| The Fundamentals | p. 1 |
| Learning to See | p. 2 |
| An Important Tradition | p. 4 |
| The Mind's Eye | p. 9 |
| The Right Frame of Mind | p. 11 |
| A Sketch to Build On | p. 12 |
| The Drawing Process | p. 12 |
| Learning from the Old Masters | p. 14 |
| The Sketch as Part of the Creative Process | p. 19 |
| The Figure's Gesture, The Artist's Hand | p. 20 |
| Expressing Volume, Weight, and Mass | p. 23 |
| The Schematic Sketch | p. 26 |
| The Compositional Sketch: Figure-Frame Relationship | p. 28 |
| The Expressive Content of a Sketch | p. 33 |
| In the Studio | p. 35 |
| Proportions, Perception, and Perspective | p. 38 |
| The Search for a Standard of Proportions | p. 38 |
| The Eight-Heads-High Standard of Proportions | p. 43 |
| Sight Measuring Proportions | p. 44 |
| Plotting the Body's Proportions | p. 45 |
| Learning to See: Beyond Preperception | p. 46 |
| Perspective and Its Influence on Proportions | p. 47 |
| The Development of Linear Perspective | p. 48 |
| Structural and Planar Analysis | p. 56 |
| In the Studio | p. 59 |
| The Magic of Line | p. 62 |
| The Function of Line | p. 62 |
| The Phrasing of Line | p. 65 |
| In the Studio | p. 78 |
| Value as Light and Form | p. 80 |
| Rendering Light and Modeling Form | p. 82 |
| Continuous Tone | p. 84 |
| Hatch and Cross-hatch | p. 92 |
| Integrating Value Techniques | p. 97 |
| Toned Paper and Color Media | p. 99 |
| In the Studio | p. 104 |
| Anatomy | p. 109 |
| Foundations of the Human Structure | p. 112 |
| A Brief History of Artistic Anatomy | p. 112 |
| Learning from the Masters | p. 115 |
| Anatomy as a Whole | p. 118 |
| Anatomy of the Torso | p. 124 |
| Articulation of the Limbs and Trunk | p. 133 |
| Anatomical Differences Between Male and Female Figures | p. 134 |
| In the Studio | p. 139 |
| Anatomy of the Limbs | p. 142 |
| The Leg | p. 142 |
| The Arm | p. 153 |
| The Hands | p. 158 |
| The Feet | p. 165 |
| In the Studio | p. 168 |
| Heads and Portraits | p. 170 |
| The Proportions of the Head | p. 172 |
| The Anatomy of the Head | p. 173 |
| Variations in Orientation of the Head | p. 177 |
| Age and Gender Differences | p. 178 |
| Portrait Variations | p. 180 |
| Self-Portraits | p. 185 |
| In the Studio | p. 190 |
| Composition and Expression | p. 192 |
| Composition and the Figurative Formalist | p. 194 |
| A Figurative-Formalist Bias | p. 194 |
| Composition | p. 196 |
| Breaking Up the Pictorial Space | p. 198 |
| The Abstract Concerns of the New Realist | p. 202 |
| Light as Structure: The Camera's Influence | p. 207 |
| Toward Expression | p. 212 |
| In the Studio | p. 215 |
| Expression and the Figurative Humanist | p. 218 |
| Expressing Empathy | p. 218 |
| Expressing Social Concerns | p. 222 |
| Self-Expression | p. 230 |
| Expressing Sensuality: Nude versus Naked | p. 233 |
| Expressing Cultural Identity | p. 236 |
| Expressing Subconscious Reality | p. 240 |
| Expression and Composition | p. 243 |
| In the Studio | p. 245 |
| Becoming Your Own Best Critic | p. 247 |
| Drawing Tools and Materials | p. 250 |
| Endnotes | p. 253 |
| Glossary | p. 256 |
| Index | p. 261 |
| Useful Websites | p. 266 |
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