My laziness is catching up with me
 

:)

:)

Aw, come on. That's not a bad hand at all. It's sensitive, it's got a nice gesture, and it's got all its parts. If you're going to start practicing hands I'll wager you're going to get extremely good at it very fast.

I don't know if you have Photoshop so I put these together. I do this sometimes when I'm feeling very brave. The only thing I'd mention besides what Photoshop is showing is that I really like the way you did the shadowed side of her face. A darker background might have been a nice way to lose it entirely.

:)

Here's something Tony Ryder suggests in his terrific book. (You can buy "The Artists Complete Guide to Figure Drawing" through this site here: http://www.portraitartist.com/bookst...aitdrawing.htm )

He approaches all drawing first by creating what he calls "the envelope" a straight-line-segment container around the object in question. He suggests carefully checking the angle and length of each of these straight lines (shown here in red). When using this method on hands he likens it to the idea of "drawing the mitten".

When you compare "the envelope" I made around each hand, you can immediately see the differences. First I notice that the overall size of the hand compared to the features of the face is too large, mostly because of the size of the palm. Then you can see other angles that are different and line segments that are not the right length. You can also see that the shapes along the right-most line of the envelope are too lumpy and don't follow the straight line along that side as closely as they do in the reference.

Ooops, here's the image:

John Howard Sanden's Portrait Institute sells a video called Painting Hands: http://www.jhsanden.com/videos-techniques .

Michele,

I have Ryder's book, and I should know better! Knowing something isn't nearly as effective as knowing that you know it.

I'm re-drawing the hand now.

I feel that Tony Ryder's book is the best drawing book I have ever read, by far.

I'm taking a portrait painting class with him soon, so I figured his book would be required reading, if for no other reason than to be familiar with the terminology. I was delighted that his technique was so helpful to me.

As I read through it I tried a few drawings using his method and I found the technique so helpful that I plan on using it for every drawing I do. I found myself following his advice (about checking angles, and looking for forms upon forms) every day on the current portrait I'm painting too.

I highly recommend not just reading through the book, but trying out the techniques on a few practice drawings and see what you think.

I've tried it on several drawings, like the portrait of Linda. I try to incorporate what I've learned from various artists (don't we all?) as I work. So while I'm doing my Tony Ryder block in, I'm also marking out Daniel Greene's proportions of length. I just had a mental stumbling block with that hand.