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Finger Drawing Mistakes You’re Making – Hand Critiques

Finger Drawing Mistakes You’re Making – Hand Critiques

All right, guys, welcome back to the “Hand
Critiques.” This is part two. And your watching the free version of the
critique session. In this one I’m gonna focus on one problem,
which was designing fingers. I felt like you guys could make your fingers
look a little bit better. So I’m gonna talk a little bit about a few
tips, on designing fingers. If you wanna watch the full premium version,
go to And you’ll see all the critiques, for everybody
that I did. Ok, let’s do it. So let’s talk a little bit about finger design. In this case, like let’s just take a look
at the pinkie. What I’m noticing you’re doing is a lot of
the same curve over and over again for the fat pads at the bottom. So you got one, two, three curves. I mean, you got the same thing going on all
the other fingers, just the same curve over and over again. I wanna see a little more variety, and I want
you to put curves in when you feel like the curves will help the gesture of that part
of the finger, and put more straights where you think it’ll help the gesture. You know, a straight would be better or an
S-curve and how much of C-curve is gonna be there. For first of all, variety and second, you
know, try to find a gestural flow through the whole finger. You kind of have one on the back, I kind of
see like a subtle S-curve. So that’s good. But then you don’t really follow that same
gesture on the front, and you should a little bit. So let’s redraw that finger. So I have kind of an S-curve and then I exaggerate
that a little bit, actually. I kind of like how this swoops back this way
at the tip of the finger. And I’m showing knuckles, knuckle indications
over here. But overall, it is kind of an S-curve shape. Okay. So, tip of the finger. And I’m not gonna start with those three curves
of the different segments. I’m gonna start with the gesture. So that’s the flow I want the pinkie to go
in. Now, I can add curves depending on where I
wanna show more bend. I feel like this first segment has the most
bend. You know, if I put this crease in, I’m gonna
show a pretty strong crease, maybe even a combination of two lines. You don’t have to. I mean, that’s just a choice, but maybe I’ll
do that with this one. And then curve here, showing a little bit
of a pinch. Then in the middle segment, I’m gonna do more
of a straight. And then in the last one, it’s more of a swoop
back this way to a point on the finger. And the crease in this area between the second
and third segment, I’m not gonna put as deep of a crease because, you know, this finger
is bending or this segment is bending back. You know, it’s not pinching as much as the
second segments are. So I’m gonna still add that little crease,
but I’m gonna put it real subtle like that. So now I’m showing more tension and action
in this area, less in this area, and I have variety in my contour, curve, straight, and
then swoop back this way. So the swoop in here is a different shape
than this one here. And then also I have gesture in the back. So overall, just a much more interesting shape,
much more dynamic shape. There’s more variety. I’m not, you know, falling for that snowman
trap where, you know…you guys know the snowman effect. You don’t do that. Now, I don’t think you are doing that. You are adding some good variety on the back
plane, but you kind of have half of a snowman effect where you have that same shape over
and over again on the fat pad. Okay, let’s take a look at one more of your
drawings. So with this one, I have a side-by-side comparison. Left one is yours. The right one is my example. This was just, I think, the quickest way for
me to really point out the key differences that I want you to start thinking about. So you have details in yours, right? You have crease, crease, crease, crease, crease. You have these little wrinkles in here. You know, you’re starting to throw in all
of these little details throughout the surface of the skin. I have them too. I probably actually have more details, but
those details that I’m putting in don’t hide the main structure. For example, look right in here. You can feel very obvious a very obvious box
or a side plane right there online. Even with all the little creases going across
it, I still have a very obvious core shadow that you can see the direction. Yours is a lot more broken up. So let me erase my lines just so you can actually
see the drawing. I started with that line going across the
side plane and then I broke it up with some creases, and you can still see that side plane. The other thing is that your creases, like
on the fingers, they don’t show either the gesture or the structure. They’re just flats, just divisions of the
segments, like if you look at this pinkie again. What you drew is more like you maybe started
with a flat outline and then you divided it like that into these segments. What I’m thinking about is first kind of this. You know, the same thing as you. It’s just kind of an overall shape, but I’m
