In a drawing of a hand held against a hard, unyielding object, the hand is not the primary concern m the initial stage. This sketch illustrates how the hand must relate convincingly to the structure of the guitar, once its position and design have been established. The hands have a special configuration for playing, and a good reference source such as a photograph or a live model should be used to make sure this is accurate before proceeding with drawing refinements such as form stresses, finger tensions, w rist bends, and fingertip contacts and pressures. Shaded accents and cast shadows are also necessary to let the eye see where one form relates to another or to understand the correct positioning of the arm or fingers over the guitar. This drawing b not a finished one. If you feel the need to sketch in more tones or accents, do so.
The hands of a woman playing chess and pondering a move while smoking a cigarette present a challenging array of possibilities, contrasts, and form contrapositions. The crossed-over hand toying with a chcv> piece lets both hamls create a provocative gesture. The right arm and hand support from below . The reverse direction of the cigarette sends the design flow back to the chess-playing hand. Note that the kinds of open-ended variations shown here are quite different from the constraints demanded by drawing hands playing a guitar.
There is a great difference between drawing a familiar and an unfamiliar hand behavior. The two drawings here are good examples of this contrast. In the sketch showing the unfamiliar procedure of a sailor splicing rope, all aspects must be clearly expressed. Typical of this kind of drawing are illustrations or schematics found in texts or encyclopedias where priority is given to procedures - On the other hand, the commonplace act of pipe smoking is so well known (hat the old person's hand at right could have been done in a dozen ways from different perspectives and still have been easily understood visually.
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