palm(A)actually comes to about half way between the first 2 joints. (B and C)of the fingers.Many students confuse the end of the palm with the point where the fingers actually bend. Bend your own hand to see where the 有版的黄刊 folds are. Each section of bone in your fingers get progressively shorter in a ratio of 3:2. Look at the diagram below.The length of the metacarpal bone to the phalanges is 3 units.The next section is two units of the previous one.Each section is shorter than the previous by one unit. Page3
Vippw Drawing Hands and Feet Chapter Three:Basic Anatomy and Construction As I draw,I am actually always focused 1.Abductor pollicis muscle upon the anatomy.The drawing is a pro 2.Dorsal interoseous muscles gression,starting with the gesture through 3.Abductor digiti minimi muscle construction,but always in relation to the 4.Extensors tendons of the hand anatomy.In the following drawings and 5.Abductor pollicis brevis diagrams you will see that there is really no separation.As you develop your un- derstanding and skill you will essentially use all of the elements at the same time emphasizing one or the other as needed In illustration *A*above I have indicated the abductor pollicis muscle that originates on the underside of the middle metacarpal bone as it attaches to the thumb.The first dorsal interos- seous muscle between the thumb and index fin- ger crosses over as shown in illustration *B*. In illustration *C*I have show a general plan of the extensor tendons of the hand.In moving the fingers of your own hand you should be able to see the large tendons as they pull over the joints when you move your fingers. Page4
Drawing Hands and Feet Look at hand *D*and try to see how the tendons come to the surface.Notice that the tendons are not always in the center of the joint.In hand *E*I have started to indicate the simplified construction.A fundamental understanding of the anatomy is important but it must be combined with an understanding of the basic 3D construction E Page5
Drawing Hands and Feet The construction is derived from the anatomy.The knuckles are formed by the joints between ends of the metacarpals and the tops of the first phalanges.The meta- carpal bone has very distinct corners with a ball joint to the finger.The top of the bones tend to be flat.This is the basis for using the box form for the fingers.The tendon rides between the corners of the box with the muscles,as shown,coming down the sides.In profile you can see that the bones are actually arches.The fingers are composed primarily of bone,tendon and fat. 2 1.Ulna D.Capitate 2.Radius E.Lunate 3.Carpo bones F.Triquetral A.Trapezium G.Hamate B.Scapoid 4.Metacarpal C.Trapezoid 5. Phalanges Page6