Demo - Mannequin Hands - Level 1

Lesson by

Stan Prokopenko

inDrawing Basics

1.3K

Comments 27

Downloads 5

Demo - Mannequin Hands - Level 1

Lesson by

Stan Prokopenko

in Drawing Basics

1.3K

Comments 27

Downloads 5

Stan Prokopenko

In this level 1 demo, I’ll show you how to draw mannequin hands to practice tumbling boxes. Check back next week for level 2!

@fentmaxxer

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1mo

This doesn't make much sense to me because it looks like almost all of his boxes aren't converging and the lines are parallel so how is this 3 point perspective?

Jack H

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1mo

Here's another set of level 1 hands. There are still some proportional errors, but I think it's improved from my first attempt. The side view posed quite a challenge though, since I wasn't sure to just draw a single rectangle or a 3D box since most of the hand was side view.

@osa

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1mo

Here is my attempt after watching the demo, I think it turned out good! Much cleaner and more cohesive than my first attempt.

Tony Zhang

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2mo

Geez level 2 is a totally different thing!!

Tony Zhang

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2mo

Extreme foreshortening still needs practice! But I’m happy.

Tony Zhang

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2mo

One more.

Zander Schmer-Lalama

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3mo

Hello! Man this was tough and a bit exhausting lol. What I noticed in myself is that I was just randomly placing the boxes instead of think about the vanishing points. Thankfully after watch the demo with Stan, I did mess up boxes but now I have a better understanding now. Leave me any tips on how to improve!

Josh Fiddler

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4mo

About the comments @Stan Prokopenko makes at around 34 minutes about fatigue. The Law of Diminishing Returns You've done warmups. You've been drawing for an hour and feel like each line gets better and better. Your problem solving is feeling strong: you're happy with choices. Then suddenly... everything starts to feel off. Lines aren't as accurate, thinking is slower. You notice you are tired and think maybe you should stop. But you don't. You keep going. That drawing starts to fall apart. You get frustrated and trash the whole thing. You get mad at yourself and don't draw for a few days, saying you're not inspired. When you start to feel that fall-off in energy and focus, when you start to doubt your previously unassailable growth, it's time to step away. Go have a snack, a drink of water, or go do something else. At this point, your unlimited mental data plan is has reached the data cap for 5G speeds and you've been throttled to worse than 3G. Packets get dropped. Latency increases. There is nothing to do but do something else and let your brain recover. At best, even the most incredibly productive people can do maximum output for 4 hours a day. After that, we retain less, are less productive, and we make more mistakes. So we shouldn't expect to be able to study, draw, paint, exercise effectively, without rest. Rest is a requirement, not a reward. So take breaks, stay committed, but don't burn yourself out trying to fulfill your dreams, you'll just end up resenting the sleeping.

Eevan Varg

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4mo

What he said.

Stan Prokopenko

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4mo

lol. well said.

The guy from BluishDot

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5mo

Hi there! Thanks for the demo! It’s really informative and cleared up a lot of the questions I had after my first attempt at the exercise. I am, however, a bit confused about a couple of boxes from hands 2 and 3. I marked them in the attached images. I understand that the way it’s drawn is not necessarily wrong since we could have more of a trapezoid box that would look like that in perspective. However, I thought that in this case we should draw boxes that had only 90 degree angles. With that in mind, even though it would look a bit strange when compared to the reference images, shouldn’t the marked lines from those boxes converge the other way? Even if only slightly? I’m asking because this is what caused me the most trouble and frustration in my initial attempt. Seeing that the form of the finger “converges” towards the viewer but having to draw a box that has to converge in the opposite way.

Josh Fiddler

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4mo

Generally your intuition is correct. Stan didn't nail the perspective in those two fingers. In the set of lines on hand three, that segment should all converge "above" the horizon-line for that box, not below. Notice, I said generally above, because, in the hand two example, these are three separate segments. Each is a box with its own vanishing points and horizon-lines. So each box can converge separately but as long as each box for each segment is foreshortened in the same way, they will converge in that direction. But again, they don't have to: look at the index finger in hand three. We see the bottom of the first segment (longest), but we see the top of the second segment. The take-aways when you notice things like this: 1. Ask questions like you did. Self-doubt needs answering. See 2. 2. Don't doubt yourself just because you're not the expert. Experts make errors like this when they are demonstrating because there are many things to coordinate, and that's when the little things like this sneak in because of the next one. 3. Per 2, The Brain and your eyes lie to your hand, and then your hand and your eyes lie to your brain. Other times, it/s the hand and the brain gaslighting your hand to draw obviously wrong lines. It's really quite a situation. Anyway, this even happens to experts, who have trained for this. In fact, it's the main problem of making anything: getting these guys to agree long enough to make a meaningful mark that is accurate.

@daniellee

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5mo

Are these Marshall's hands?

William Mclean

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7mo

i found this so hard getting the angles and proprotion of boxes right

Josh Fiddler

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4mo

Don't be discouraged. It is not easy! Trying to simplify away from the obviously complex shapes is tough. These are some helpful things: 1. The single most helpful thing with proportion and angle was to first do a quick sketch to see if I understood at least the big idea, and overall shape. 2. Then do the gesture and/or envelope around the thing. Remember the portrait layins: big to small shapes. A big envelope or set of envelopes can be really helpful in narrowing down the options. I have a really hard time when I skip this part. I end up getting lost in contours and small shapes and everything is out of proportion and out of relation. 3. when using reference, it's easy to look once or twice and then try to draw from memory. In my experience, our memory is a liar.It takes a lot of experience to do this, if you don't have one of those magical photographic memories that is already connected to your drawing arm. Instead, while thinking BIG, MEDIUM, SMALL, what is the information on those scales that I need to transfer. Spend MOST of your time looking at the reference/model/subject(s), (eventually after lots of practice) even while we draw, so we tell the truth more often. Does that make any sense?

Zach Pipher

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8mo

One day i will revisit the course and do the level 2

Josh Fiddler

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4mo

Why wait? Just try it now, and be okay with the fact it isn't right. You won't nail it, but you'll start thinking differently. Trust me. I'm really struggling with the cylinders in boxes for the next section and I'm still gonna post, and I'm an L2 student LOL. It's all for the love of learning and drawing.

loes roos

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8mo

I do not know whose hand it is, but it is way more flexible than my own hand! Great demo with the gesture before. Good lesson! Definitely did not give enough attention to the boxes!

Dermot

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9mo

I was thinking (clunk clunk). I could extend the box edges of the second finger so they intersect. I was hoping to work out how to draw the boxes looking orientated but they just are wrong. Any suggestions would be appreciate. Thanks

Dermot

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9mo

I genuinely, would appreciate a little further advice. No matter how I experiment with the "Y" or vanishing points, I feel I'm more trial and error than, there's a box, I'll tumble it into that position. When I decide to tumble a box to a specific orientation, what's the reasoning / process behind the order of line changes to achieving the rotation / tumbled box that I intend ?