Again, the two drawings here arc a contrast—this time between the restrictions imposed by an object in the hands and complete freedom. In the drawing at right, the violin restricts hand position and behavior to its configurations. This would also lie true for behavior or maneuvers where machines or implements arc used. By contrast, the sketch at left is free and playful, and subject to numerous interpretations. Drawing this form allows the imagination free rein and is much less demanding than the one at right.
There is really no point at which the study of the hand ought to stop. Its complexity and challenge offer many more vital possibilities for exploration and experiment than have been covered in these pages. The drawing here, showing hands emerging in augmented perspective, summarizes the principles discussed throughout this book—contraposed masses, foreshortening, hands in action, hands working at an occupation, forms and structure, stress points, and many more. From here on, the discoveries are yours.
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