Name: 與史蒂夫-休斯頓一起畫手 (Drawing Hands with Steve Huston)
Uploaded: 2021-01-14T07:52:04.000Z
Duration: 26 min 32 s
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I'm using a fountain pen with sepia brown
ink, it's really a brown ink, and a fine nib,

This is a Waterman Paris and it's what I do
in a lot of my sketch books.

Generally, whatever I'm drawing, I'm dealing
with the parts as a joint to joint proposition.

Here's the heel, kind of karate chop area
of the hand.

And so what I'm looking for are these jointed
connections, and we'll notice here with this

hand, in this position it's really easy to
see that you've got this series of planes

and each one at the knuckle joints is going
in a different direction and then the wrist

And it goes on and in those fingers is of
interest to us.

And we want to make sure even in a subtler
pose, as we'll do in our next drawing, we

want to pick up those major plane differences
in some way.

Maybe not every single one of them, but most
of them and certainly, back of the hand to

wrist and then back of the hand or palm area
to the fingers.

You want to show those two major transitions,
those two major corners.

Corners give you a sense of the real and so
the more we can show how things break in space.

So I'm sketching, and even in a finished painting,
I'll just correct.

I might correct that three or four times and
who cares?

But like I say, even in my finished painting,
I'll want to do that.

Now, fact is, we're slightly underneath this
wrist and so when I pick up the fleshy folds

where the palm and the thinner elements over
here, the karate chop area there.

As we make that transition down here, I want
to feel that underneath-ness.

And that means whatever detail I pick up,
at the center, that detail will tend to be

higher and at the sides it will tend to be
lower and we'll feel that.

So if I can find that information, not on
the contour, but moving...

So not down the form but moving over the form,
then I'm going to feel in my drawing a certain

and actually, a great deal of three dimensional
truth to it.

So I'm always looking for how to move the
eye over the form, so when I pick up this,

I'm really looking at that as a simplified
shadow shape of what's going on there.

That shadow shape is also a corner that moves
me over, so notice I can move over the form

like a box, over the form like a ball or cylinder.

Then if I take that back of the hand or palm
of the hand and break it this way, that's

going to tend to make us feel like we're on
top of the wrist with that hand.

I want to feel like we're underneath, that
it's going this way.

And so I'm going to play up this overlap here,
put the hand behind the wrist, and that's

going to make a big impression on our audience.

Now, it's all about consistency, having kind
of a game plan and being consistent.

And so, in my world, in this case, every time
the form turns down or to the right, it gets

So this little area turned down and to the
right and it got darker.

This went down and to the right, it gets darker.

And as long as I'm consistent with that, I
can have quite a bit of liberty with how I

design those, what I leave in, what I leave
out, as long as I consistently show that truth

I could even have a little notation here so
when I do my big, massive mural on the side

of Rockefeller Center, I'm going to have that
hand drop off in value and fade away.

And I particularly love pin and egg because
you've got a crosshatch, which means you have

to use line to suggest tone, to suggest value.

And that's an interesting idea is that since
I'm the draftsman more than the painter, I

love line and so I sneak in that idea and
I understand the painting truth through the

And so I like to pick up those little light
is.

And it's quite all right if the hatching goes
off into the environment.

It might suggest that I'm going to set that
into a middle value dark environment, that

And even how thing's are left unfinished can
be a suggestion on how I vignette out.

So I'm always trying to picture make, trying
to create something that even though it's

just a sketch, it's potentially a piece that
will deserve a painted reality.

And the shadows are shapes, they're designs
that I can exploit and make beautiful or challenging

I'll have hatches where I'm testing my brush
with oil or my pen with ink to make sure that

it's still making the mark I want it to make.

It's not drawing out or globbing up or something
like that.

I'll just do a few here just to make a point.

So when I do highlights, they're going to
be on the corners and then they're also going

How do I get off the palm and into the wrist?

Here I'm going to have a little fun dance
to get down over those wrinkles.

It might show up, fade out, show up again
as it bumps over those guys.

Maybe the highlight here is hot and here it's
less hot and it fades out or something like

Okay, so what the hand in particular creates
opportunities and problems, but this is true

It's a pretty consistent set of truths on
how this stuff is...

This information is collected and put together
and its functionality.

The joints work in certain ways, the muscles
work in certain ways.

They're either contracting or they're not.

You're either fighting gravity or giving into
gravity.

It's passive and active, that kind of thing.

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與史蒂夫-休斯頓一起畫手 (Drawing Hands with Steve Huston)

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