Drawing Dynamic Hands pdf

Drawing Dynamic Hands

Burne Hogarth



It is an ancient precept that the person who would be an artist must first learn to draw. Anyone who has ever wished to become an artist-who has taken those first faltering steps down the road to art-has begun with the desire to draw. It was the love of drawing that confirmed all those initial hopes. And through all the later aspirations, as long as the creative drive flourished, the urge to draw never died.



Those of us who arc committed to working in the visual arts can remember our first formal training. When we first enrolled in a studio art class-whether our

goal was painting or sculpture, illustration or design-we knew that drawing had to come first. Our first adventure in art began in a drawing class. Drawing, we knew without doubt, was the root of the visual image and the core of all art experience.



Learning to draw means, a priori, figure drawing. If we say, 'Here is an artist who can draw,' we mean that this artist can draw the figure. But now a subtle distinction emerges. Among the world's artists schooled in the figure, who are the most noteworthy, who are those of the highest rank-and how do we know them? The transcendent artists were those who could draw the most difficult of all figural elements, the human hand, with authority and authenticity. And these tended to become the luminary creators.



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