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| Introduction | |
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| The Nature and Purpose of Drawing | |
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| Developing Our Sight Skills | |
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| The Legacy of Seeing | |
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| What Is Drawing? What Should It Do? First Glimpses--Types of Drawings | |
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| Informative Drawings of Specific Purpose | |
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| The Expressive Nature of Drawing | |
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| The Expressive Mysteries of Drawing | |
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| First Encounters With Drawing | |
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| Initial Experiences: Looking, Seeing, and Drawing | |
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| Getting Started--Making the First Drawings | |
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| Looking at Other Drawings | |
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| Beginner�s Media | |
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| Charcoal | |
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| Graphite Pencil | |
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| Ballpoint and Felt-Tip Pens | |
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| Brush and Ink Drawing | |
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| Ink Wash Techniques and Effects | |
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| Learning to See Deeply | |
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| Coordinating Seeing and Thinking Skills | |
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| Atmospheric Seeing--Understanding Forms in Space | |
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| Perspective and Foreshortening | |
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| Mechanical Aids to Perception | |
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| Visualization with Vertical and Horizontal Alignments | |
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| Putting Visualization Skills into Practice | |
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| Proportional Relationships | |
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| Defining Forms with Negative Space | |
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| Modular Analysis--A Refined Approach | |
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| Seeing, Imagining--More than Physical Sight | |
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| The Inner Eye Overtaking Physical Sight | |
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| The Art Elements | |
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| Line: The Purest Power of Expression | |
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| Line Qualities | |
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| Gesture Line--Describing Motion | |
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| Contour and Blind Contour Line | |
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| Making Contour Drawings | |
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| Expressive Contour Line and Line Variation | |
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| Line--Lost and Found Edges | |
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| Searching and Cross-Contour Lines | |
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| The Tonal Line--Shading and Modeling | |
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| Hatching, Cross-Hatching, Scribbling, and Stippling | |
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| Texture: Expression, Perception, Sensual Response | |
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| The Textures of Familiar Surfaces | |
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| Drawing Textures and Their Likenesses | |
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| Inherent Textures of Drawing Media | |
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| Textured Line and Stippling | |
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| Actual and Simulated Textures | |
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| Uniform Texture | |
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| Invented or Synthetic Textures | |
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| Color: Value Delineation and Expressive Function | |
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| The Value Scale | |
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| Form Defined by Light and Shadow | |
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| Chiaroscuro--The Expressive Use of Value | |
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| Qualities of Light and Shadow | |
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| The Expressive Range of Value | |
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| High Key, Middle Key, Low Key | |
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| Full-Range Value Drawings | |
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| Value Contrasts for Emphasis | |
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| Color and Its Dimensions | |
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| Hue and the Value Scale | |
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| The Value Scale and Intensity | |
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| Color Schemes | |
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| Warm and Cool Colors | |
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| Mixing Colors | |
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| Composition: The Art Elements | |
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| Form and Shape--Mass and Volume | |
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| Positive Shape and Negative Space | |
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| Size and Scale Relationships | |
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| Open and Closed Composition | |
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| Balance--Harmony--Rhythm | |
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| Dominance--Subordination | |
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| Eye Movement--Spatial Dynamics | |
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| Pattern--Repetition; Rhythm--Unity | |
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| Linear Perspective: Drawing Forms in Space | |
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| Fixed Viewpoint and Cone of Vision | |
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| Picture Plane | |
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| Horizon Line and Ground Plane | |
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| Central Line of Vision--Central Vanishing Point | |
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| One-Point Perspective | |
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| Establishing a Grid | |
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| Two-Point Perspective | |
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| Inclined Planes | |
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| Uphill and Downhill Streets | |
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| Three-Point Perspective | |
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| Circles in Perspective--Ellipses | |
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| Ellipses in Varying Perspectives | |
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| Drawing Circular Objects | |
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| The Multiplicities of Drawing Media | |
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| Dry Media Expression | |
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| The Family of Dry Drawing Materials | |
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| Charcoal--Carbonized Wood | |
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| Types of Charcoal and Charcoal Techniques | |
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| Charcoal Papers of Varying Tooth and Weights | |
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| The Nature of Chalk | |
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| The Expressive Qualities of Pastels | |
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| Cont� Crayon | |
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| Wax Crayons--Their Capabilities | |
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| Lithographic Crayon | |
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| Graphite--Pencil, Powdered, Stick Forms | |
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| Soft Graphite, Hard Graphite, and Graphite Powder | |
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| Drawing Methods for Color Pencils | |
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| Burnishing and Wax Bloom | |
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| Water Soluble Color Pencils | |
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| Wet Media Expression | |
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| Pen and Ink | |
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| Types of Pens | |
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| Types of Paper for Wet Media | |
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| Value, Texture, Pattern with Wet Media | |
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| Stippling Effects of Wet Media | |
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| Brush and Ink | |
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| Drawing with Ink Wash | |
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| Modulating with Wash Drawing and Other Media | |
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| Monotype Methods and Drawing | |
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| Synthesis in Traditional and Contemporary Drawing | |
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| The Still Life: Our Love of Objects | |
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| Advantages of Still Life Drawing | |
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| Still Life Forms and Value Studies | |
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| Reducing Objects to Schematic Forms | |
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| Still Life Composition and Treatments | |
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| The Unmannered Still Life--Avoiding Clich� | |
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| Pushing the Still Life Envelope | |
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| Transparent and Reflective Surfaces | |
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| Expanded Still Life Subjects | |
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| Landscape Spaces, Skies, and Atmospheres | |
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| Landscapes--Varieties of Expression | |
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| The Deeper, Darker Moods of Landscape | |
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| Needs of the Landscape Artist | |
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| Selecting Landscape Imagery | |
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| Texture and Pattern in the Landscape | |
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| Spatial Relationships in Nature | |
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| Selecting Sky and Landscape Relationships | |
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| Rural Villages--Actual and Fantasized | |
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| Seascapes | |
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| The Human Figure | |
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| Drawing the Human Anatomy | |
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| Design Elements within Human Anatomy | |
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| Preparing to Draw the Live Model | |
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| Gesture Drawing and the Human Figure | |
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| The Extended Pose | |
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| The Human Figure and the Picture Plane | |
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| Hands, Feet, Limbs, Foreshortening | |
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| Deeper Explorations of Gesture Drawing | |
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| Drawing Human Figures in Action | |
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| The Clothed Figure in Action and Repose | |
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| Bodily Structures Supporting Drapery | |
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| Drawing the Human Portrait | |
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| The Human Head--Form and Proportion | |
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| The Facial Features | |
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| Drawing the Self-Portrait | |
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| The Objective Portrait | |
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| The Idealized Portrait | |
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| The Psychological Portrait | |
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| Capturing and Drawing a Caricature | |
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| Expressive Drawing | |
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| Forms of Expression | |
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| Empathy in Drawing | |
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| Memory and Emotion in Drawing | |
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| Imagination and Expression | |
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| Metaphor, Imagination, and Expression | |
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| Responding Subjectively--Making Media Choices | |
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| Perspective Thrusts and Expression | |
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| Representation and Abstraction | |
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| Expressive Style--More than Talent and Technique | |