Including a hand in your portraits adds a major measure of excitement but can quickly ruin an otherwise fine portrait if done incorrectly.

The goal is to incorporate the hand so that it is not only proportionally and gestural right, but is congruous in personality with the expression of the face.

For example, an agreeable facial expression juxtaposed with a clenched fist may not yield the effect you desire unless you intend to add an ironic twist to your portrait. On the other hand, a hand supporting the head goes very well with a stern scowling expression.

First, absolute novices should not be attempting to draw both the hand and portrait together. Things will quickly get muddled. The lesson for the absolute novice here is to get an appreciation of the significance of acquiring a solid foundation of your skill.

In a pose where a hand supports the head there exists a subtle 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 case, includes the hand and the shoulder. If you first draw the head and then attach the hand to it you are really asking for problems. The hand and the head will lack cohesion and will give the awkward impression that they are two distinct objects that are coincidentally juxtaposed.

When drawing the complete arabesque 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 rendered with as much fluidity as possible without losing your sense of proportion. Sketch 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 hatching-in the principaldarks and painting out the lights with a kneaded eraser.

What you are doing is to set the stage for rendering the facial features, the hand, and the shoulder. The hand must be established and proportioned in accordance with the head and the facial features. The compression of the jaw into the palm must also be reckoned with.

Making use of a sharp pencil you can now further develop the tone and form with hatiching, stumping down, and erasing. In this, you will be going back and forth hoping that you know when to stop. Rendering is about making decisions, i.e., knowing what to build up and, just as important, knowing what to leave out.

In the hand/head case you have to be extra 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 finish every element in your sketch. Everything in sketching is about balance and transferring your meaning directly to the viewer’s eye.

In closing, it is critical to see the hand and the shoulder as parts of one whole. Starting your sketch with striking the complete arabesque will aid you greatly with maintaining this cohesion. 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 sketching? Download my brand new free pencil portrait drawing course here: pencil portrait course.

Remi Engels is a pencil portrait artist and oil painter and practiced sketching teacher. See his work at pencil portraits.

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