Kari's drawing

[kariP]

where is the really tight fist?

I was trying to illustrate a fist with biggest amount of tightness I could get. If I'd use tremor lines, or if I would make a gif with some shake in the hand, it would drive it to the right direction. But how should I use only line and shading to get a really, really tight fist?

I don't mean an anatomy lesson, just wondering about the major things to be considered.

Here's mine,

How would you do it?

[Elodie]

Nice details on your fist. And a very expressive face

[kariP]

Thanks Elodie, I appreciate it.
This guy isn't really "Hggnnn!" yet. But he'll be.

[le mot juste]

Maybe tighter thumb, maybe tendons in arm showing

[kariP]

it's getting there, but there is still something I don't yet understand. I've heard that it's good to use variable line thickness, but I really haven't understood how to use it logically.
Here I found out that when the body, here, the fist, gets tense, its muscles get stiff. And that affects the border shade. The shade then goes much closer to the edge and produces a thinner line.
And that might indicate tension if used properly. I think.
Also more angled curves in the line suggests tension, as opposed to soft curves that indicate relaxed muscles.

I'm just writing aloud, so it would clear my thoughts and maybe somebody could give me some hints or more clarifications.

[Paul Fierlinger]

You are overworking it. A gesture of the hand has to come out of the body so that the body is part of the gesture. By overworking the gesture, you are disconnecting yourself from the body. If you want to redraw the gesture then you should really redraw everything so that there won't be this disconnect. To me it looks like the guy is studying his fist and not staring done his opponent... would lowering his fist help? This is what I mean about the importance of working out the gesture through redrawing the entire figure. By the way, right now your character looks as if he's been drawn by two different people.

[kariP]

I think I understand what you mean. I know i've noticed this disconnecting before. I remember I once wrote down on a croquis session - "always get back in shape", meaning that I noticed somehow the shape I was drawing. Then I forgot what it really meant.
And he has no opponent, he is actually supposed to look at his fist and make it as tight as possible. That was my goal, but I see now it can be easily overdriven by the idea of a possible opponent.
As for the two different people, it was drawn by me. Do you mean the line is different in different parts? I tested here the possibility that where the force is strong, the line is thin. With the shading I tried to figure out whether tight muscles might indicate maximum grip.

Now when I squint my eyes, I see the shape is not really giving out the maximum effect either.
Have to give it another go.
Thanks Paul!