thinking of exaggerating the gesture a little more. There’s that pinkie shape, the gesture of
the pinkie shape. And now, when I add the divisions of those
creases, I’m gonna think of the volumes and how they overlap. So the overlap of the creases or the overlap
of these different segments on the contour is more important than the crease itself. So right there, you see that overlap? This part overlaps this part. And then in the middle, it gets much lighter. Even in here, if you look at mine, it almost
disappears. I mean, you can see some tone in there, but
it’s not a sharp line like what you did on yours, very sharp crease. Mine kind of softens out, gets much lighter,
and then you can kind of see a little bit darker in there as it creases. It’s a lot more obvious actually in the second
segment where I have overlap here, gets a little lighter and softer, and then again
overlap here. Okay, so started with the gesture, figuring
out my flow, and then going in and getting in the overlaps between those creases, because
this finger is coming at us. And you have to show that there’s depth. One really good way of showing depth is overlap. We have three segments. So, okay, the first segment, one that’s closer
to us has to be in front of the second one, the second one has to be in front of the third
one. So the best way to show that is with these
little overlaps on the side. The stuff in the middle, the creases of the
skin, the ones that are permanent, those can be much lighter. They don’t really show the motion very well. If I go real deep in there and I put that
in, that flattens it out. You know, the finger is not bending. I’ll do it with the one without the glove. If I bend my pinkie, then these creases become
folds and they become much deeper, and then that actually does show the gesture. But when it’s straight like that, putting
creases in here doesn’t help to show anything about the motion of that pinkie. Okay. So this is flat, whereas this is three-dimensional,
and at the same time, it’s dynamic. Those are like two competing things. You have more motion and more structure when
you do it this way. And in here, you have less motion and less
structure. Another little area on this hand to point
out that same concept where I’m thinking about the motion of the hand and I’m designing the
folds to show that motion is in this area here. Notice, on yours you have, you know, a few
little creases here and there. They’re just really small spots. Whereas, on mine, I’m showing this this motion
how the pinkie is pulling the skin away from the ring and middle finger, and it’s kind
of stretching between those fingers. So I mean, erase that so you can see it again
there. You can feel that skin stretching, and that’s
exactly what’s happening the pinkie’s pulling the skin. And then in here, it’s pinching in this area,
because the pinkie is getting closer to the side plane of the palm, and the skin in between
those is actually getting closer together, and it’s creating that pinch. So stretch here. Pinch here. I’m always thinking of that. I mean, these are concepts we learn in the
figure drawing class with the bean, right? One side stretches, the other side pinches. This applies to everything. Okay. So that’s it for Nicolas. Let’s move on. Okay. These are for Neville Harvey, pretty good,
actually. You’re getting closer. You’re thinking about the way the skin is
folding. You’re adding variety to finger, pads, and
all that. I guess just a few subtle things here and
there, like the creases that you’re putting in here, a little messy. The way you design all the creases and the
shadows on the side of that thumb could be way better. It could be much more cleaner. You’ve lost the side planes, the front plane. You know, you lost the corners of the planes,
because you have so many creases in that. Let me bring in my example, there. So if you look at how many creases I put in
my thumb, and then how many you did in yours, you could feel how…I still have kind of
the important ones, like right in here, right where, you know, the segments are pinching. I have that real big crease and then right
under that, I have another one and then they kind of soften out as they go down from there,
and then everything above and below that is just to show the corner of the side plane
and top or back plane. And then I also show the creases in here. You know, that’s not a core shadow. So that’s different. But see how much cleaner it is. You know, my core shadow is like this with,
you know, thick, thick, and then kind of soft in there or sharp in there. Yours is really chaotic and you got a lot
of stuff in there, like something like that. And I can’t feel those forms very well. Okay. So next up is Nick Valente. I wanted to show yours because it’s another
thing about finger design. And in this case, it’s more of…it’s not
the snowman effect where you’re showing too many curves. In this case, you have the sausage effect. It just kind of looks like, I don’t know,
like a hot dog. You don’t have too many repeating shapes,
