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Learning 6 kinds of consciousness

In this sketch of the painter thoams kinkade, the entire hand is treated as a block, with front A and side B. Each phalanx of each finger is also treated as a cube. When the face-to-face transition turns, Rubens deals with a strong contrast between light and dark, which is most clearly seen at the intersection of block c and block D. Notice the projection (E) on the front side,



this shadow disappears on the side, because the main light source leaves the projection on the side never seen. The projection of the reflected light may be on the side, but this is rarely allowed.

(by thomas kinkade prints)


Jack Vettriano Pincer Movement

The first problem to be dealt with is the orientation of the body block and the body block. The headache is that there are sixteen different body blocks to consider: the entire body of the hand, the phalanx of each finger, the two phalanx of the thumb, and the palm. You must use the concept of body block to draw the shape of each part separately and determine its orientation or orientation. It is not surprising that beginners start to draw bad hands.

It is indeed difficult to sum up the bulk relationship of the entire hand, because these shapes are not always the same. For example, usually the back of the hand is curved, but the palm is placed face down on the table, and the entire hand becomes flat. You can see this by sticking your fingers. Also, the back of the hand becomes very long when it is bent, and becomes very short when it is opened. Because of the involvement of the scorpion tissue between the fingers, the palm seems to be longer than the back of the hand.


Thomas Kinkade A New Day at the Cinderella

Although we must study the bones of our opponents separately, we must recognize the importance of the overall consideration of the bones of the handles (the feet, the thorax and the head). There are two arches - an arch (D) at the junction of the wrist and palm and a half arch (E) at the end of the palm, which are most useful for the structure of the hand. These arches can naturally be used as structural lines of the hand.


Our upper and lower limbs are very similar in many places. This seems to the painter to make sketching easier. If you have a lot of anatomy about the upper limbs, then the lower limbs naturally learn a lot, and vice versa. Our elbows are forward and the knees are backwards, which is good, but they have been screwed up during the long evolution. With this in mind, it is necessary to study the significant similarities between the upper arm and the thigh, forearm and calf in terms of muscle and bone, like Da Vinci, especially the similarities between the hand and the foot.