end of the fan. These we block in as one mass, marking the angles of the outer joints, the inner joints, and the finger-tips; the palm flattens and bulges to the wrist.
Then we again revert to the thumb and the finer details the pointed finger and the shadows, the first, second, third, and little finger (we have already sketched this in mass and therefore shall have no great difficulty with details), the knuckles bending inward, and the tips of the fingers closely holding the fan. Mark all the darkest shadows. Under the first finger is the curve of the thumb, and under the fan (the lower part of the palm indented by the ring of the fan) the sharp firm shadows between the fingers.
More poses for the left hand might include:
Left hand beckoning, or palm extended and back presented; hand clenched; hand lying flat on the table palm downward, or palm uppermost. Both are rather difficult studies.
Rest your elbow on the table, clench your fingers, and extend your thumb. Draw only the thumb.
Turn your hand toward yourself with the palm uncovered and draw your thumb—bent.
You should become well acquainted with all your various fingers by drawing each one separately—and many times.
Suzanne Lenglen, the great tennis-player, said that it took her six months to learn a certain stroke. It will take us
