Including a hand in your portraits adds a significant measure of excitement but can quickly ruin an otherwise fine portrait if done incorrectly.
The goal is to integrate the hand so that it is not only proportionally and gestural right, but is in agreement in personality with the expression of the face.
For instance, an agreeable facial expression juxtaposed with a clenched fist may not yield the effect you want unless you intend to add an ironic twist to your portrait. On the other hand, a hand supporting the head fits very well with a stern scowling expression.
First, absolute novices should not be attempting to sketch both the hand and portrait together. Things will quickly get muddled. The lesson for the absolute beginner here is to get a grasp of the significance of acquiring a solid foundation of your skill.
In a view where a hand supports the skull there exists a delicate forward tilt because the model is a little bit hunched and leaning forward. For the draftsperson, this situation translates into the presence of a faintly foreshortened and reclined portrait. In the hand/head case this means that the chin is slightly receding relative to the forehead.
As always, you should begin with the construct, which in this situation, includes the hand and the shoulder. If you first draw the head and then attach the hand to it you are really asking for trouble. The hand and the skull will lack cohesion and will give the awkward impression that they are two distinct objects that are coincidentally juxtaposed.
When sketching the construct be aware of the negative as well as the positive spaces. Also, do not pre-measure any aspects of the complete arabesque. It should be drawn with as much fluidity as possible without losing your sense of size. Strike first then verify.
Further build upon the complete arabesque by establishing the face, hand, and shoulder landmark
s and sizes. The internal architecture of the complete arabesque is initiated by blocking-in the maindarks and painting out the lights with a kneaded eraser.
What you are doing is to set the stage for articulating the facial features, the hand, and the shoulder. The hand must be positioned and proportioned in accordance with the head and the facial features. The compression of the jaw into the palm must also be reckoned with.
Using a sharp pencil you can now further develop the value and shape with cross-hatching, stumping down, and painting out. In this, you will be going back and forth hoping that you know when to stop. Sketching is about making decisions, i.e., knowing what to build up and, just as significant, knowing what to leave out.
In the hand/skull case you have to be particularly careful how far you develop the hand. The hand should be seen as a prop, that is, a supporting element that should not be part of the focus. Do not feel compelled to refine every element in your drawing. Everything in sketching is about equilibrium and transferring your intent directly to the viewer’s eye.
In conclusion, it is critical to see the hand and the shoulder as parts of one whole. Starting your drawing with drawing the complete arabesque will help you greatly with maintaining this harmony. Treat the hand and shoulder as props that surround the face. This means that you should draw them in a subordinate role.
Do you want to learn the secrets of pencil portrait drawing? Download my brand new free pencil portrait drawing tutorial here: portrait drawing tutorial.
Remi Engels is a pencil portrait artist and oil painter and skilled sketching teacher. See his work at graphite pencil portraits by Remi.
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