but you just have one boring shape. And it’s repeating shapes of the fingers themselves
rather than repeating shapes within the fingers, right. Each finger is that same sausage shape. It’s the same problem, really. You just have repeating shapes, no variety. But it’s different shapes that you’re repeating. You’re repeating the same shape for each finger
and you also just kind of add in these creases. They’re not overlaps. They’re just lines on top of the form. Yeah, you’re kind of just adding lines. That doesn’t really help to show anything. So same on this hand in here. That’s a sausage, sausage, sausage, sausage. Remember that design that I talked about. So if I was to draw this ring finger, I would
start with the back, a little curved and then a little less curved. The first segment has more of a curve, and
the second segment is straight. And then the third segment, it tapers to a
point. There you go. And then make sure you show the overlaps in
here, maybe a little bit in here for an overlap. There’s more pinch in here. So I’m gonna make that overlap a little deeper. I might be going too far with that. Anyway, this shows a little bit more gesture. It’s not a simple sausage shape. There’s a little more variety to all the contour
shapes. So sausage, no, gesture, yes. This one is from Jaclyn Quijano. I wanna start by saying thank you for providing
your photo reference. You didn’t work from any of the ones I provided,
which is fine. But as long as you provide the reference,
you know, it looks like it’s your own hand. So take a picture. Show us what you’re drawing from so that we
can help you better. It’s a lot easier for us to see, you know,
where you went wrong. And this is another finger design issue. So, remember that snowman I was talking about? There it is. You even have it on the back edge, which is
bonier. You can’t really see it. You’re not looking straight at the palm. It’s kind of turning and you’re starting to
see a little bit of the back edge of the finger. So you’re gonna see some joint information. So that’s a great place to take away that
snowman effect, same thing on the thumb. I mean, in here, I’m seeing a nice swoop back
and then a little bit of joint information. I’m not seeing snowman bumps. You have two of them right in there. You even kind of added one at the base in
there. So, really, be careful about that snowman. Let me redraw your thumb. So as I was saying, at the base or in here,
I’m seeing a nice swoop backward, a little joint in here, tapers to a nice point and
then this last piece very much like that, you know, remember the dog had of the thumb. So there it is. The dog head swoop at the bottom. And then I’m gonna straighten this part out
a little bit. I made a little too thin, though. So let’s bring it back out. There you go. And I’m straightening out just for variety. I do see a little curve in there, but I don’t
think that that curve will add anything to it. I feel like adding the variety is a little
bit better here, another knuckle back here, a little more roundness for the thinner eminence
and actually bring it in. The way your hand locks into the wrist, I
feel like it’s a little bit too…the wrist is too high. So I’m gonna bring that wrist down, a little
swoop in here. Yeah, yeah, there’s a… The tendon from the thumb creates a nice curve
in here. And then down here, I’m gonna have a less
of a pinch. Oh, I totally forgot to look at your hand. Yeah, you have more of a swoop in here but
a more obvious step down. In here, I feel like it’s a little more subtle,
but there is an overlap, but there’s not as much of a plane change. It feels more like a straight line. This one is obviously more of a step. So the wrist needs to lower. But there is still an overlap in here, something
more like that, a more subtle overlap, but there is one. So there you go. That’s how I would lock that in, maybe overall
actually. The wrist needs to be bigger, fingers too
skinny. You just need to add a little more bulk to
it. You’ve lengthened it a little too much. Okay. But anyway, the whole point here was to show
designing the thumb, adding shapes in there that are not just snowman shapes. Think more the gesture, think about, “Is this
a tendon that’s curving backwards? Is this a joint? Is it bone or is it a fat pad?” If it’s a fat pad at the bottom, how can I
design the fat pads to have a little more variety? Okay. That’s the basic concept there. All right. Thank you, Jaclyn. Thank you everybody who participated in the
discussions, who submitted their assignment. It really does help for all of you guys to
learn if you guys are talking to each other about it and sharing your work and trying
to help others fix their problems. So, yeah, keep doing that, keep posting in
the groups. And if your watching the free version on Youtube,
there is an extended premium version of this critique. And actually most lessons have extended versions,
along with e-books, and 3D models, and a bunch of premium stuff. If you interested in getting more serious
with your anatomy, go to Thank you guys, Bye.

