How to draw a hand

The hand is the second performance center (the first is the head) in the sketch of the bust. People's hands have complex structures and diverse forms, and the performance is as difficult as the head. As the saying goes, "it is difficult to draw a hand when drawing a person." When studying the opponent in painting, we should not only study its modeling structure, but also study the relationship between its actions and characters. Because of the long-term cooperation between hand and brain, hand movements can transmit emotional information. Its emotional expression is not as easy to control as facial expression, but a natural expression. This can better explain the important role of hands in expressing characters' personalities. The hand consists of 8 carpal bones, 5 long metacarpals and 14 phalanges closely arranged. The whole hand has 27 bones, 16 joints. The muscles of the hand include adductor pollicis, thumb to palm, flexor pollicis brevis, first interosseous reserve muscle, palmar bone muscle, little finger to palm muscle, abductor digiti minimi muscle, palmar brevis muscle, palmar longus tendon, dorsal interosseous muscle and extensor digitorum communis tendon. There is a great difference between the palm surface and the back of the hand, and the action of fingers is mainly to bend into the palm. The palmar surface of the hand has three parts: thenar, thenar and palmar mound, and the palm is between the three parts. The dorsal metacarpal is a whole with an outer arc, and radial metacarpal bones and obviously distributed blood vessels can be seen on the surface. There are three factors in the decent performance of hands, namely, bones, muscles and wrinkles. These three factors are intertwined, but their respective characteristics are obvious. We should judge them when performing and draw their characteristics in different ways. For example, thin and hard lines can be used to represent bones; thick and soft lines can be used to represent muscles; Wrinkles can be represented by lighter and weaker lines. For the performance of the finger, it should be noted that it is a cylinder, and the structure and texture changes on it should conform to the perspective law of the cylinder. Nails are also part of the hand. Fingernail has a certain radian, and its four sides are connected with fingers in different ways. The inside is buried under the skin, the two sides are embedded in the fingers, and the outside is the cross section of the nail. When painting, you should use different expressions. The wrist performance of the hand is also very important. Eight small bones of the wrist are wrapped in ligaments to form an arch. The unique shape of the wrist is always a "bridge" connecting the palm and forearm. One end of the carpal bone is connected with the radius of the forearm to form a wrist joint. The wrist joint is very flexible, which can make the hand flex, bend sideways and swing. Hand movements are usually triggered by the wrist. If you ignore the subtle changes in your wrist, you will lose the vitality and vitality of your hand. In addition, an obvious feature of the wrist is the styloid process at the lower end of ulna and radius, which combines with the adduction wrists on both sides of the wrist to form two obvious bone points, which is a feature of wrist modeling. People's hands are the same as people's faces, and their personalities are very different, which is caused by age and gender. There are also reasons for professional experience, as well as geographical and ethnic reasons. They are divided into wide and thin, thick and thin in form; There are differences between tension and relaxation, toughness and weakness in action. The hand is the part that needs to be portrayed in the sketch of the bust. Methods of characterization: First, fully express the contrast factors such as modeling, structure, dignity, light and shade, lines and so on. The other is to make it stand out by using the contrast of background. The relationship between the head and the hand, because of their long distance, is usually not the main treatment. In some cases, the performance of the left hand and the right hand should distinguish between primary and secondary relations, for example, the near hand is more specific and the far hand is more rough. In short, in the sketch of bust, the hands and head should be regarded as the rhythm factors in the painting, forming a relationship of mutual echo, contrast, change and unity.