The Arm And Hands 1

MAKE a special study of the arm in all its views. Nothing gives a poor draughtsman away more easily than poor drawing of the arm; for although in your ultimate practice you may not paint the nude, ability to draw the bare or partially clothed arm is part of the equipment of every figure or portrait painter, its form and undulations being felt under whatever covering it may have.
The fixing of the hands on the wrists presents exceptional difficulties. I shall therefore endeavour as briefly as possible to point out some means of overcoming them.
The anatomy of the arm should, of course, be mastered, but the rotary movements of this limb and of the hands, and the subtle changes that the slightest shifting of them gives rise to, make it impossible without the model to render the infinite variations of their lines and modelling.
Make it a rule never to draw one side of the arm without comparing it carefully with the other, so that the area contained within them coincides with the area under your eye in nature.
A capable writer on art matters makes use of this sentence:—
"We have seen that if the linear draughtsman made his lines right in length and direction, the areas enclosed by them must of necessity be the correct areas ; although he may never have given them a thought." I certainly join issue with the writer in his afterthought. You may take it for granted that neither the length nor the direction of the outline will be quite correct if thought be not given to the mass enclosed at the time of drawing the outlines. There are but few flukes to be counted on in drawing, and if the mind is not assisted by every possible consideration the chances are that at some point the drawing will suffer.
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