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63 thoughts on “Finger Drawing Mistakes You’re Making – Hand Critiques

  1. Добрый день,
    ваш канал, один из самых лучших и интересных. Мы можете делать русские субтитры?

  2. Wow, on the 1st one I can't even get my pinky to bend like that. I get that it looks more appealing (or dynamic), but the original was truthfully more accurate.

  3. Very nice video, I learned much from it
    BUT I think that those people, especially the last one (that thumb) was much fatter than in your re-draw, I would like to see some fatter hands from you 🙂
    because peole start thinking fat and THAT makes them draw the snowman effect, I find it very difficult myself and always mess up


  5. I think you misunderstood the original orientation of the hand model in 4:43. In yours the hand is fully extended with a straight wrist whereas the original has the hand slightly cupped with wrist also slightly extended out.

  6. Nice channel with great overview over anatomy drawing. But the correction on the pinky finger on the first draw counters the nature of anatomy, the advice looks almost anime type, the finger will never naturaly bend like that, only if in pressure. The original was actualy more ocurate even if not completly correct.

  7. I wanna share a little tip that has helped me when working with references: make it black and white.
    If you only need to see the shapes and shadows it is easier to see and copy those when the colour is not distracting from the shading.

  8. Stan а ти пам'ятаєш українську мову, бо бачу що у тебе українське призвище і ім'я тво мабуть Стас?

  9. This is extremely helpful! I can't believe I've been falling for these stupid mistakes for so long. Thank you, so absolutely much. =)

  10. I´d be very interested in you showing drawings from other artists that you really like, and explain what draws you to them.
    Would be much appreciated to watch you talk about drawings that are as perfect as possible.
    For me it might be stuff from Robert Liberace, Albrecht Dürer or John Howe perhaps 🙂

  11. cool tutorial as always, but lets say i'm a master in anatomy, perspective, and know all human figure planes in perspective but there is no way with all of those info to make one decent depict for a complex form like the human figure with no idea about using edges correctly between light tones and dark tones "not only core shadow "by only knowing the basics of lightning over a sphere that everyone already knows :/
    there are many things needs clarifying thx

  12. Mind blown! Your critique about the curve being roughly the same on the front and back of the finger helped me immensely. It was even better to see how you formed the fat padding after getting that initial form/shape. This has helped me with both my drawing and my 3D sculpting in Blender! Thank you!

  13. Just want to thank you for your content. Went thru all hand videos (including April fools one), filled sketchbook with tips and examples. I can draw hand better only 5 years more and I will be confident with it. Anyways THANK YOU FOR AWESOME vids! You are great teacher.

  14. The funny things about ☃️ effect is it's almost the opposite of correct work which the joints are tend to be out not in.

  15. You lost me when you started "designing" (a.k.a. changing) the features on an actual photograph because, apparently, reality was not "interesting" enough for you. Why bother using photo reference then if you're just going to draw whatever you want anyway? And why should anyone listen to your anatomy advice when you're willing to deform real fingers to make them look cooler?

  16. Your swoops are too much. Fingers don't swoop that much unless you force them to. It's not natural. Everything else is pretty accurate, however. If your saying it swoops because of the padding on each joint of the finger, then your not looking close enough and examining it. Fingers swoop at the very end of the tips. After the swoop it does the sausage for a moment before going straight or before going to the knuckle.

  17. I'm sorry but the first finger, even tho you have the "gesture" there's no way that's a normal position for a pinky in the position the hand is. That just looks wrong if you put it back on the hand … Edit : Wrote that before seeing all the comments. Yup, I'm not the only one…)

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